Inside a huge futuristic techno cathedral ::4 The mood is futuristic, ceremonial, grandiose. The crowd stands in adoration of Him, hands risen. Check out the painting tutorial video where I show you how to paint this scene, available on my Patreon channel.Out-of-this-world impressionist oil painting of an awe inspiring cyber Christ hanging from a techno cross ::5 The Jesus on the cross has intricate futuristic cybernetic implants, and faces a congregation exulting believers, who worship him. I hope you enjoyed this written painting demonstration, however, I have only scratched the surface as there is way more to this painting. I painted sea mist and spray coming off the tops of the waves using a mix of titanium white and a little yellow ochre and I dry brushed the paint on. By keeping the white water tonally a little darker it is helping to emphasise the sunlight reflections and sparkles in the water. The sunlight reflection is the lightest value in the painting and I used a mix of titanium white and a little yellow ochre. One of the main things I wanted to emphasise in the breaking waves was the direct sun reflecting off the water as the waves barrels over. I spent this session adding more details to the waves and water but essentially using the same colours that I used during the blocking-in stage of the painting. I let the painting dry so I could add more details to it and so I could build up the waves to make them pop. Where I need to make the value of the colour darker I used less titanium white in my mixes.įor the shadows in the breaking waves, I used more ultramarine blue and less burnt sienna in my mix.Īdding Details and Finishing The Painting I started this painting by blocking-in the sky, cliff shadows and the shadows in the breaking waves using varying mixes of ultramarine blue, burnt sienna, titanium white and a little alizarin crimson. It also makes it easier to add the areas in light and to get the saturation of your colours correct once you have painted your dark values. Value refers to how light or dark a subject is and by painting in the dark values first I personally find it is much easier to create atmospheric perspective in my paintings. Whenever I start a painting I always identify where the dark values and shadows are first in the scene I am painting. I am using Liquin as a medium to thin the paint and it also has the advantage of speeding up the drying time. I sketched the composition using a No.1 round brush with burnt sienna mixed with Liquin Original (Liquin). I painted this artwork on oil primed, medium-weave Belgian linen that is mounted to a panel. 1/4” ivory dagger Painting Demonstration.Here is a list of the brushes I used in this painting: I painted this artwork using oil paint and the colours I used in this painting are as follows: Here you can see the focal area is to the right of the centre and there is a high horizon line. When designing a composition for a painting avoid having centred objects, centred lines and repeating masses as this will spoil the composition. This composition is fairly simple as it is intended to be a study of ocean waves. The translucent area of the breaking wave is the main focal area. Please feel free to use or copy this photo if you would like to have a go at painting this artwork. Want to Learn How to Paint Seascapes? Reference Photo.Adding Details and Finishing The Painting.Paint Your Dark Values and Shadows First.
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