Ocean View, acrylic on canvas, (90x90cm)

Jo Quigley reveals her systematic approach to painting realistic seascapes in acrylic.

Whilst other subjects may go in and out of favour, seascapes have remained a firm favourite among artists and art collectors alike. From dark and stormy to turquoise and tranquil, the ever-changing nature of the sea offers endless opportunities for the artist. Although it may be relatively easy to capture an impression of the sea, hence its popularity as a subject for the beginner, realistic seascapes can be quite a challenge. However, with a systematic approach and some patience, the results can be well worth the effort. To make this a little easier it is worth taking into account the following points.

Finding source material for painting seascapes

Whether you prefer to work impressionistically or realistically, observation is key and relying on sources that are not your own can only get you so far.

As with all subjects, it is far better to work from personal experience. It is only by spending time looking that you begin to understand how waves move, create patterns and are affected by objects in their path.

Some artists believe that painting from memory and imagination is the best way to capture the ephemeral nature of the sea. However, for the realist painter the memory can be unreliable when it comes to painting specific details and having some reference is essential, be that in the form of sketches, notes, or photographs.

Composition for painting seascapes

Sparkling Seas, acrylic on canvas, (90x90cm)

It is easy to think that if you are just painting water you don’t need to worry about composition, but this couldn’t be further from the truth. How you choose to organise elements within the picture not only affects the position of the viewer in relation to the work, but also how they ‘read’ it and therefore how they respond to it. What size, shape, or orientation you decide upon should ultimately enhance the overall composition and strengthen the effect you are trying to achieve. My own seascapes are often painted on a very large scale, which adds to the feeling that you could actually get your feet wet!  

Where to place the horizon in seascape paintings

In each of the examples below I have shown a high horizon, although where you place it is a personal choice.

Positioning the horizon in the top third of the picture will allow you plenty of space in which to concentrate on the sea. Alternatively you could consider a picture with no horizon, omitting both the sky or the shore, or both, in order to create an aerial perspective. This would elevate the viewer and focus attention on the abstract pattern made by the waves.

Whilst it is possible to have a seascape with a low horizon, this may suggest that the subject is in fact the sky rather than the sea.

A horizon placed half way is best avoided.

1. The banded composition

The wave bands create rhythmic horizontal lines. Try to avoid creating areas that are equal in size as these can compete with each other and create an unbalancing effect.

2. The zigzag composition

The lines created by the oncoming waves form a zigzag pattern, leading the eye gently from the foreground to the horizon.

3. The curved composition

The space is divided vertically with a curved line, created by the wave as it hits the shore.

Top pointers for painting realistic seascapes

When trying to paint realistic seascapes I find it helpful to split them into three distinct areas, each of which requires a different treatment:

1. The background

This is the area nearest to, and including, the horizon, specifically where the sea meets the sky.

The eye is naturally drawn to the horizon, so it is essential to control the size of any marks or objects near it – if you are not careful it is easy to create the feeling of the sea going uphill, or a wall of water. Likewise if your horizon isn’t straight then the sea can appear to be slipping to one side, creating a very unsettling effect for the viewer.

Depending on atmospheric conditions the horizon may appear quite clear on some days and barely visible on others; either way, to ensure a sense of perspective or depth, keep your tones closer together and your colours less saturated the nearer they are to the horizon.

2. The middle distance

In my experience this is often the trickiest area to paint convincingly. The repetitive nature of marks makes it all too easy to switch off and revert to painting from imagination, painting what you think you see as opposed to what is actually there.

Whilst it is not necessary to paint every single mark, careful observation of both the size and pattern of marks in this area will enable the viewer to use their own imagination to fill in any gaps.

3. The foreground

This is the area around and including the point at which the sea meets the shore and it requires the most attention if you want to achieve a more realistic effect.

Whether the waves are gently lapping or crashing onto the shore, it is important to observe how a wave breaks and then recedes only to be overtaken by yet another wave. This is where the wave is most transparent and the colour of the sand or rocks beneath are revealed. Similarly, as waves crest and break, shadows and reflections are created.

Don’t overdo the white surf, though – white can be very opaque and soon overpower the image.

Colours of the sea

Just like the sky, the sea isn’t always blue. It can be myriad colours depending on the weather and light conditions, from rich darks and stormy greys, to vivid blues and greens and even pinks and oranges at sunset. A limited palette can help to create colour harmony and avoid a disjointed appearance.

Putting objects in your seascapes

Whether you prefer seascapes with or without objects in them is personal choice. If you do include other elements you should do so carefully.

The addition of a figure or boat can provide a point of focus and a sense of scale and life to a work, but placed in the wrong position or at the wrong size they can become a distraction.

Mixed messages can make an image confusing to look at and therefore less successful, and less appealing to the viewer.  Consider instead using a cresting wave or area of colour or light or sparkle to create focal points.

Demonstration: Summer Surf

Summer Surf, acrylic on canvas, (92x122cm)