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Sketch in the basic shape of the curl, spray, foam and base of the wave.


Step 2.

Add an extra line running parallel and below the curl line to define the thickness of the lip.


Step 3.

Add a flow line starting at the lip and curve it around to suggest roundness of the liquid lip. Continue that same flow line around with a half oval down to the base of the wave to show the concave curve of the wave face.



Step 4.

Add the rest of the flow lines. Gradually make each flow line less steep as you move away from the curl, to show the tapered shoulder. Continue the flow lines into the tube to show hollowness.


Step 5.

Add simplified spray with thin wispy lines. Add the foam explosion with a series of explosion lines getting bigger as they moving away. Maybe add a foam ball in the tube. Round off the foam at the base of the wave so it won't look flat.


Step 6.

Add shading on the wave face with smaller contour lines. Gradually make the lines darker as you get further into the tube. Use crosshatching to add more depth. Lightly shade foam and base of the wave. Maybe shade the sky a little, too.





Pier view.

High horizon. Vanishing point left...



View into the tube.

Additional variations can be achieved just by moving the horizon line high or low and by moving the vanishing point right or left. Give it a try, experiment...




View out of the tube.

A high horizon line and one vanishing point on the left and it's as if your face is against the tube face and you're racing for daylight...



View out of the tube... continued.

Move the vanishing point to the right and more of the face becomes visible...



View from a pier.

A high horizon line with two vanishing points off to the right and left and it appears as though you're viewing the wave from a pier, looking down on the wave...



Paddler's eye view.

Is accomplished by placing the horizon line extremely low. Both vanishing points are located outside of the image border, one to the left and one to the right...



Bird's eye view.

This is accomplished by moving the horizon line up and completely off the image. The two vanishing points are positioned way out to the right and left...



Other views.

A view looking down the point can also be achieved by moving these ingredients around...



Various Scenes

With perspective you can now create line-up scenes, with multiple waves. It could be a reef pass, a beach break or a point break Add land in the background or in the foreground to give the scene some depth. See the four sketches below...

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Variations.

Don't forget about hollow waves, freight-trains, slow churning or paper-thin waves. The possibilities are endless...











Add surfers.

Drawing of a surfer riding a big wave...



Add surfers.

Side profile drawing of a surfer riding a barrelling wave...

Once the panel is sanded and ready to go I layer a combination of black and white gesso to achieve a middle value grey. I do this so I am able to judge my lightest lights and my darkest darks. The middle value is already done for me. I sketch in the composition with a white charcoal pencil.

I need to find some reference photos of a typical 'peeling' wave that gets us all excited. I will be working on a Masonite panel that measures 5.5" x 24". I gesso and sand the panel between each gesso application. I do a basic value sketch to begin the creative process. This process will prepare me for a grisaille underpainting.

Once I determine what sketch I like and arrangement of values I begin my grisaille underpainting. A grisaille is a black and white rendering of the painting without any colour. It is important to keep the grisaille very thin and not too dark. If it is too dark the colours will not glaze properly. Once the grisaille is dried I will redo it again slightly more opaque. Drying time with Linquin medium will take several days. I will see you back soon!

The grisaille is complete. This took about 2 days to dry. I added the halfpaste, which is a translucent layer of a middle value grey. This will give the painting a 'ghost' like appearance. This will bring the grisaille to a higher key to lighten the underpainting. Once dry I restated (made them stronger) the highlights as seen below. The halfpaste will take 2 days to dry then I will be able to layer my colours over the grisaille.

Using a thin mixture of Prussian Blue I glaze over the body of the wave. By glazing colour over the grisaille the shading (values) are already established. I glaze this blue mixture into the shadow of the white water. At this point I leave the highlights alone. I also glazed a thin mixture of Terra Verte in the distant water. This will take several days to dry. I will repeat the process until I achieve the likeness I am going for.

Using thin glazes of Alizarin Crimson, Sap Green and Thalo Blue I am able to achieve a dark blue green. As seen below, the wave is taking on form. I used thin layers of Thalo Blue and Alizarin Crimson to achieve 'shadowing' in the white water. At this stage I am contemplating making the water darker. If I choose to do that I will glaze Burnt Umber over the body of the wave. In my next step I will dry brush the foam of the water and details, this will bring closer to finishing the painting. Dry brushing consists of using opaque without any medium on a bristle brush and lightly touching the surface of the painting. This adds texture and added depth as the underpainting shows through. I will be working more opaque to achieve a realistic look... Stay tuned...

In this last and final step I glazed Viridian Green over the body of the wave. Once this dried I glazed Burnt Umber into the shadow side of the body of the wave to add depth. This is why the grisaille is important. Once dry I moved into the opaque dry brush stage to add more depth and details. Using combinations of Thalo Blue, Viridian Green, Titanium White and Burnt Umber I completed the details of the white water, reflections and wakes in the foreground. I added small details of clouds in the distance to bring the wave forward.