I was walking along White Beach (Tasman Peninsula) at dusk when I crossed this area where a tiny rivulet drained into the sea. It was fairly cold with a light wind, and the water was dark and choppy. The dominant light was in the sky and reflected in the wet sand. The colours were all muted, with a beautifully soft green tone showing through the shallow areas of the surf.
All the underlying and lightest colours were done together in the first step. This approach made it very time consuming and complicated – I had four rollers going at once!
The lower section will be the wet parts of the sand reflecting the light from the sky. The central blue area will be the foam of breaking waves in the surf.
The golden glow in the sky and sand should permeate through as the layers build up.
This was a massive carving stage. The block looked so intricate it seemed worth taking a photo before it was carved away further.
All the areas that are to remain as reflective wet sand are carved out, as are the foam areas on the surf. Also carved out were the areas of the sky that are to keep the golden glow – as well as the distant rainstorm on the right hand side of the horizon.
The wet sand shadows, farthest land, and gentle cloud shadows were added after the second carving. I used dilution and transparent pigments to make sure the underlying golden tones would show through.
The next stage was to carve around the darkest banks of cloud and remove the most distant hills. After this the underlying sea areas (with a soft green tone), distant hills, and darkest banks of cloud were printed.
I’ve now printed the sand bars and distant water. The final carving and printing will be next, and the darkest areas have been drawn in, prior to carving. The areas to carve away are marked in white, while the areas to leave are drawn in black.
Just finished! After carving out the areas from the final drawing, I darkened the upper sea area and sand bars in one printing, and the green waves and darkest areas in a final printing stage.