A fortunately dry and bright overcast day permitted me to get this canvas- board outside to photograph. Probably the biggest item I've worked on in recent times, but oilbars do tend to demand lots of space and elbow-room. The main shapes were marked out in pale blue before working from the top down (for the sky) and then distance to foreground for the cliffs.
Sennelier Ultramarine blue oilbar was blended with tube-light red, then blended further with a white oilbar to get distance for the cliffs furthest away. Some terre vert tube-green was introduced on the middle cliffs, along with a bluish-grey colour created from the oilbars; the whole thing was worked intuitively, not by any rigid method. Coming forward, pale greens were created with the oilbar mixes of lemon yellow plus ultramarine blue, with an occasional passage -over with white oilbar to knock the acidity down. Raw umber oilbar plus a bit of light red from a tube was used to start the sea-level rocks.
The sea was created from oilbars cerulean blue, ultramarine blue, white and raw umber; tube-white for the cresting waves. Finally the main foreground was laid in with heavy passages of oilbar; raw umber, prussian blue, ultramarine, cadmium yellow; with cadmium orange used for a front piece and modified with overlays of the other colours. The rocks were worked with white oilbar and the same colours as used for the vegetation.
At no point was a paintbrush used on any of the main components. A small palette knife helped with the waves. Zest-It diluent helped with spreading colour where required, using a rag placed over the forefinger.
Since the oilbar mixtures were surface dry in a few days, this allowed interesting paint overlays in the foreground section. The whole picture was worked as if using large (rather squidgy) pastels.