A Path to the Sea: Behind the Painting

This painting is inspired by a moment I captured while vacationing along the Pacific coast. I was struck by the contrast of the winding path against the vastness of the sea. Although it’s unconventional to place the path directly in the center of a composition, I wanted to evoke the feeling of being drawn into the horizon as if the path is guiding you straight to the open water.

In creating this piece, I used two distinct watercolor techniques: glazing and a glazed flat wash. Glazing involves layering thin coats of paint to build up depth and richness, allowing each layer to shine through. The glazed flat wash is applied in transparent layers over an existing dry wash, using diluted pigment to soften and blend the elements.

For the painting itself, I selected a palette that captures the natural tones of the landscape. The mountain range and path were painted with Winsor & Newton’s Raw Sienna and Daniel Smith’s Lemon Yellow, creating earthy, sun-kissed tones. For the sky, I combined Daniel Smith’s French Ultramarine with Holbein Artists’ Horizon Blue, giving it that crisp, coastal feel. The grasses, hills, and fence came alive
with Daniel Smith’s Sap Green, Rare Green Earth, and Undersea Green, while Winsor & Newton’s Burnt Umber added the deep, rich tones of the earth.

After the painting dried, I applied multiple layers of a glazed flat wash using Daniel Smith’s Lemon Yellow. This final touch softened the contrasts and brought warmth to the entire composition, pulling everything together.

For prints of this painting, I use Canon LUCIA PRO ink, which ensures the vibrant colors, sharp details, and smooth tones of the original. The prints are made on Fabriano cold press watercolor paper, which has a lovely texture that closely mimics the original artwork