The next stage was to block in the iconic colors of the composition, using the average tone for each section. The only exception here was the horizon line of the sea for which I used an under layer of blue-violet, knowing that this would ultimately be very dark.
I emphasized the linearity of the rock outcrops by placing a much lighter tone between the dark brown lines, and specified the effect of shallow water and reflected sky in the inlet with a darker and intermediate tone turquoise. The remainder of the sea was filled in with a dark turquoise, and the sky with a medium ultramarine blue.
