As I reworked the foreground, it gradually became less foamy and more turbulent, with bigger ripples (Photo 17) than I'd originally visualized. What does this matter? Nothing, really; it's my painting and not a representational one of a particular, identifiable scene, so I can let it be whatever I decide.
Eventually I got the foreground to a stage I was content with, and decided to declare the painting finished (Photo 18).
The multiple glazes or layers of paint in the foreground, put down as I battled with it, don't show up individually, but they have created a wonderfully rich color that comes only from glazing.
