1) Nothing special here except the wonderful linen canvas — very rough woven and a lush surface. This coated with gesso, then a mix of Alizarin Crimson and white. (Very) Roughly sketched with a #6 round.	2) Begining to work the color. Top to bottom here. In part, this is because I can work down the canvas without getting my hands in the still-wet paint as I go. Later, I'll be working "around" the canvas with less chance of running into all wet areas.
3) As the waves begin to appear out of the background I'm forced to learn about how each interacts with the other — which is breaking over which, for instance. At this stage, the middle water area and the beach area are left unresolved. Decisions about these areas will follow the determination of the focal area of the foreground waves.	4) It became clear that I had to have a stone in the foreground. I think it helps bring your eye forward and gives a balance to the visual flow of the wave from lower right to middle left.

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