Using the mixtures that I used before (Sap Green, French Ultramarine Blue and Antwerp Blue - variations of these, and by themselves) I use my pull-push stroke to develop some more ripples and details in the water. The more distant brushwork needs to be wetter, lighter in value, and thinner in width of application. The closer strokes are more defined, wider, and darker. It is really crucial at this stage to not over-work a painting.
I used a little bit of French Ultramarine Blue to add a tiny shadow under the crisp whites that were saved before with my masking fluid. This makes these particular water ripples very distinct.
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