Yeah, it’s like a bunch of waves hitting each other. When they crash, the peaks add together and the troughs cancel out, so you see that big splash—almost like a paint stroke. It’s all about constructive and destructive interference, but if you stare too long it can feel pretty artistic.

I usually grab a high‑speed cam on the beach, freeze the splash, then stack the frames in a program and tweak the colors so the light looks right. Sometimes I run a simple fluid simulation on my laptop and render it that way. If I’m feeling spontaneous, I just sketch the shape of the wave in a notebook and paint the colors later. It’s all about capturing the motion first, then letting the colors finish the story.

The sea doesn’t whisper, it basically screams in waves, and I just try to catch that scream in a sketch. Then I let the colors do the rest—kind of like letting a painting breathe. If you watch the frames up close, you can almost hear the water talking.