The amount of colors is kept to a minimum, limited to a few shades of blue and pink. The woman's hair, which is a bright navy blue, stands as a stark contrast to the lighter colors of the waves. Her skin, which is a pale peach color, also stands out amongst the baby blue. The waves cover almost the entirety of the outside of the painting, so different colors were needed to prevent the woman from getting lost in the water. Another element used are Ben-Day dots. These were used in comics and newspapers to create shading and tone, which is exactly what Lichtenstein uses in this piece. The most prominent use is in the waves. He adds shading to all but the tips of the waves, to add dimension and make it appear more foamy, much how real water would look like. As for the layout, the woman is placed at the center, making her the focal point. The waves move around her, starting in the lower left corner of the painting, then moving to the upper right corner. This helps to guide the eye straight to her crying
The amount of colors is kept to a minimum, limited to a few shades of blue and pink. The woman's hair, which is a bright navy blue, stands as a stark contrast to the lighter colors of the waves. Her skin, which is a pale peach color, also stands out amongst the baby blue. The waves cover almost the entirety of the outside of the painting, so different colors were needed to prevent the woman from getting lost in the water. Another element used are Ben-Day dots. These were used in comics and newspapers to create shading and tone, which is exactly what Lichtenstein uses in this piece. The most prominent use is in the waves. He adds shading to all but the tips of the waves, to add dimension and make it appear more foamy, much how real water would look like. As for the layout, the woman is placed at the center, making her the focal point. The waves move around her, starting in the lower left corner of the painting, then moving to the upper right corner. This helps to guide the eye straight to her crying