Here's what is going on at each of those numbers.
- #1, is the main beak area, I have minimized it by making it about the same value as the water around it, I dropped the contrast in the area to make the beak shape less assertive. There is also a camouflaging pattern of shadows and accents that break up the form and outline of the beak. There are accent values in the surf at its feet that also draw attention back and away from its sharp point.
- #2, I pushed this shape up so it overlaps the form behind it, that reduces it's knife edged beakyness, and I also made it low contrast next to the water. The cracks in the rocks are sweeping away from the beaks vector, hopefully again overpowering it's beaky point, and distracting the viewer from that.
- #3, The most distant beak was clustered or paired with the #1 beak. I made them into a single unit, again I downplayed it's value contrast with the water around it. So I could then.....
- Make #4 a large bright attention getting area that gives the viewer something more assertive inn the area to look at instead of those evil beaks. This is the headliner of this little ensemble, not the beak structures. Again I am calling attention to a different area nearby instead of the beaks, by distraction. This large light area and the light house itself are clustered together as parts of the largest brightest shape in the painting.