Lesson 4 - Painting skies
wet in wet, blotting off and soft edges
So far we have painted cloudless skies. The way light and weather conditions are shown give much to the mood of the scene. In addition a cloud formation can be strategically placed to give tonal balance to a scene compositionally.
The key to successful depiction is observation. A little knowledge of our subjects goes a long way in portraying them convincingly. The sky is an important part of our painting either as the main focus or to support others.
In this lesson we take a look at different cloud formations and techniques to paint them.
Although we cannot see it, the air around us contains moisture. The warmer air over the land rises to the higher colder air where the moisture condenses to form water droplets, or in other conditions ice particles. This forms the clouds.
The most common forms of clouds are classified in Latin
Cumulus meaning heap
Stratus meaning layer
Cirrus meaning curl of hair and
Nimbus meaning rain.
Further classification denotes the height of the clouds above the surface of the earth. The prefix cirr- denotes high level and alto- mid level.
Let us look at the different cloud shapes and how to paint them.
Cirrus
Cirrus clouds occur in fine weather. They are high up and thin and wispy. By the time you reach the horizon you cannot see them at all.
Pain the sky with a graduated wash of ultramarine blue. Using a dry brush gently remove some of the wet paint. This technique is called 'Lifting off', being the removal of wet paint, as opposed to lifting out which was removing dry paint which we covered in lesson 2.
Altocumulus
These appear on warm and humid summer mornings and often indicate the possibility of thunderstorms later in the day. They are found at the mid levels of the sky appearing as parallel bands or rounded masses. Because they are at a middle level we can see them more clearly and they will appear to travel closer to the horizon.
Again with a graduated wash of Ultramarine blue lift out the clouds with cotton buds. The shape of the buds help with the rounded shape.
Nimbostratus
Or rain layer, dark low level clouds and it will be raining. Being low level these clouds can be taken right down to the horizon. But remember to keep the perspective making them smaller and narrower with less tone as you get into the distance.
This technique is called 'Wet in Wet' and is used frequently in watercolours. To be successful it needs to be wet into wetter. So make a strong grey mix of ultramarine blue and light red. We are going to drop the paint onto wet paper where the water will further dilute the paint, this is why we need the colour to be strong.
Paint the sky area with clean water, hold it to the light so you can see it glisten. When the shine begins to disappear it is time to add the paint. Start at the top dropping in a wide band, add successive bands each time making them a little narrower and diluting the paint a little as you go.
Wet in wet is the most exciting of the techniques and the most difficult to master. The strength and properties of the paint, the wetness of the paper, the general temperature and humidity conditions will give different drying conditions. No artist; even professional, can paint a wet in wet area exactly the same a second time. Experience will allow you to get some idea of what will happen but you will never be completely in control.
Cumulus
Cumulus clouds are the low level white cotton like clouds with flat bases floating in a fair weather sky. They form and disappear within 30 minutes. The younger clouds have defined edges, but as they age their edges become softer and more diffused.
Whilst the sky wash is still wet use a crumpled tissue to blot off the paint. Keep variety by re-crumpling the tissue to change the shapes of the clouds. This technique is called 'blotting out'.
For the softer edges of the older clouds after blotting out use a clean wet brush to soften the edges.
Stratocumulus
Are low level wispy rounded masses, dark to light grey in colour often with clear sky between them.
Quickly blot out the clouds and drop in a little grey to the bases, if the grey forms an unwanted hard edge soften with a dampened brush.
Cumulonimbus
Much larger than the fair weather cumulus clouds, these clouds can tower for thousands of feet. They can be really dark in colour when rain is imminent. They can appear as individuals or form lines along a weather front.
They can be depicted by blotting out and dropping in grey and softening edges as before. Or as in this example the ultramarine and grey was dropped in wet in wet.
Always when painting skies remember to keep the perspective. Reducing size tone and detail as you travel to the horizon.
Note how when things are above us the vanishing points are below the object. If depicting lots of clouds of similar size you can be directed by the lesson in perspective using the same principles as we used to show a number of boats on the sea, remembering to keep the vanishing point low.
Let us now create a picture with a big dramatic sky using some of these techniques.
Afternoon thunderstorms broke to reveal this amazing sunset. Not all skies are blue in this case a wonderful orange backdrop.
Colours
New Gamboge
Cadmium Red Deep
French Ultramarine
Brushes
Flat Goats Hair
Number 10 round
Step 1
As you can see when using the wet in wet technique we must work quickly. Ensure that you have everything to hand before you begin. Start by mixing a thin wash of new gamboge with just a tiny amount of cadmium red, a Medium wash of cadmium red and a stronger wash of ultramarine again with just a hint of cadmium red. The use of cadmium red keeps the mood warm and sultry, but as it is considered an opaque colour and given it's strength only a little should be used to keep the washes translucent.
Flat wash the whole page with the new gamboge/cadmium red mix, straight away whilst it is still very wet drop in the cadmium red, this way the red will spread far and wide diluting it further. Use a crumpled tissue to blot off the highlights in the red clouds. As the sheen goes off the wet base wash drop in the darker clouds with the ultramarine/red mix again blot off the highlights and soften unwanted sharp edges with a damp brush.
Step 2
At sunset we see the landscape as dark silhouettes, so mix a black using all three colours, begin with the yellow adding the blue and just tiny amounts of the red until you reach a satisfactory colour.
Using the tip of the number ten brush loosely suggest the silhouetted horizon.
Copyright Jane Grainger 2004
