Contents Introduction Understanding Skies Materials Skies in Watercolour Skies on Location Skies in Other Media Design in Skies Using Your Camera Special Effects Photographs as a Source Reach for a Sky Completing the Picture Examples from the Experts Index 22 26 AL 49 33 67 72 WW 118 128Introduction You may be asking yourself why I'm attempting a book exclusively about skies. You may even think that this is getting too specialized. However, having written several general books on water~ colour, I've come back time and time again to the realization that skies dictate the whole mood and feeling of a painting. Yet this aspect of painting remains one of the most neglected and while much time and concentration are spent on things such as trees, buildings and rivers, the sky often remains merely an afterthought. Let's take a moment or two to imagine a quiet estuary drenched in sunshine which blazes down from a clear blue sky — just feel the warmth! Now transform the scene. Perhaps there's a storm approaching, and the warm blue gives way to dark, cool grey, which is matched by the water below. Although all the component parts of the scene are exactly the same, the whole atmosphere has changed and the mood is completely different. Why, then, when it is obviously so important, is the sky treated in such a cavalier fashion? It seems to me that one of the main reasons is fear, caused by a lack of knowledge. As a teacher, Tam often amazed how little basic knowledge students have about the sky above them. Even such funda- mentals as the fact that white cumulus clouds are like pieces of cotton wool under a spotlight, with a shadow beneath them, have to be explained. The feeling of peace and space in this composition is enhaneed by the mixture of warm and cool colours throughout the painting. A sense of unity is provided by the reflection in the water of the warm patch of sky above, and by the grey of the clouds being repeated in the trees on the distant horizon. ‘The eye is directed, by the main sweep of clouds, to the dark group of trees and their reflection on the left. The greatest warmth has been reserved for the foreground shore, giving perspective and depth to the sINTRODUCTIONINTRODUCTION Also, that these clouds are large in the foreground and become smaller as they recede towards the horizon. One would think that people never raise their eyes heavenwards or glance out of a window! This leads me to another important point. Always remember that what we see as we look up or out does not have to be faithfully reproduced in every detail. Hopefully, what we see will act as a catalyst to inspire our own creativity as we attempt to capture the mood and feelings brought about by a particular sky. In the course of the book I've tried to cover ‘every aspect of painting skies (although I'm sure ‘you will always find others to tantalize and excite you). We'll look at some of the problem areas, such as how to make clouds look light and fluffy, or menacing and heavy, and how to gradate a clear blue sky, giving it interest and expression, T hope that you will become as enthralled by the subject of skies as I am. I truly believe that the sky, in any of its guises, provides one of the richest and most rewarding subjects, as well as the most inspirational. My first idea for a title for this book was Reach for a Sky, and this is what 1 want you to do whenever you feel in need of a little inspiration. The material isn’t meant to be copied ~ in fact, that’s impossible. Because of the speed at which you have to work, no two skies are ever going to be the same ~ that’s all part of the excitement. But the examples will hopefully boost your confidence and help your design. Successful skies are a combination of acquired skill, some courage and a little luck. It’s surpris- ing, though, how much your luck increases as your skills improve. ‘The sky colour here dominates, as it influences all other colours throughout the scene, especially the surfice of | the snow. The main object of interest is the gate. Not only is it the sole man-made object in the scene, but also the eye is directed towards it by the track, and by having the brightest colour behind it. The vertical trees serve several purposes: they lock sky and landscape together; the calligraphy emphasizes the softness of the sky; and the fir tree adds a rich quality to the scene. uUnderstanding Skies If you're really serious about depicting convincing skies, then you'll bear with me while I explain how skyscapes are formed. Without wishing to sound negative, I have to say that many painters seem to put on various colours in a random rather than a constructive way, hoping that the result will somehow be convincing. It usually isn’t! It's rather like an author attempting a novel without having rese knowledge will quickly become obvious to all. Basically, it's absolutely essential to know at least the various cloud formations and how they rched his subject: the gaps in his clouds are formed as a result of the exchange of moisture between the earth and its atmosphere, the rise and fall of barom with temperature changes, and the winds, which vary in speed and altitude as th into being, At the risk of stating the obvious, ric pressure, together move the air the land. Clouds appear, disappear and take their different shapes as these conditions vary. ‘The powers that be have classified cloud forms into ten major types, divided into three groups according to their altitude. The names are based on four simple Latin words: cirrus ringe or thread CUMULUS Heap STRATUS NIMBUS. Rain Layer Don't let any of this frighten you, but rather take heart. As an artist, what you are trying to do is to capture the atmosphere created by the This exciting evening sky by Doug Fontaine is the sort that takes your breath a ay and lasts only a few minutes. There is a strong feeling of movement in this inspirational photograph, 13UNDERSTANDING SKIES wonderful shapes, which alter constantly as you watch. You may say, as many of my students do, s impossible — it’s all happening too fast.’ But, like a fast-moving stream, the overall pattern is repeated again and again. You could find your early attempts a little depressing; they may be timid and lacking in conviction. Don't be put off, though. Persevere and your confidence will increase with practice. Remember, the illusion you're trying to create is of a vast dome of space against which clouds are constantly moving. Once you're over that initial fear, you will begin to really enjoy the excitement. Myself, I get more fun out of painting skies than anything else. In the next few pages I'll be showing you photographs of the various cloud types which will, I hope, make the whole business more under standable and interesting. Cirrus ‘These are the highest cloud types, forming at about 6,000-12,000 metres (20,000-40,000 feet). Made up of ice crystals, they create a wonderful variety of delicate textures, some of which you will know and recognize as ‘mare's tails’. They can appear at any angle and so offer far more in a compositional sense than any other cloud formation. Within the cirrus family there are two other formations, cirrocumulus and cirrostratus, both of which are illustrated here. ‘This example of cirrocumulus has formed into a light ‘mackerel’ sky, in a series of ripples, just as you find on fa sandy shore as the tide goes out. (F. Norton)This is an example of the sort of cirrus we most readily recognize. The ‘mare's tails’ are formed by strands trailing from a small hook or tuft. These clouds can probably be seen at their most beautiful as they Here we see cirrostratus throwing a thin veil over the entire sky, through which the sun can still be seen, the cloud forming a halo effect around it. (R. K. Pilsbery)Cumulus The highest clouds with cumulus in thei are known as altocumulus and altostratus. These form at about 2,000-3,500 metres (7,000-20,000 feet). The altocumulus can create very beautiful cloud shapes, while the altostratus are simply level layers of featureless grey. he lowest cloud formations contain strato- stratus, nimbostratus, cumulonimbus, all of which are formed up to 000 feet). manes cumulus, cumulus and 2,000 metres ( This photograph (opposite, above) was taken when the sun was low in the sky and the difference in colouring, shows two quite distinct layers. (C. $. Broomfield) Here we see (opposite, below) the altocumulus of a chaotie sky in several layers, ‘The lowest appears grey in the light of the setting sun. (C. 8. Broonyfield) UNDERSTANDING SKIES | This lovely Aberdeen sunset shows up the altocumulus in its lenticular form. You'll see it f the illustrations throughout this book. (R. K. Pilsbury) satured in many of The clouds here are reflecting the colours of evening sun, Because of the height of the sun, the clouds are lit from below, and the shadows, unlike in a daylight sky, are (C. 8. Broonyfeld) the tops of the clouds.