Five Minute Skies in Watercolor or Gouache | Amy Stewart | Skillshare

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Five Minute Skies in Watercolor or Gouache

teacher avatar Amy Stewart, Writer & artist

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (1h 14m)
    • 1. Introduction

    • 2. Project & Supplies

    • 3. Demonstrating Blues

    • 4. Watercolor Washes

    • 5. Practice Sky

    • 6. Blue Sky with Clouds

    • 7. Cloudy Sky

    • 8. Guanajuato Sunsets

    • 9. Desert Sunsets

    • 10. Final Thoughts

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About This Class

If you’re into urban sketching or travel sketching, you might have noticed that skies can be tricky to paint from life. The sky is constantly changing. Clouds are moving across the horizon, the sun is setting or rising—the colors are bright one minute and dark the next.

So for this class, we’ll use watercolor to do five-minute, wet-into-wet skies. The idea with these skies is to do them very quickly, onsite.  These are going to be loose and quite abstract. They might be inspired by what you see in front of you, but they’re not meant to be a perfect copy. After all, you have a camera for that.

This is a method you can use when you’re sitting on a terrace with your friends, having dinner on a rooftop, and you just want to capture the light and colors in the sky before the sun goes down. It’s perfect for travel sketching and urban sketching.

And then, once they’re dry, we’ll add some details from the landscape with ink or watercolor to help give a sense of scale and place.

And if you really only paint in gouache, you can do this class in gouache as well. Just water it down a little and pretend it’s watercolor! You can get a lot of these same effects.

Meet Your Teacher

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Amy Stewart

Writer & artist



Welcome! For the last twenty years, I've devoted my life to making art and writing books. It gives me great joy to share what I've learned with you. 

I love talking to writers and artists, and bonding over the creative process. I started teaching so that I can  inspire others to take the leap. 

I believe that drawing, painting, and writing are all teachable skills. Forget about talent--it doesn't exist, and you don't need it. With some quality instruction and lots of practice, any of us can make meaningful, honest, and unique art and literature.

I'm the New York Times bestselling author of over a dozen books. When I'm not writing or traveling on book tour, I'm painting and drawing in ink, watercolor, gouache, and oil. Come f... See full profile

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1. Introduction: Hi, I'm Amy Stewart. I'm a writer and an artist. Most of the art I make these days is in my sketchbook and I especially love to sketch on site from life. Now, when it comes to painting skies, this can get a little tricky because the sky is constantly changing. Clouds are moving across the horizon. The sun is setting or rising, so the colors are bright one minute and then they're gone the next. So my answer to this is to do really quick, loose, wet into wet watercolor skies. And these guys are very abstract. They might be inspired by what you see in front of you, but they're not meant to be a perfect copy. After all, you do have a camera for that. So what this is is it's a method you can use when you're sitting on a terrorist with your friends. Maybe you're having dinner on the rooftop and you've just want to capture the light and colors in the sky before the sun goes down. So these are five minutes skies. And then once they're dry, of course you could add some details from the landscape was a ink or watercolor, just to help give a sense of the scale and the place you're in. By the way, if you painting wash, You can do this class and washes. Well, you're just going to water it down a little and it'll behave like watercolor. You can get a lot of the same effects. So, okay, go and round up some of your favorite vacation pictures of sunsets or storm clouds. And let's get started. 2. Project & Supplies: I'm gonna give you my photos to work from in this class, but I hope you'll dig out some of your own pictures or just sit in front of a window and paint the sky you can see from wherever you are, it's really great to just do this from life. Whatever images you decide to use, I hope you'll post your paintings in the project area so I can see what you're working on. And of course, let me know if you have any questions as you go. Okay, now let's take a look at supplies in terms of paint. I'm going to give you a supply list and I'll tell you the colors that I'm using. But really any basic set you have will be fine. You can make, you can make whatever work for this class. In terms of paper, I'm going to recommend that you actually use real good watercolor paper for this class. And the reason is we're going to be putting a lot of water on the paper. And the higher-quality the paper, the better. So oftentimes when I'm taking a class, I'm tempted to use cheaper materials because it's like just a class. But I actually think to really try this out and learn it and get it, you should go ahead and use pretty good paper. So a watercolor block, I think is ideal. And the reason I like the block is, but it's glued down around the sides. So it's not going to work so much when you put a bunch of water on it. And I like to use hot press because it's smoother. But whether you use hot press or cold press is up to you. And if you don't have a block like this or you don't want to use something like that, you just need to make sure that it says water color on the paper. It really needs to be paper that's specifically for watercolor. This is a more inexpensive student grade pad, but I like these, I use them a lot. So something like that. Anyway, you're doubling a new paper. Any paints, I'm going to give you the list for paints. You'll need a pencil and an eraser just to kinda do a tiny little sketch of whatever's happening at ground level. But we're not actually going to be doing much drawing at all in this class. And then same thing for the landscape or skyline or rooftops or whatever at ground level, you could do that with paint if you want to. But if you wanted to be a little more mixed media about it, you could come in with markers, colored pencils, whatever you like to use. I'm going to be using this current talky brush pen. This, I bought this at a Japanese bookstore, but you can get them from art supply stores. And I also a lot of times used my Pentel pocket brush pen, so I'll put those in the supply list. That's a suggestion if you want to try him out. And then for brushes, ordinary synthetic brushes, probably whenever you have will be fine. You're gonna see me using a bigger soft brush like this just for brushing water on the paper. And then I am going to use these. These are Princeton select brushes and they're filbert. So they've got this rounded head and I think this is nice for sunset. You can get some nice round organic sort of cloud shapes. I happen to have a minute 106, but you don't have to be that precise, just you're going to need some brushes and that's really all we need. Let's get going. 3. Demonstrating Blues: I wanted to show you some options for sky colors. It's very much kind of a matter of personal preference. Really, artists tend to develop certain colors that they really like to have on their palate and that they just use in skies and it just becomes kind of a go-to color. So I want to show you a bunch of them that maybe this will help you pick out one that you like. But for this class I'm going to use some non granulating sky colors, and I want to show you what that means. So I'm going to demonstrate this. Now. I know it can be a little hard to see the finer details, especially when it's wet and it's a little bit shiny, but I will let this dry and it'll become really obvious to you. First I'm doing some granulating colors. Now let me explain what this means. With older pigments, the kind that are just mined from the earth that the old masters used and we still use today. Those pigments are bigger and heavier and they kinda clumped together and look grainy. And it's a beautiful look at watercolor. Artists loved this. In fact, it's one of the reasons why people use watercolors. So there's absolutely nothing wrong with granulating pigment. They separate out and you get this nice texture. And people really do use these and skies and, or are happy with them. So there's no reason not to use them. In this class. I am going to be specifically choosing some non granulating pigments because I liked the way they work in these wet into wet washes that we're going to be doing. So I'm going to show you, you're, you're able to see some of this separation happen as these colors are drying a little bit and it'll be even more obvious once they are completely, completely dry. But meanwhile, I'm now going to put down some non granulating pigment and you'll be able to see a little bit of a difference here. So indigo is a gorgeous color. You can imagine using this color for night skies. And this one into throne, I think is how you pronounce it, is a beautiful, beautiful, deep blue that is useful for a lot of things. So that's a really gorgeous one. And then this phthalo blue, red shade. So phthalo blue RS, that stands for phthalo blue, red shade, I think is a really nice sky color. And I can also see that as a nighttime sky color as well. And then phthalo turquoise. So I put turquoise colors down here at the end because skies tend to go a little green towards the horizon. Not quite this green. That's a little much but somewhat green. So anyway, we're going to let these dry. You are going to see variation in I'm for sure because that's, that's how I put it down. But I think you'll see how much more granulation there is in the top row. And while I'm waiting for it to dry, I also want to demonstrate for you a couple of grays. Now you can always mix a gray. You take some orange and some blue and start mixing and you're gonna get a pretty good gray out of that. And there's, there's a lot of different ways to mix grays artists have their kinda go-to methods, but graze just a little bit of everything on your palette basically. So there's a lot of different ways to get to a gray, but you might want to gray out of a tube. And since we are going to be doing clouds, we are going to be working with some grays. And of course, grays will separate because they tend to be mixtures of other colors. But I want to show you a couple of pretty grays that people love to have on their palate and that might I'm might sue you. One is Payne's gray. This is a gray that tends to lean a little bit blue and people love it. And this other one is shadow violet, which as you can see, goes a little bit reddish purple. And when it separates out, there's actually a little bit of green pigment in this. And when it separates out, you get these interesting greens that come out of it. So these colors have started to dry. And I hope that what you can see and again, I know it's a little bit tough to really visualize this on a, really see this on camera. But what I, oops, what I hope you can see is that you can get some very pretty clear washes with these non granulating blues. And with the granulating blues, you get this kind of grainy effect, which again is very pretty. You really see it in cobalt teal. I'm sure you can see the massive variety here compared to this kind of really smooth texture here. It's tougher to see on the indigo I'm gonna put down I'm gonna see if I can put down a lighter wash. And maybe you'll be able to see it a little bit more as it dries. But with all of these non granulating blues, you do get this very kind of clear. I keep not putting enough water, don't you keep getting this very, very kind of clear, pretty shear, very transparent color, which I think can be a nice effect in these wet into wet skies that I'm going to do. And as the grays are drying, you can see that there's quite a lot of variety that can happen within a gray. Whether you're using a shadow violet like this or a Payne's gray. You might also be mixing in some purples with clouds. So there's a lot of ways to go here. And again, you don't have to have a gray on your palate. But if you want one, these are just a couple options and just to show you how much variety there really is in these grays, okay, So you can take your pick for these classes, but I'm going to be working with these non granulating colors in my washes. And I encourage you to use whatever you have or whatever you like or whatever you're curious about. And let's get going. I realized that I really should have included moon glow with the grays because I know that's a popular gray for watercolor painters. So there's a little moon glow in the center so you can compare it with that Payne's gray and the shadow violet. 4. Watercolor Washes: What I want us to do is to practice doing a wash. And so this is whether you're using gouache or watercolor, exact same thing. You start out by putting down some clear clean water. Might be a good idea to have two jars of water going. One that stays clean, that you can dip into when you need clean water. And another one that you use to wash off your brush that can get they can get dirty. And so I'm just making sure that I've got enough water so the whole surface is shiny but not so much that there's puddles. And all we're gonna do is start at the top. And I'm going to use this end and thrown blue, which I think is so beautiful. I'm going to start at the top and just work my way down. And I love how, you know that this is, this is what this paint wants to do. It wants to move around because the surface is so wet. So if you're doing this with gouache, all you need to do is make sure that you water it down plenty before you put it on the paper. So your pretend you're treating it like it's watercolor basically. And as we get down towards the bottom, it's mostly water. And you can kind of come back in and you can work back and forth with it a little bit, but I would actually recommend don't touch it too much, let it, let it settle in and just see what it's going to do if you don't mess with it. I'm I'm, I'm wanting to just lighten it up towards the horizon to show you that you can pick up quite a bit of pigment once you've already put it down, but really just let it sink in and see what it looks like when you just allow it to do its thing. I mean, I think that's a very pretty sky. And don't overwork it and keep it really simple and really quick. And so the next one we're going to do the same thing. Only with this one. I'm going to work in a little bit of turquoise towards the horizon because sometimes, especially maybe if you're in the Caribbean on a, on a really beautiful golden summer day, there's a little bit more yellow towards the horizon, and as a result, the light can push a tiny bit towards green. So you get this sort of turquoise or teal effect. So once again, put down some clean water. This time, I'll use just to show you a different color, I'll use failover, phthalo blue, red shade. But use whatever you have, doesn't have to be any particular blue for this exercise. My paper, I was already drying a little bit. This is one of those things when you're out and about doing this in the world, sometimes you're going to be in kind of a dry climate or it's a hot day and you really got to work fast because your paper really will dry very quickly. So now I'm going to dip into some turquoise and I'm going to mix it a little bit with that phthalo so that it's not pure turquoise. But already do you see how different this is as it gets down towards the horizon? Just letting this other color come in. It's really beautiful and it is something that you see. So when you start, once you start doing this, you're always going to be looking at skies and going What color would I use here and what kind of transitions do I see in the color? So again, I would say, don't overwork it, just let it do its thing. And if you get some like there's kind of an obvious I'm saying don't overwork it and then I'm immediately going in and working on it a little bit more. There's kind of an obvious transition there and I wanted to sort of smooth that out a little bit. You can come in with more water and rework areas. You can lift up pigment with a dry brush, make it a little lighter. Okay. But but do as I say, not as I do and don't mess with it too much. All right. And so for this last one, this is going to be more like what you would see with a sunset. So what we're gonna do this time is same deal, clean, clear water. We're going to put the water down and then we're going to start at the top with a blue, but then at the bottom it's going to be a really deep orange and I'm going to use new gamboge. You could also use quinacridone, gold, Indian gold, any type of a gold, yellowish orange if you don't have that exact thing, than either just use regular yellow or yellow with a tiny but it warned to mixed into it. And the trick here is going to be to have the meet in the middle in such a way that they do not go to green. You might be thinking to yourself like, why don't we see green in the sky and believe it or not, I had to look it up. But the reason is that the blue wavelength is really pretty dominant in it, it, it, it's very active. And so it tends to crowd out other wavelengths of light, but there's not as much green and you do actually see a tiny little bit of green in the sky, or a turquoise, a very light turquoise color. But if you really start looking at skies or even just pictures of skies, go through your vacation pictures and whatever, and look at sunsets and what you'll see. And hopefully this is what it is just about to happen here. I'm going to clean off my brush. I'm gonna come in with just a wet brush. I'm going to bring these together. But what you really see is just that it's lighter right here. It's not so much green as it just gets it just gets a lot lighter in the sky right there where the two meet. So this is something that we can paint a sunset on top of if we're doing wash. Now with watercolor, it would be harder to come in and drops. Light pink clouds, for instance, up here because watercolors transparent and so light pink would just turn to sort of a weird purple color if you put it on top. But we can do this with gouache. And if you're painting in watercolor, mixing a little bit of white gouache in with your colors would allow you to paint on a skylight this so stick with me. Watercolor artists were going to try a couple of different approaches to our skies. But the first thing I want you to do is practice this. Do a bunch of them. It would be great if you would do like ten of them. And really get familiar with how your paints, your colors, your paper, how the whole thing works for you. If you're just doing a clear blue sky like this, I'm at sunset or at dawn where you've got yellowish orangey colors near the horizon. One like this, where you've got some kind of turquoise colors at the horizon, which is sort of a very pretty sunny day kind of thing. And one like this, which is just to share blue sky. And again, whatever blues you have used them, I just demonstrated a couple of different blues here so you could see some differences, but use what you've got and just get familiar with how it works and just know that it takes a lot of practice. And it's also helps to have really good paper. The better quality your paper, the more success you're going to have. But also don't obsess, you know, if your paper is not perfect, if you end up with some weird lines, like there's a little bit of a line here. So for that where you're gonna, you're gonna make the rest of your sketch. You're going to put a landscaping or whatever else is going to go down at the horizon. So don't get so hung up on perfection that you don't just get in there and do these things. Okay? Practice these, do a bunch of them if you want just to get comfortable with this idea of a wash and getting these beautiful shear transparent colors coming down in the sky. And then we'll, we'll work on making some, making some clouds. 5. Practice Sky: For our first watercolor sky, we're not going to use any reference image at all. Because I really want you to just practice. So I've taken a piece of watercolor paper that was just leftover from another project and taped it down here. You can use scraps of paper for this if you want. It's purely an experiment. And I'm using the same brush that I'd be using if I was out traveling, I'd like to have a bigger brush to do this wash of clear water, but I really wanted to do it the way I would do it if I was out and about. So I'm brushing on some clear water. I'm trying to make sure I've got it everywhere. And all we're gonna do is a sky with some white clouds in it. This is the very simplest version of this, and I'm going to use my fellow blue, red shade and I'm just going to start bringing it in. I'll start up at the top and let it be darker there. And I don't have a picture. So I'm not I'm not working for many thing here. And that's what I want you to do. I want you to just use your imagination and play around with what happens when you let the blue kind of move around on the paper but not go everywhere. And it's just a way of suggesting that there are clouds. And so as we move down towards what would be the horizon line or the landscape or whatever's below this, it might get a little bit lighter. The clouds also might get a little bit smaller towards the horizon line. So maybe I'll let there be some smaller ones. And that all happened very quick. And I'd be happy with this as a sky really I would. But what I'm gonna do while it's wet, while I can because I'm just going to pick up some pigment with my dry brush and just see what kind of changes I can make to these cloud-like shapes and how I can still influence what's happening on the paper. Even though I've kinda done the main work of that painting, I'm just sort of asking myself like, well, what would I like to have be a little different about this? And can I still make that happen? You go down to the bottom here. You can also bring in a little bit more water like my brushes, a little bit damp here. If I really wanted to push, this, could bring in a lot of water. And C, I'm gonna try lifting with my paper towel, see what I can lift up. Like C, I can lift up pretty well with my paper towel and get a cloud-like shape going. So this is this is a great exercise to do. I mean, it would be great to just do two or three pages worth of these are more, you know, don't stop at two or three, but just to fill some pages with these loose, cloud-like shapes and get yourself comfortable with this idea that like this is it, this can be my entire sky and it gives a sense that there are clouds in the sky. It's not overworked, It's very natural. You get these wonderful feathery cloud-like transitions. And that can just be it. So play around with those. But the next thing we're gonna do is we're going to try this kind of thing with an actual, an actual landscape and actual painting in it as well. And not just sky. 6. Blue Sky with Clouds: For this one, I'm going to sketch in this very minimal amount of landscape. And down, down along the horizon line, it's just a pencil line and then some little tree shapes. I don't even really need to sketch this in pencil. I could just sort of paint down to near the bottom of the page and then, and then come in on top of it and that those colors down and they'd go on top of the sky color just fine. But I'll go ahead and put that down there just to indicate where it is. And sometimes it is helpful to have a little reminder of that. And then I'm going to do my water glaze here. And as I'm doing this and as you're doing this, just notice with this sky first of all, how the blue sky is more intense up top and it gets lighter near the horizon. And then also notice that the clouds are really big right up above and they get smaller as they disappear off to the horizon. So those are two things that you can kind of play around with here. But otherwise, even though we have a reference photo, we're not trying to make a perfect copy. We're trying to do something quick and loose. This is a five-minute sky. So we just want this to be really quick and really fun and just convey a sense of the moment, a sense of the place where you are without overworking it. All right, so I've got a pretty good washed down. I'm going to do phthalo blue, red shade again. And I will be using a tiny bit of gray in these clouds as well. And I think I might just use that Payne's gray. So I'm starting with a more intense color as I'm working my way down, I'm letting it be a little lighter. You'll also notice that this phthalo blue does not perfectly matched the sky we're seeing here, the sky we're looking at right now, I would say is closer to like a civilian blue or maybe it just needs a little tiny bit of turquoise or teal mixed in with it. But definitely I'm not exactly matching the sky color and you know, really that's not the goal here. The goal is just to convey generally a sense, kinda where we are and what's going on. I'm letting the sky come right down over where these trees are. And I'm moving quickly. I'm seeing areas where I got a little too much of a line and I didn't get that soft, fuzzy edge that I like. So I dropped some more water in. Now I'm going to pick it up again to suggest more cloud shapes. I'm just coming in down here low near the horizon line and looking for opportunities to suggest more of these cloud shapes. And now I'm quickly going to dip into a little bit of Payne's gray shadow. Violet would be fine here. Moon glow would be fine here. Even a gray that you mix by taking the blue of your sky color and just working a little bit of, say, orange and maybe a bit of purple into it. There's all kinds of ways you can get at a sky color. But I'm just, again, these are all experiments. I never know how these are going to turn out because. You don't have a lot of control. And so that's, that's the fun part. But it is important to remember like, if this doesn't work exactly the way I thought it would, That's because by definition, I don't have a lot of control here. That's how it's supposed to be. So I'm noticing that the gray tends to happen along the bottom of these cloud shapes. And so that's where I'm trying to drop it in. If the if the white area is the Cloud, then underneath every white area is like the bottom of a cloud. And I'm just very loosely suggesting them. And looking for areas where I want it to be a little fuzzier. I just want a little bit more of a sense of that transition. I mean, already I'm pretty happy with this. Like I would just go with this as a sky and be perfectly happy with it. There are some things where there's a little bit of kind of like a water line right there that I kinda wish hadn't happened. But it just depends on how quickly your paper is drying and what's going on with the pigment on your paper? I sort of have this sense that I want to drop in just the tiniest little bit more blue here. Just a little sense of some blue sky peeking in under what would be a cloud-like area here and maybe just tiniest bit of gray. Yeah, I like that. Oh, I do like that. I'm glad I did that actually. There's something about that that feels very just organic and kinda realistic to me. So I'm just playing around with it while I can while it's still wet. And I know I have that opportunity. And so like this area is a little bit unfortunate, but I'm not going to agonize over it. I think once this whole thing dries, it's actually gonna look kinda cool. So as that's drying, I'm going to see what I can do with this landscape now. I want to be mindful of not letting any of the green from this landscape bleed in to my blue sky. So in a perfect world, I would stop right here and let it all dry. Maybe. Take a few pictures, eat my lunch, whatever's going on. Let that dry as it is. I'm going to just lift up a little bit of paint with my paper towel right at the horizon line. So I can have a little bit more confidence that I can start painting without without ruining my, without ruining my nice blue sky. So I'm going to just take some sap green and some Hansa yellow, so that I get a very bright chartreuse. He kind of color down here. Yeah, I really like that and I'm going to be careful for just a moment not to push it up into that little bit of blue sky that's still drawing just the tiniest bit. And now I'm going to get a smaller brush. And I'm going to take some sap, oops, some sap green. But this right here, so you can see, does not have to be off-camera. I'm going to mix some sap green. And I also have some Prussian blue over here, which will just darken it. You could also use this is Daniel Smith neutral tent, which is it's a black. It put it makes everything darker without changing the color temperature too much so it doesn't push it too much towards blue or red. Okay, so the last thing I wanna do is that I want to get in these the little trees, but now this is pretty wet, so I need to make sure that that has an opportunity to dry as well. This is all about kind of managing your time, managing the drying time. So I'm coming in here. I'm aware that I don't wanna get too close to that. To that green there it goes. It's bleeding in a little bit and it's not the worst thing in the world if they merge together a little. In fact, I'm going to, now that I'm kind of feeling like I'm done with this painting and I want to move on now. I'm going to take my brush and let a little bit of blending happen. I'm just pushing it in as if there's maybe some grass under the trees or whatever. If you wanted something that was more polished and perfect and it didn't have any colors running into one another. You just wait a little bit. I mean, I'm doing this as a very quick timed kind of thing, so I don't have the luxury of letting one part dry before I do another part. But I actually like the way this looks. I think this is a very sweet little picture. And if you're just sort of sitting and admiring the scenery while you're at a picnic or something like this is a great thing to have. And so I would call this finished at this point. And that's our very quick wet into wet white clouds with a little bit of gray underneath them. 7. Cloudy Sky: Now we're going to move right on and do another one of these. But this time instead of a blue sky, It's going to be a gray sky. And a little bit more of a landscape happening here. This is the view from my window actually important. So I'm going to just kind of sketch in this one building. You don't have to really do all of this at the horizon level if you don't want to, if you're not interested in, in dealing with all these buildings and all this stuff in the foreground, then you can just make a little line of mountains and call that good. I'm just going to, this is just kinda for demonstration purposes, like here's how I would handle a scene like this. There's something in the foreground that's got a big gray piece of plastic over it. And I'm just going to ignore that. I'm also not being too careful about putting the buildings in exactly the place where I see him. I'm just suggesting some buildings. So this just tells me where the paint is going to go. That's all I really care about at this moment. And I'm gonna do something very loose at ground level when I get to that. So I'm going to start with the same clear wash of water. I'm going to be using a lot of Payne's gray, but also some blue, maybe a little purple and some yellow. I'm going to look really closely at this image and see if you see some almost yellowish brownish tones and some of these storm clouds. It always, you know, I mean, every, every set of storm clouds is going to be different. So you never know what you're going to, you're going to find when you start doing this. But that's something that I think is interesting about this one. I think I might also use a little bit of shadow violet. The only reason I'm using different colors of gray here is really just show you how they work so you can see him in action if you're trying to decide whether you want to get one or not, what you think might work best for you. So I'll just start with Payne's gray and there's this big dark cloud shape in the middle of the sky. So let me get that in first. I always like to start with the dominant color are the biggest, most dominant shapes and then kinda work my way down to the smaller colors. That is very dramatic. And as it moves up, now I'm going to just try this shadow violet as well. And part of this is that it is a little bit of a browner of browsers, the right word. But anyway, it's a little bit more of a brown color. So that way you can see what that looks like. But I'm going to just try this. And this isn't really an experiment. You guys, you're just watching me in real-time kind of reacting to what I'm seeing and playing around. I'm dropping a little yellow ocher in here because I feel like I see kind of a yellow color in there as well. And then this is really just almost like dirty water at this point. I'm just I'm just letting some water off my brush and water out of my letter out of my jar, just come up there. I think while this is wet, I'm going to drop in a little bit more Payne's gray right there. And then as we come down towards the horizon, it seems to me that it gets a little more blue. So I'm going to grab a little blue off my palette for these clouds and being a little mindful of that building B and right there, but honestly, it's not the end of the world. If I don't get that exact. I think it communicates that we're looking out over, you know, part of a city. It's good enough. So a little bit more bluish towards the horizon. That's just kinda what I see. And I also get this, again, just a little sense of maybe some yellowish tone. So it's the tiniest bit of yellow ocher that I'm dropping in here. I'm a raw sienna type of color could also work here. Or maybe you're not saying that. You just want to go with them. Kind of a super super light gray mix. All right. I've managed to put something down everywhere. I'm just going to kind of look at it and see if there's anything I want to lift up. I think I can make it a little bit lighter towards the horizon. I can see that on the far horizon where those ridge of mountains are is sort of the lightest area. So maybe I'll pick that up a little bit. You know, I wouldn't mind bringing some more gray tones up top if I can do it without just completely, at a certain point, you just get so much water on the paper that it just gets to be ridiculous and nothing wants to stay put. And you can kinda, kinda regret making that sort of mess for yourself. But anyway, I don't know, I think I'm going to leave that and I think I'm going to there are some areas that are lighter and I like that. So I'm just going to see about maybe picking up and just having some variety in the shape. Now, you can see a lot of interesting granulation coming out of this Payne's gray. So you do get a grainy, interesting, weird texture here and I like it. I'm just going to keep messing with it for a second because I can the paper's not dry. This will once again depend a lot on where you are and what your climate is like in the room you're sitting in or when you're working outdoors. Boys can make such a difference between doing this on a on a rainy day in Portland versus a dry sunny day. And I don't know in Italy for instance. So that can make a real difference. Well, I love this. I think there's a lot of variety. I have this puddle sitting here and I'm just going to let it sit there for a minute because it is kind of a nice little dark dramatic touch. That's not exactly where I see that kinda dark dramatic color in my drawing or in my photograph, but I don't care, That's not important. So now I'm going to take a smaller brush and really just kind of barely suggest. I'll put this on top of my other painting. You guys can see it and if I drip a little pain on the other painting, there'll be all right. So I might just come in here and just suggest these other buildings and kind of ordinary building colors. Those are a little too similar. I'm using transparent red oxide on these buildings. I'll use some Naples yellow on this one. Try to keep them a little bit of parts. They don't run together too much. And some of these buildings are white, but rather than just leave it with the white of the paper, I'll take the tiniest amount of gray if I didn't. Just again, this is almost like just using dirty water out of your jars kind of thing. Like just the tiniest little bit. Yeah. Like that. So really it's a white building, but I'm dropping in just a little bit of gray. And again, I'm not trying to match the scene exactly in front of me. I've I've just sort of suggested a few buildings here. So I'm just seeing what I can get. And these two are running together and that's okay with me. One's a little darker than the other. That's pretty much it. Like that's what I'm gonna do for buildings. I had those four buildings and that's how they look. I might come back and add some more details in just a minute, but let's get, this is, I've got some Prussian blue here because those mountains off in the distance are very blue. And I do want to make sure that things are dry. We'll take a little sap green mix it in. So this is another case where if I, if I if I had a minute to wait, I would wait and let these buildings dry completely and let the sky dry completely before I tried to add this little bit of landscape, but I'm gonna go ahead and live dangerously. I think it's close enough. So I really want to push how blue this is. This isn't quite, I don't think it's quite blue enough for me, so I'm really going to push it, especially on a gray day. This is really going to look sort of sort of blue gray off in the distance. See if I can get this without running into the buildings too much. It looks like it's going to be okay. I'm not trying to differentiate between values too much here. They're not really going for a lot of variety. This is definitely a painting that's all about this beautiful sky. I'm going, it does not have to be so much about what's happening off in the distance here. I'll also say if you're really into if you live in the Pacific Northwest or any place where there's a lot of conifers, there's a color called cascade green that Daniel Smith makes. That's a wonderful blue. Green for those sort of like conifers off in the distance, sort of colors. Now I'm just going to take some sap green. I'm letting it mix a little bit with this transparent red oxide. And I'm going to use this for the trees that are in the foreground. I will, I will add a little bit of variety in here and just a sec. Just, I'm just trying to get something down. Not keeping an eye on my timer. This may well end up being more than a five-minute exercise, but, you know, I am, I am dropping in some more detail in the foreground. So that explains part of that. Get a little bit of darker color here and there just to, just to give a sense of variety without really trying to overwork it or do too much. And then this building, such a, such a crazy color, you know, it's, it's reflecting what's around it. It's actually kind of almost like a rose gold sort of color really. But it's reflecting the sky. Minute, take some Naples, yellow. And this is another one of those situations where you almost don't have to worry too much about copying exactly what you see. I'm going to lighten it up a little bit with my paper towel, which is something I do a lot with Naples yellow actually, I'll put it down and then I'll pick some of it up and you get kind of a beautiful translucent effect when you do that. And then I'll take it. And there's this way in which it's kind of darker on the bottom half. So I've got some, I don't know, yellow ocher mixed with Naples, yellow, just sort of playing around with this. See if this works. See if this speaks to me. And then it is just plain yellow up top, but rather than just leave it, I'm going to take the tiniest bit. Oops, that's too much. Just a little tiny bit just to show that something's going on and let those kind of run together to communicate the sense of a reflection. But also just because everything else is so kind of wet and watery. There we go. Now if I really wanted to add just a couple more details to make these buildings feel like buildings. I would just dip into either a gray like Payne's gray. That would be a fine thing to do. I'm just going to use this Daniel Smith neutral tint because I have it right in front of me. And I'm just going to, you know, I'm just going to suggest some little windows. I don't have to get too obsessed with counting. Windows are looking too much at what I see. That's pretty dark. Well, just kinda dropping those ON. Think I'll try a little bit of transparent red for the windows over here. Windows don't all have to be black. And then maybe just kind of a black gray thing here, just different patterns. If you feel like you've kinda overdone it a little bit, you can pick it up like I think this black is just a little too bold. I can pick it up a little bit. I can even probably pick up some of this if I'm just gentle and careful with a dry brush, I'm wiping my brush off in between each of these with a paper towel. Anyway. So there it is. I love this. I think this is a really great example of a good, a good quick take on a very dramatic sky where the, everything that's happening at ground level is kind of just the supporting cast. I'm trying to clean up this edge a little bit by just coming in with a little bit of water, little bit of a wet brush that minimizes it some, I could come in with a white paint pen and really sharpen that up. But I want this to be all watery and just kind of moving around. So there's our cloudy sky and our blue sky with just a hint of gray, super-quick, wet into wet. Just kind of capturing the moment in front of you. 8. Guanajuato Sunsets: We're gonna do a sunset here from a rooftop. This is my friend's rooftop in 10 Watteau, Mexico. And I love sitting up there on the roof and watch the sun go down and talking in painting while I talk. So, so this is something again, remember like we're doing this as the sun goes down, so it's going to be really quick and really unpredictable. I've just very loosely sketched in the little domes along the bottom. And now I'm doing my water wash and making sure it's pretty even pretty well covered. I'm like I've said a lot depends on the weather, how dry it is or how damp it is, how much of that you're going to really need to think about. And of course I'm going right over the buildings because I'm going to be covering that up with ink. So I'm just looking for maybe some bright Hansa yellow can go in here also some Naples yellow, which is more of a kind of a creamy, kind of a creamy yellow. And then pyrrole orange or whatever orange you have. That's what I'm using. And I'm dropping it in. You can see how it kinda blooms on the paper and moves around a little bit, which is exactly what I want. And then some quinacridone rose or permanent rose, something was some pink to it, bringing in some of those pink colors and and laying them down let knowing that they're going to move around, knowing that they're going to be a little unpredictable. And this is quite a lot of water going down on this paper, as I'm sure you can see, this is new gamboge bringing that in, maybe around some of the orange places where I see the transition happening between yellow and orange. And of course the sky is going to be changing even as I'm doing this. So you really are kind of going quickly, but also sort of working from imagination in some ways. So I'm gonna do this one with cobalt blue. I'm going to come in with, with cobalt and a little bit of phthalo turquoise and start dropping this in. Now, I know that this is going to blend a little bit with my sunset colors. I'm putting them close to one another, but I'm not kind of forcing them to touch like they're going to run into each other a little bit anyway, but the paper has started to dry just a tad so that as I drop this down, it still has that soft fluid feel to it. There's no hard edges to my brushstrokes. They're kind of feathering out on the paper because it's still wet. But the colors are not drastically running into one another at this point. So that's good. That's like that's about the stage I want this to be in. And I really did get a lot, a lot of water down on this this paper. It's really kind of even peddling here just a bit. So I might come back in and just pick a little of it up for one reason to help it dry quicker and for another reason to keep there from being kind of any really unsightly cut a weird marks where the water pools too much and then dries those kinda strange water title marks that you can get. So I'm just going to pick up a little bit and see now I'm done. So the sunset can do whatever the sunset wants to do at this point because I've, I've captured the sky as much as I'm going to capture it. So I can be sort of noodling away at this while the, while, the sense that it's really changing before my eyes and it's okay. I've I've, I've caught the moment as much as I'm going to be able to catch it. And now I'm just playing with it a little bit as it dries. I don't like to do too much of this by the way, because often your first pass is going to be the best one. And if you mess with it, you're going to sort of sort of kill the life in it. So we'll just let that be what it is while it's drying. I'm gonna do a second attempt at this just to show you that every time you do this, it's going to be a little different. And that's kinda what's cool about it. So I will do a second one. But now that this is dry, I'm going to come in and I'm going to go ahead and get these buildings. And so when you're thinking about doing this on site, when you're thinking about doing this in your travel sketchbook or just, you know, I mean, maybe you have a beautiful rooftop view like this at home and you want to start capturing the sunset at home. You can save the building for last whatever little details you went down here to show that we're on a rooftop because obviously you can do those as the sun is going down and you're having your dinner drink and your drinks whenever you're doing and talking with your friends, you can sort of noodle away at this. And I'm just using complete black. I'm just assuming that this is totally silhouetted against the sky exactly the way it is in that photograph that we're working from in real life, you'll probably be able to see more details. I mean, in part it's the camera that's distorting things a little bit and making that totally black, but that's all right. Go ahead. Make these shapes, make it real simple. I'm using my ink brush here and just really filling in. So I'm just kind of paying attention to the edges of things to try to make it as realistic as possible without wanting to get too hung up in the details. But I, there's absolutely no detail in the foreground. I'm just thinking this in as like inky black shapes. You could, by the way, also do this with watercolors. So if you have a black or a dark gray or, or if you want to mix one on your palate, you know, you can take something like ultra marine and maybe an alizarin or at real dark crimson color. And maybe something like burnt sienna and mix those together and get a real interesting dark that's almost black and you can certainly come in and do that. Once the paper is totally dry, you can do another layer of watercolor on top that is, That's going to be real sharp like this. If you've got a small brush and you can get in and do those details. Feel free. I sort of light coming in with ink. I mean, I like the mixed media in the sense of these different art materials all coming together. So I sort of enjoy that. And I also like letting little bits of the white paper show through as well. So you don't have to be perfect with it. And now I'm going to just do, I love these little tiny details like little antennas on the roof and the spires on the domes here. So I'm doing some of this with my just the very fine tip of this brush pen. And that's one of the reasons I like these brush pens is that you can actually get in here and get. Tiny little fine details. And you know, and really get something that feels pretty accurate and pretty true to, true to life that way. So that's, that's the real advantage of the brush pen. They're wonderful, but you can also come in with a little pen like this is a micron pen and I'm using a real fine 0.1 here. Just to get I know it's hard to see I'm drawing and I'm kinda covering up what I'm drawing. But, you know, I'm just getting in the, the antenna. And a few of the other little fine details that I think kind of make this really bring it to life. So, you know, go in and fill in as much of that as you want. You can definitely add a few little birds in the sky. I didn't do that this time, but very often I will. I'm just sort of keep an eye on what's going on in the sky. And if there's birds flying around, I'll just make a couple of real simple little dark marks just to suggest one or 21 or two birds up there. So I'm just going to kind of a few more little details in these antennas and so forth. And and that's going to pretty much be it for this one. So to me, this is like a really satisfying kind of drawing to have that captures a moment that something you'll remember when you get home from that trip or remember that evening with your friends out on the rooftop. It's easy to do and pretty simple, but it looks pretty great. It's a pretty cool thing to just have in a sketchbook. This kind of, this kind of moment in time. So I think this is pretty much come together. I might come back in and just straighten a couple of things out. My buildings tend to Always lean a little bit, but, but this looks pretty good. So let's move on to the next one. I want to do the same scene, so I'm gonna do this a second time. And they really are different every time you do on because this process is so hard to control. So once again, I've drawn just the very basic shapes below, just so I have a general idea of where they go. And once I get that in, just doing a water glaze and making sure that I've covered the paper with water very evenly. So not so much water that it's pedaling, but not so little water that I've kinda skipped any areas. So that's always the trick with this is getting a, getting a nice even coat for a water wash and of course, making sure that your water's very, very clean. So all right. I'm going to come in. I've got new gamboge, a little bit of Hansa yellow, but new gamboge on my brush. And so I'm going to drop that in, don't buy the horizon. And then Naples yellow is this kind of, It's kinda of a creamy or color. I think it has this nice sort of peachy, almost peachy vibe to it. So I use that a lot. And then I'll get my lovely pyrrole orange, which is so nice because it's so clear. There's a very clear, non granulating color that I think just reminds me of skies. It has the clarity of the sky and moves really nicely across the paper. And then I'm getting back into my Quinacridone Rose. And you know already the shapes are a little different. I mean, I'm working from the same photograph here, but I'm just sort of Interpreting what I see and you can do that in different ways. Little bit of new gamboge around the edge of that cloud there. There's almost no wrong way you can do these. I mean, they, they all end up being kind of beautiful in their own way. May be a little bit more color down by the horizon here. I can't take too long with this because remember, I've got to get that blue end and the paper's wet. I don't want to have to re-wet the paper because you can end up with some kind of weird marks from the water if you do too much of that. Now I'm going to use indigo for the sky this time just so you can see a different blue. And this indigo is a really beautiful deep color that's a non granulating, a non granulating kind of blue. You can see how much that looks like dark night sky like almost like it's a little darker at this point. And here again, I'm trying to lay it in next to that color, but not force it to touch the color next to it. I've mixed in a little bit of phthalo turquoise and I can see already that the papers kinda drying so I'm losing that nice feathery edge I like. So I'm coming in with a wetter mixture because I really want to encourage that, that loose sense where you don't, you don't really have a sense of where the brush put the paint down is moving across the paper all by itself. It's getting lighter towards the horizon. So I'm really trying to control it and make sure that i'm I'm using less pigment and there's a little more turquoise. So I'm lightening it up. So it's like this deep blue at the top and more of this lighter turquoise color as I go down. And again, I can pick up a little bit. I mean, as i'm I'm I'm almost regretting it as I'm doing it. Like you can come in and mess around with it a tiny bit and sort of add some finishing touches. But in some ways, I really just want to let it be what it's going to be, right? That's the whole spirit of this project is that you're gonna do it quickly and you're going to let it be what it is. And that's the that's the intent. That's really the whole look of it. So I'm just I'm lightening it up a little bit towards the horizon. I'm looking at the transition around these clouds just a bit. But don't overwork it. Don't don't don't mess around with it too much. Try to, try to let it kinda be what it's going to be. If there's any puddles of water, this would be a good time to pick those up because they'll take forever to dry. And if you're, if you're just sitting outside with your sketch book, but probably roll all over the paper and you'll, and you run colors running into one another. You risk colors running into one another that you maybe wish hadn't. So anyway, just kind of playing around with this while I still can while it's still wet enough to allow me to do that. But now that that's done and once it's dry, I can go ahead and do the same thing. I'm going to, I'm going to bring in the foreground and just start to, just start to ink this in. And it's the exact same picture. So it's the exact same for county. You've got to know how this goes at this point. But what I want to point out while I'm, while I'm kinda working away at this and hopefully while you're working away at it also, I hope you've done both of these along with me, is that you can see that these guys ended up kinda different. You can see how they lighten as you go. So be mindful of that. There might be areas that seemed too dark to you at first, but this is watercolor and colors are going to get lighter. And maybe you want them a little bit darker. And then picture we're working from, it's still a pretty bright sky. It's, it's quite, it's quite a light colored sky, but you can exaggerate the darkness of the sky, especially up near the top of the picture. There's no reason why you can't do that. And the more of these you do, the more you experiment with this technique, the more comfortable you'll get with kind of, you know, putting some colors down, letting them be what they want to be, thinking about, what you want to control, but also what you don't want to control and how you want to just let it, let it kind of stand on its own. So, and then also the idea that you can paint all the way down into your foreground, all the way down into the landscape. Because when you're doing a sunset like this, it's almost always the case that the, that the land or whatever is at ground level, in this case the rooftops, that they're going to be pretty dark because it's sunset and that's generally how it works. So it's a pretty safe bet that you can let your sky color get all the way down into whatever pencil drawing you've done and then come in right over it, right on top of it. Whether you're doing that with a Inc. or gosh, I mean even colored pencil or paint markers. Or if you wanna do your foreground in watercolor. My, my one piece of advice when you're, when you're thinking about doing watercolor in the foreground is you do want to make sure that the paper is completely, completely dry. So not only if you hold it up to the light, you don't want to see any reflection, but also touch it and make sure it's not cool to the touch. Because if it's still cool to the touch, it's not really, really dry yet. So be sure you give it enough time, especially if you're trying to come in with these kind of real precise details like I'm doing here. You want those sharp edges and it's that contrast that really makes this so great. And you know, I'm spending a lot of time on this little drawing. I didn't just draw a couple of domes and call it done. I'm really getting in there with all these antennas and all this fine little detail that I can do. I can do with it and ink brush or that I can do with a little fine pen. And part of the reason is, you know, the sky is really loose and really imaginative. And I love the contrast between that and kind of a more detailed foreground. And I think it makes it very believable. I mean, even though the sky is so abstract that I think, I think these guys are kinda like a tie-dye t-shirt in a way. So even though they're super abstract and you're obviously not trying for realism by focusing a little on some of these nice fine details foreground on this rooftop. It gives it more of a grounds at more in realism. And I think it somehow makes us guys a little more believable as skies. So that's really all there is to do here. And this is the kind of thing if I were out doing this for real, sitting on my friend's rooftop and in 10, 12, you I'd be sort of taken my time at this point like I would have done the main thing I wanted to do, which is my crazy sunset. And now I can be enjoying my drinks and talking with my friends. And it's kinda just noodling away at this as I have time. And I end up with this great little sunset to remember the evening, Bye. 9. Desert Sunsets: Here's a beautiful desert sunset and the, the horizon line is down very low and there's not a lot of detail to see, but I just did a very light pencil sketch just to indicate roughly where it is, but that's really all I need to do here. And now I'm going to put in my water glaze. Being, I'm using kind of a big brush here. I might not always have a brush this big when I'm traveling, but since I have one as well, use it. A nice big soft brush is a great way to just get this down quickly and make sure you've got pretty even coverage and enough water so it'll stay dam for a minute, but not so much that it's really going to pedal on the page. And I'm going to start down here at the horizon line where I see some bright yellow. And I'm using new gamboge. I'm using a little Hansa, yellow quinacridone. Gold would also be great here. And then I'll come in and start to bring in this orange. I'm using my pyrrole orange, but I'm letting it mix a little bit with some quinacridone rose so that it goes pretty quickly to pink because I think there's quite a lot of pink in this particular sunset. So I'm dropping some of this in trying to make this a little bit more intense. It's not quite as not quite as intense of a color is I'd wanted my papers already drying, so I'm actually having to bring in more water because my paper is drying so quickly to this time. And this again is really just going to depend on like, where are you in the world. But, but I definitely want to try to work quickly and avoid having to add more water because you can end up with really a lot of petals on the page, which is what's happening here. And I decided to go ahead and just keep going with this one because this is something that's going to happen to you. So I want you to really see what this is like. I'm bringing in some purple here. So you see a lot of this purple in the clouds and they're in the upper part of the clouds. You notice this time. So I'm just dropping that in and it's pretty much I'm not really mixing it. So that's pretty much I'm just letting that straight purple color come on to then come onto the paper there. I have to pick up a little bit of water. It's definitely getting out of control. There is way too much water down and my papers already dried sum, so I am kinda rewetting the paper, sort of trying to be kind of gentle and careful about it, but definitely I'm ending up re-wetting, having to, having to come back in and re-wet the paper a little bit. So now I'll start to bring in a blue for the sky. And I want the sky to be pretty dark. So I'm letting that blue come in around it and then more of a turquoise color down toward the horizon. So then it's a little lighter. And I'm also picking it up as I go. So I'm letting it move around a little bit, but I am also picking some of it up in the places where it's peddling the most. There's kind of almost a lake of color happening here. So. Pick a little bit up, maybe drop a little more pigment in. This is more of the outrageous side of wet and wet for sure. But but the reason I decided to go ahead and show you this one because I did a whole bunch of versions of this. But the reason I decided to go ahead and keep this one and show it to you, is that it actually turns out looking pretty cool. So don't despair. Keep going. Mess around with it a little bit. Try not to overwork it too much. Picking up a little bit more of this wet paint as much as I can. And I'm just looking at it any last minute things that I think I can possibly do to this crazy a crazy thing I've created there. I need to I need to get up some more of that water. So go ahead, splash water around, experiment. Try like what I'm doing here. I picked, I picked up a bunch of water, but then I also lost a bunch of pigments. So I'm bringing some back. I mean, this is very experimental. You know, I'm really playing around and this is the time limit, this idea that I'm gonna do this in five minutes. Well, five minutes can be kind of a long time, but, you know, I'm I'm sitting here sort of messing around with this while the sky is probably changing. If I were doing this in real life, this guy would be changing above me, but I'm just sort of playing with it because I can any place I think I might want to just pick up a little color before it's totally dry. Now's my chance to sort it and do some of that. I sort of like the colors that are settling in here. I think it's kind of a neat look at night sky. So that one's pretty nice. And it's going to need some time to dry for sure. So while it's drying, I'm going to change out my water. You definitely need clean water for these things that really helps. When you're, when you're putting a water glaze down to have nice clean water. So I'm going to clean my brush real good and do the same thing again. So we're going to do the same sky second time while that one's drawing. I'm just going for it again. And this one's going to be a pretty different approach. I think, try some different things this time. So once again, trying to get as even of coding of water as I can. Now I know that this is going to dry super-fast, so I am trying to just make sure that I've really cover my bases here. And this time I'm going to start with the blues because they're really, this is pretty predominantly, there is a lot of blue in this scene, right? There's a lot of blue in the sky, so I'm going to really go for it, laying in the blues and try to leave some space for the clouds. And you can take either approach. And it kind of just depends on what's the dominant color that you see. Do you really want to get all the blues in and then come back in with the cloud color? Or do you really want it to be all about the clouds and you drop in a little bit of blue here and there around the clouds. So this time I'm making it all about the sky at first, and then I'll bring in some color for the clouds next. So now I come in with my new gamboge, my payroll yellow. My I'm sorry, new gamboge and Hansa yellow. And then my pyrrole orange is going to come in. And this is, this is kinda nice, like the paper is drying a little. It's not so dry that I'm getting real sharp edges, but it's dry enough that they're not totally blending together. And I'm being real bold with these colors, just like big oil. Big old orange cloud over here. I'm going to bring in some. This time I mix the quinacridone rose with just some pyrrole red. And then I'll make it more pink as I go up here. Even more. Quinacridone, straight quinacridone rose over here. Maybe a little, maybe a few places I can bring in some more orange. But lower down, it's definitely getting pink as it goes up into the sky. And so even just observing what's the pattern here of the light. Now I'll come in with some of that purple paper is a little bit down, a little bit better job of staying wet for me so that I can bring in these colors and let it move around a little. And again, I'm noticing that the purples on top. So these clouds are, I mean, it's a sense that right? So they're lit from underneath and the kind of shadow, darker colors are on top. And then just trying to blend some of that so that the whole thing makes, makes a little bit of sense visually. So a dry brush or a damp brush, or even coming back in with a little bit more of a sky color just so there's not quite as much of a transition. And this time I'm definitely going for a darker sky, but I think it's really lovely. Yeah. This one's like I'm pretty good. So hopefully you've done two of these as well. And I hope they look really different from one another like these do so this is going to need a second to dry. So I'm going to let this dry and we come back. They're totally dry. They're pretty different. I think they look pretty cool, but it really needs the landscape in front of it to just look like something like this. So again, there's, there's really not much to this landscape. You get a little bit of a sense of trees off in the distance. If you were to look very closely at this picture, you'd see that some of those are palm trees, so you get these kind of tall, skinny trunks, but even that don't worry about it. Just kind of do something do something quick that just sort of speaks to the place you're in. You don't have to get super detailed about it. And if you're using a an ink brush like this, then you can kind of once you get that horizon in, then you're just being then you're just very quick, you're just filling in the darker areas below that. And you can move pretty quickly and really the same if you're working with a paintbrush. So if you want to do this with paint, you know, you sort of get that horizon line in and then it's just a it's just a matter of him of a couple of minutes to come back in and fill in the rest of the sense of the massive land. I'm, I'm, I'm so tempted by these palm trees. I love the sense that this is like this is how by Palm Springs somewhere. So it's like it's out in the desert. But you get these palm trees. And so that's a cool combination. I like the way they look, so I'm just tempted to drop some of those in. And then I'm gonna do the same thing over here for the other one. Just that same little loose sketchy landscape. So, and try different materials with these, you know, try different things that you take around with you. It can be a marker, can be a paint pen. Maybe do a version with watercolor. Or if you're also, if you're painting with gouache, you can always do a watercolor sky and then a hogwash landscape in the foreground as well. So, yeah, there's a lot of different ways to go about this, but we're just going to fill these in. And I think you can see right away that even though these are crazy cooling and skies, they're really wildly again. But as soon as you get any indication of a landscape and it kind of grounds it. It makes it more realistic and more believable like you're like, Oh, yeah, okay. I can see this is kinda this desert scene with this crazy sunset happening. And so to have this in a sketchbook capturing that, that evening that you sat out there and watch the sun go down as loose and out-of-control as it is. I think it's like a great addition to a sketch book. And a really great way to just kind of capture the moment and also just bring a ton of color and just a real sort of carefree fluidity and looseness into your sketchbook. So I really recommend doing these and just, and just having a lot of fun with them. I think it's a I think it's a nice practice to get into and it's great fun to sit out and kind of just observe what's going on with the sky. And it also does help you to get to know your materials a little bit better. You know, you sort of get to know watercolor better when you are doing something as loose and experimental. Is this where you really are just putting water down on that paper and dropping pigment down and letting it move around and just, you know, just see what happens. 10. Final Thoughts: Okay, I hope you enjoyed this class and I hope it gives you some new ideas about how to approach skies in a way that's really loose and fresh and bold, but also expressive for you. In terms of these five-minute wet into wet watercolor skies, my advice is just keep practicing. It takes a while to get a sense for how to control the amount of water on the paper and how to let the paint move around just enough, but not too much. You know, you might think about making a whole bunch of these for practice as like postcards and just send them out to friends. It'd be a great way to get in some extra practice. And also just to make something cool that people would really like to get in the mail. Another word of advice, if you're going on a trip and you're taking a new type of sketchbook with you. Do a few practice guys in the back of your sketchbook. So you'll have an idea of how that particular paper reacts to water because they're really can be some differences. And remember too, that if you're in a humid climate, There's a world of difference when you go to a dry climate. So just be relaxed, have fun with it. Know that everyone's going to turn out different and there's only so much you can do to control it anyway. So also, I teach a lot of other classes, so please go check those out and just come find me online. I have a website, I sent out a newsletter. I'm on Instagram or other social media. I would love to stay in touch with you. Thank you so much.