Painting Sky And Watercolor Clouds - Techniques And Tips | Julia Bausenhardt | Skillshare

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Painting Sky And Watercolor Clouds - Techniques And Tips

teacher avatar Julia Bausenhardt, Nature Sketching & Illustration

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

15 Lessons (1h 28m)
    • 1. Introduction

      1:03
    • 2. Tools You Need

      3:19
    • 3. Examples

      1:20
    • 4. Cloud Anatomy

      5:22
    • 5. How To Paint The Sky

      10:45
    • 6. Sunny Weather Clouds

      10:27
    • 7. Rainy Weather Clouds

      4:04
    • 8. Mixed Clouds

      5:17
    • 9. Thunderstorm Clouds

      6:30
    • 10. Sun Behind Hazy Clouds

      7:34
    • 11. High Airy Clouds

      2:39
    • 12. Sunset with Clouds

      9:42
    • 13. Pink Hazy Sunset

      5:55
    • 14. Sunset With Storm Clouds

      12:42
    • 15. Your Project + Final Thoughts

      0:59
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About This Class

This class is for anyone who wants to learn how to paint clouds and the sky. Learn to paint fluffy, etherial or dramatic realistic clouds. We will cover cloud anatomy, color choices for your sky, and practical tips and tricks for beginners and intermediate painters. Whether you want to observe and paint the sky on its own or integrate your cloud painting skills into a landscape painting, you will learn the skills you need for it in this class.

Meet Your Teacher

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Julia Bausenhardt

Nature Sketching & Illustration

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Hey, I'm Julia! I’m an illustrator & field sketcher from Germany.

Join my Newsletter to get regular inspiration about sketching, painting with gouache and watercolor, and how to explore nature through drawing and painting, plus news about classes and giveaways. Or connect with me on my Youtube channel.

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Transcripts

1. Introduction: Hello. I'm Julia and illustrator and Nature German. Thank you so much for joining me in this class. I will show you basic techniques for painting clouds and the sky. We will take a look at sketching clouds quickly and watercolor. Learn a little bit about cloud and that to me, how you can use different pigments and makes us for the sky. And I will demonstrate step by step, how I paint different flouts. Best chance is great for anyone who likes to look at the sky and the clouds and who also would love to sketch them. You can use the techniques from this class for any creative project involving clowns, and it's also a great way off getting to know your water comers better. This class is perfect for beginners and water color, and anyone who wants to include more detailed clouds into the landscape sketches. If you love to gays in the sky and look at the clouds that join me in this class, let's take a look 2. Tools You Need: Let's take a quick look at the tools he only for this class passed out with a paper. I will use cold pressed watercolor paper and this as a sort of a nice texture that can really work in your favor to bring out a little bit off structure in the sky. So this is Hannah Moula. Bamboo, Which iss kind of. Ah, weird. It has been moved hate fiber and a little bit off rag. So it's not your typical watercolor paper, but I quite like it. You can use any kind of cold pressed water kind of paper if you like. Please make sure if you use your sketchbook, which is absolutely fine to that, it doesn't have to thin paper because we will. For some of these clap paintings, we will work with a lot of water. So make sure that your paper can take a little bit of water and I make sure that has at least like 260 or 300 G s. M. That's roughly £140 paper. So if you take really flimsy watercolor paper, this will not work for this. Then I have my watercolors. It's just my basic, um, field kid with water colors. So nothing really special. And we will look at some pig men's at some different watercolors later that you can use for painting a good sky. I have a pencil and eraser here for making quick sketches s for brush. I will use a number six round brush. Um, nothing special here. And I also have slightly bigger flat brush for bringing water down it with the surface. You really don't need this. If you don't have one like this, you could just use your your on brush and apply the water with this. But I also have a few wash pains if you don't know what wash is. I have a few classes on this. Um, you really would only need some kind off white if you don't have washed. That's really fine. Sometimes in the water kind of handsets, you're also will have, um, wide. That would work to, and I do have a piece of a crayon. So this is the wax based crayon. And, um, it's white. As an alternative, you could also use wax candles, like, you know, these little birthday candles. They will work rate or, um, if you don't have this hand on where we you can work around this and that's basically the tools that you will need. Oh, and you also I do have my soft cloth for getting rid off excess water, and we will also need, um, a little bit off paper tower for some of these exercise. 3. Examples: So let me show you a few examples from my nature journal. So I like to do these small weather studies almost daily. And I like to call these weather thumbnails because they're not much bigger than what you usually have as a family of drawing when you make an illustration. So these are really small and fun, little impressions off the weather and the sky and basically different cloud structures. And these always have a very special place in my nature journal. So I always take the very first page of my sketchbook. And in this case, I used the last page of my sketchbook tooth because I ran out of place and you can see that there are a really a lot of different moods and impressions and a lot of different cloud structures. I think I have. You can see here that there are even more different types of clouds and we will take a look at these, um, different names at what they mean in a minute 4. Cloud Anatomy: So let's take a look at the different cow types. I have put this as a PdF in the project section so you can follow along there if you want to. And let's take a look. So basically there are two different types of clouds and three different altitudes in which you find these cloud hives. And don't worry too much about the names. I just want to give you an overview. And if you find it helpful to look up in the sky and try to name these clouds that absolutely do this. But you don't have to know these scientific names to learn how to paint beautiful clouds. I just want to introduce you to these concepts so that you kind of know a little bit more about it when you painted. So this is how the name off the clouds are given to them. First, you have these two categories. There are these cloud types called cumulus cumulus, and then you have stratus Clouds and cumulus clouds are usually, as you can see here these fluffy like sunny weather clouds and stratus clouds that are more dense and seem more like a compact mass or like a um, really dance layer. So there's also a cloud called strata cumulus, which is like a mix of these two types because it's it's a cloud type that you can see fairly often. And these are all clouds that you can see at at low altitude. So you have your basic cumulus than your stretches, and then the mixture off these two. If you have rainy clouds and these are also low level clouds, thes are usually caught numbers. So anything off these basic types and add anonymous to us of cumulus members and also nimble stretchers. I'm not sure why they changed the place off off these terms sometimes, but it's just how its name. So this cumulonimbus would be a thunderstorm cloud and and you can see that there's numbers . Trashes is just a low level, really bad weather cloud that you sometimes have. So then, in the in the mid level, on the middle altitudes, you will see the son through the cloud. So the mass off these clouds is last compact, and this is often the case when you can see the sun like milky disk. Like in this in this outer Stratus cloud, where you can see a thin layer of clouds right in front off the some. And likewise, the fluffy cumulus clouds get smaller and more like, sort of like little dots here in this in this one, and then on the highest level in the highest altitudes, you have cirrus clouds, and so these are the layers in the atmosphere where it's really killed and whether water particles in the clouds are frozen into ice and you can basically see. See this in this guy, and you will often see these clouds and in these high altitudes like small and airy things with with barely any substance to them. So these are very high clouds, and these are also very fun to painting. You can again see that these sort of form different different shapes, different layers. But basically they're all called these service clouds. So let's take a look at our fluffy, low altitude clouds. Again, these sunny weather cumulus clouds and these can have a lot of different shapes, as I'm sure you know, um, but what they have in common is that they don't look like the cloud that we all can draw that. So these easy cartoon flouts I'm sure you know this, and I don't have to demonstrate this. So it's best to to try and get this out off your heads because the key to draw convincing clouds is to make the address irregular. And you can see this. None of thes clouds looks like a sort of like a cartoon cloud. It's not. It's not schematic. So, like everything in nature, you will make a better sketch if you really look at the shape and don't give into the schematic approach that you might have in your head. And another thing that you can see is that clouds actually follow perspective and foreshortening Bruce, which makes a lot of sense if you think about it. So everything that's close to you, like these clouds in the foreground will be more round and more detailed and more irregular and clouds closer to the hole rising. So back here they become flatter and more compressed, and you actually see these clouds from the side, whereas these clouds more here at the frog. You see these from from the but 5. How To Paint The Sky: So when you take a look at these two skies, then you can see that it's really typical that you will have a very intense and darker blue at the top and then sort of a lighter and more faded blue here at the bottom. So at the horizon. And often what you can see to is when you have a situation like a sunset off changing colors, then this can actually change in different colors. So you will have to find a way to to show this with your water color. And, um, I will just give you a quick demonstration of how this can be done. So I'm using my flat brush here to just lay down a little bit off clean water. Not too much. So you don't want to soak the paper entirely, but just have it nice and even. And as I said, you could also do this with your round brush. OK, now I'm going to take my round brush and pick up a bit off paint and this Smicer Ruli and Blue. So this is as you can guest by the name. This is a very classic blue for force guys, and I'm making him nice, juicy mix you can see here and then I'm just dropping in pain like this and you want a decent amount of paint. You can see how it already it's preds all by its own. And you can help the paint a little bit by putting something under your I know your paper so that you can tilt the paper and you can see it just follows it. Add a little bit more water to make it easier. And just like that, you'll get a grated wash. Okay, Had a little bit more here. You can see how it just follows gravity and pick up the excess bit so that you won't get too much water here at the bottom. And just like this, you will get a nice grated wash. So this is just really a basic technique of how you could put in a sky into into a painting . So you already see this is very nice pigment this risk cerulean blue, which is slightly granulated ing. So it leaves these sort off details this texture where the pigments built little groups and this can be very nice to suggest a little bit off off um, structure to the sky. Then we have cobalt blue, which I also like to use a lot since, um, sort of matches the the Scott, the color off the sky that I have, where I live. So as you can see, that's a little bit more intends. And I'm just going to write the names next to these so that you can remember these better and this sort off number that I write on the knees iss the pigment number. So if you look at the at the cube at the paint tube, then you would usually find these, and it's usually better to go buy these pigment numbers, then by the name off off the pain. Oh, are off the color because you can be sure that you won't get the same result with when you take the same pigment. So sometimes the paint manufacturers put in all kinds off mixed pig men's into their their cobalt or cerulean, and, um, so it's easier to go buy these, um, by these small numbers. But this color index, then we have this stay low blue, which is really, really intense, so, as you can see a little bit, will go a very long way and this sort off your basic sion. So it's really great for mixing. I, um I rarely use it on its own. It's also really, um, transparent color, which is again great for force Guy. And this is I think PB 15. Okay, if you have a darker sky or a more dramatic, um, like a thunderstorm or just really evening sky, then this is also great blue this end and thrown blue on You can see this gives a nice, intense dark blue And then we have sort off the classic for sky and blue, which offer Marine. And there's a similar to cobalt blue. You can see this very nice warm blue almost a little bit off Violet Sam, this is also really lovely to paint with. So really comes down to what kind of pains you have and what this guy does. Look in your in your area. I know a lot of people say on the Southern Hemisphere they have a difference guy, and also it sort of depends on your standpoint. So if you look into this hon or away from the sun and also the time in the place so you could make these these little colas watchers and actually hold them next to the sky or next to the photo if you're painting from a photo, so to test out which Lewis is actually the fitting the best. So clouds can also have different colors, usually these a little bit more muted, and you can have all kinds off off grays or yellows and live blues or pings. And in the case of an intense sunset, you might see an intense orange or pink in these clouds. And, of course, this all depends on the light. So I will just show you a few different, um, approaches to off colors that you can use for for the insides off your clouds or for the for the shadows, so to speak. So if I have, this is just, ah, neutral gray, which is very diluted. Then I won't take up a little bit off my saru lian, and you can see that this will mix very nicely into this. Then sometimes you have these orangey my yellowish tones. Just the one thing that you will have to make sure is that, um, you don't get a green like here This is starting to look green, which is logical when you think about because I some took an orange and mix it with a blue so on. This is actually a color that will not appear in cloud, so colors can look yellow and orange and blue and dark like really dark gray. But they will rarely, or that they will never look green. So this is the one color in the sky that you won't get. I have some kind of red pigment here on my brush next, at a little bit off pinkish tone, and you can see you could, um, play around with this and try out different different colors for your clouds to to get different results. Some clouds also violate. That's really another nice, nice thing that you can try out. It's experimental little bit with this. Look at some photos and look at the sky. I mean, it's everywhere. It's a great resource to look at. So this really the best way to find out about all the different colors that shouts can have 6. Sunny Weather Clouds: So let's start painting with an excess highs off different types of clouds, and I am on. I will show you different techniques on how to do this. And again, you can find this as a PdF in the project section. So it is just a print out off different types of clouds. So let's start with these cumulus clouds and these are these sunny, fluffy, sunny weather clouds. Um, you can I will sketch these very lightly on my paper. You don't have to do this if you If you think that you will be fine without sketching, Um, I will just very lightly indicate the lines where that sort of the out boundaries off some of these clouds. So and what we will do with ease is sort off paint around the areas which you can see here first. I will take my flat brush Onda plier, some water so the area is sufficiently wet cause we will start with the wet on wet technique. Again, make sure that the what has evenly distributed doesn't form any any pools. So I will take a little bit off surreally in blue and mixed that and then I will just start to paint sort of around the cloud. So this is one off the techniques that you actually so you can't really, um, paint the cloud. It's health because it's, you know, it's light, and it's like the paper white, so you will have to paint around it and just try and make sure that these edges don't look to regular. So make them a little bit jagged. A little bit more interesting. I think just while I was talking, I just painted into the area that I want my club to have, so it's not a big problem. I can just lift it out, and you can see that by painting into want to the wet paper. I get a nice, feathery effect with the paint here, and we will only find some of these urges later. A little bit more can see it all. And down here has already dried a little bit, so you can see that I can make sharper edges. You going to make this guy a little bit darker? You am on the Children and you don't have to to do very much. Don't have to push the paint around a lot. It will take care off the itself. So we'll take a little bit off my paper towel and crumple it in a way so it doesn't look too to regular. And then I will just about a little bit off the shape that I can see here, so and will do this some more at a later stage. So while this is drying, um, I will do. I will add a mix to add a little bit off the darker parts off the cloud so you can see, um, in the reference that these clouds actually have thes thes dark bottoms. And this is from a physical standpoint, this sort of the, um, the point. I am the out of here in which the water in the cloud, um, isn't vapor, but it collects into little water droplets and thes Take a doctor looks so this called the dew point. And you often see these dark parts sort of at the same altitude and always at the bottom off these clocks. So that is sort of what's going on on on a physical level with these. And we just want to paint these s o. I want to mix, um, a great you could. Actually, I do have a neutral gray here, so you could simply use this. But what I find more interesting is mixing a gray myself. And how I do this is I take a little bit of cobalt. No. And then I take a little bit off this, um, warm brown tones. So this is actually like a burnt sienna. In this case, it's maroon brown. And if you mix thes two and you can see you will get nice neutral. Grayer's too. And I will use this and very diluted mix to add a little bit of shadow to my clouds. You can see this will work nicely to to suggest these these dark parts off the cloud again . I try to keep it loose. And, um, I don't want to over work this so a little bit off white, um, in some areas, don't take too much paint until your brush, So try to make sure this is a really I really like shadow, and you can always drop in more pain if you feel it needs to be darker. So it's all a little bit off of trial and error, and that's the fun. In this and again some some an urgency. You can see the paper has already dry down here, so I can add really clearly find edges. And that's really, um the mix of off these feathery edges and these clear edges is what will make your clouds convincing. The important part here is to leave, um, sort off the the outer and the top edge off these clouds white. So, as you can see in the reference you have thes thes wide edges in your clouds. Hope that's important because otherwise they will just read as dark blobs in the sky. And, um, this is also something that you can sometimes see. So, um, if the light is already come disappeared If the sun has set and doesn't shine through the clouds any more than you will see that in the evening, clouds will usually look dark, and you can also paint them really, really dark. So on the day line you will have lighter clouds and actually white looking shots. So I think I will try and add a little bit more blue to my now here, down here. And even if if the blue and the gray will makes a little bit. That's that's not really anus an issue. Okay, I think I want a little bit more white, and this part off the clouds will just take it out with my paper towel so you will get the hang of it after a while. It's It's really a sort of fun and relaxing process. Okay, this is the cumulus on the sunny weather. 7. Rainy Weather Clouds: No, we will try something a little bit differently. So we will try. Andi, do a rainy weather cloud. And this is really the cloud that you can barely see because the usually the whole sky seems like a, um even gray field, so to speak. And but sometimes these have a little bit off, um, off texture or, um, lighter and darker parts. And this is what? What is fun to paint? Um, again, I want to tilt my paper a little bit. So I'm putting something under it, making sure that you can see this. So again we will use gravity to help our paint. It's spread around. So I will use my kobold. Um, burnt Sienna makes again on maroon. And this time I do wanted to be a little bit more dramatic, so a little bit darker than what I have in these clouds. So I will actually start and put on a fairly dark mayor of paint here. A lot of what, and you can see that it already does. It does all the work by itself again. If you add a little bit more water than you can see, it just spreads down to the bottom, and so it's really dark at the top. And don't worry about putting down too much pain. So water Kali Kala dries a little bit lighter. And this is what we can use to make it really, um, look dark and moody. And I want this to be a little bit lighter, and I will just lift out with with a damp brush. I will just lift out a little bit off off the paint here and then apply a little bit more. And now you can see why I don't want to use sort off thin, flimsy paper for this because I'm really working into the paper and adding a lot of what had removing pain pigments again and so to to work with paper and in this, um, kind of way you have to to use sort off sturdy paper. Okay, so I think this is enough. You don't always have to work a lot with these kind off, um, sky. So it's best where when you're painting clouds and sky, it's best to to know what you want to do. Go in there with your pigments, do your thing and get out quickly. So it's very rarely that you have to work, you know, Just like 30 minutes on a particular cloud. Okay, so I will just quickly job down. 8. Mixed Clouds: the next out that well, you will. Um, pain is, um, the kind of this kind of mixed clout that I was talking earlier about. So this is a strategy strata cumulus. And this is a sort of like the mix between these cumulus clouds and the stratus clouds. So this actually a type of club that he will see fairly often because of, you know, the weather isn't a static thing, but instead it's it's always changing a little bit, and I will pick up a little bit off my my custom gray blue mix again. Onda, Let's see, sort off with a jagged edge. I apply a lot of color and then I will take a little bit of water and spread ID to the top . So this actually lighter at the top and you want to have it a little bit darker down, and I will do the same. Sort off with the following layers, and again, make sure that thes don't end up two regular. Just try to find interesting shapes, clean your brush and then just drag out the pain and leave a little bit off, um, off a wide space in between these layers so we will actually fill this space with blue when this has dried. It doesn't matter if it overlaps in a few places, so that's fine. But make sure that you will have a few areas where you can add, um, a bit off blue later and again as long as the pain to sweat you can always more pig man to to make your clouds more intends. Okay, so I'm going to let this dry, and then we will come back and add a little bit off blue. And now that the paint it's more honest, dry, I can go in with bit off cerulean blue and at this again I'm trying to leave a little bit of a wide hedge, thin white edge on the top off off these clouds here so well, look more convincing. So now you have thes he's patches off sky showing through. You can also see that, um, the pain has done some very nice granule ation effects here. So this is because off the from the maroon brown that I'm using, it's a very nice granulated pain, so actually, when it settles, it will sort of come out in these. He's very texture. And I think these look very yeah, these help to to make it look more like cloud shapes. So this another very nice thing to do. So I don't often use thes granulated pains, but in some cases, like with these clouds, I think they're really, really nice. So you can see here. The cerulean blue also has very nice grand relation going on. 9. Thunderstorm Clouds: OK on to our next one. This is going to be a storm cloud, a thunderstorm cloud. This is Cuma low numbers. And as you remember, numbers is rainy Cloud and cumulus is the fluffy cloud type. And so this is a fluffy, rainy cloud, which is usually when there's in the summer really bad weather, Um, coming out of nowhere. So again I will try to make a sketch around the clouds who that I sort of have the the outer shape off the cloud, and this seems to be a little bit more complex than the other. So you have to tackle this whole. It's not of big, monstrous thing that sits in the middle, so try and structured a little bit with you with your sketch. As I said, you don't have to go overboard with these pencil lines, but and I might actually include a little bit off the landscape here just to have a point of reference day. Try to show the palette here. Okay, I want to start with this guy, but something a little bit darker, so I'm mixing up some of my custom gray and then I'll mix it with my cerulean blue, and you don't always have to to use the the same blue for all these different studies. You can, um I showed you different blues earlier, So if you're free to try them all So you could also use, um, this nice and then thrown blue Think this would be really, really a cool, darker blue to to match this type of weather. So again, I'm trying to see these these darker shapes here make them irregular, not too cartoony and just trying to get from top to the bottom. And you can't even take up a little bit off yellow. Or in this case, I really like this sort off light, creamy tone, which is buff titanium. So I'm looking for a way to include this without getting too green. So you can, um, easily get sort of greenish clouds, and that's not something we want. But often these thunderstorm clouds will have this sort of Steelers deal gray or yellow wish turned, and that's actually what I'm looking for here. So I'm trying to make sense off off the structure in the middle while adding color from from all of the sides here, and as you can see this a little bit more complex. Don't worry if if this seems a little bit overwhelming or too much, just try to get into the to the zone into the flow and just enjoy it. It's That's usually the best thing again. I'm leaving the the top part, the top edge off the cloud and white and I have a few places where I want the edges to be a little bit more irregular. So I'm using I paper towel for this. It's usually easier if you make a bigger piece. So sometimes can be a little heart to to get the right effect when you have such a a small scale in your painting. But I think this is fine killing, just adding back in a little bit off paint. I think that does it for now, it's it's usually best with these small studies not to overwork anything 10. Sun Behind Hazy Clouds: Let's go on to the next one. We're just going to be this interesting, um, situation where you can see sort of thes wavy clouds with the sun as, um, sort of a disc behind. Sort of like, really hazy or milky disc behind Thies this layer of clouds. So I found this really beautiful. And this time I will use the kree on the white crayon. So this is your new a friend, and, um, just putting in a circle where the sun is supposed to be. So this will be the part where there will be No, I'm no pain because the wigs in this will repel the paint. Um, you could also use masking flute. I rarely do this because I really don't like the drying time off mask and few fluid. So am I. Sketch a lot outside, and I can't really wait, like, 15 minutes to to wait for the masking fluid. Right? So I actually prefer this This little, um, piece off this crayon here is a really cool heck, I think, and it's it's easy to and fun to use, So that's what I like to do. Um, for this one, I think I want to wet the entire paper again. So I'm just applying with my flat brush paint again. And if you I'm not sure you will be able to see this on camera. But you can see this spot where I made the the kree on painting. So again, I have my custom gray mix here, and this time I want again to till the paper slightly So just going to do that now and then I will just very quickly. It's, um, some paint and I don't want it to be all Ray. So I can see that there are some blue areas will just add in these these blue streaks and it will all mixed together very nicely. You can also tilt it to help the paint a little bit chop. We have a really dark cloud, and you can see this area where the sun is supposed to be has stayed wide, and that's the effect I was going for. Okay, I don't want to over work this, so I'm going to wait until it's a little bit drier. And then I will add some of thes sort off airy lines that you can see that the clouds are forming, and while the paint is still wet, I'm going to lift out a little bit more off the pain here, and I can see that has slightly yellowish tinge. So are be very careful with this, but a little bit more off this buff titanium and I will try and at this to the mix. So let's see how this will turn out. And the cool thing about painting clouds and painting sky is that you can really mess around with your pain. So usually when I don't want her colors, it's a little bit more control. But this really lets you play around with colors and the flowing off the pig millions. And it's really a nice thing to do from time to time, so the pain is almost dry. It's still a little bit damp, and this actually the point at which I want to at these sort off darker talk on lines, you know, I hope they will just mingle a little bit with with the rest off off the blue here and if they don't and that's a little trick that you can use. So I think these should be a little bit more misty and I'm going to do is just use my water bottle my spritz bottle and give it a little bit all the Sprits. And I think it has a very nice job off adding a little bit more. And this is better than adding water with the with the brush so you won't disturb the paint layers as much. I think I'm going to leave it at that. This'll kind of paper isn't really made for this amount off off lifting and adding water, and I can already see the fibers are sort of breaking down, similar to to these thunderstorm clouds here. So if you have, if you use a thick paper for this so really, really thick watercolor paper, then you can work with it a lot more. And also if you use paper that's made from pure cotton. So I'm usually cotton or rag, it says on the cover, and this will work very nicely and will take a lot of abuse of This paper's fairly inexpensive, so it's just not made for for this kind of work. But I think we we have nice effects going on here so and I think this can look really cool if you can can see it on a day where the sun doesn't really come through. But you have thes sort of thes weird movements in the clouds and, well, I think it's really beautiful. 11. High Airy Clouds: So the last one that I want to do is an easy one. And again I will add my water. You don't even have to water this down. So we will just in the first step. Bad. A little bit off blue, Not too much. So what we have here? I have a rest off my Kobold and Cerulean make. So I'm just going to go with that. And maybe at a little bit more sore Iulian and some water to help it spread So beautiful one watercolor spreads around when you add more water. It's one of the really cool things that I like about watercolor. And you can tell I'm having really a lot of fun with these techniques. As I said, I usually don't work with, um, these wedding Web techniques as much. So it's really, really fun to play around with this from time to time. So we have, ah, beautiful, surreal Ian cobalt mix, and we want to, um, make thes cirrus clouds. So these are, as you remember, these very airy looking and very high clouds that are formed by ice crystals, and what you will do is take your paper towel on just crumple it again, sort of an irregular way, and then you about a little bit off paint. Um, can also drag a little bit for these sort off interesting effects. If you think you have lifted too much pain than just drop it back in, it will spread around nicely. Amanda, about again, a little bit off paint. 12. Sunset with Clouds: I want to show you a few more interesting painting situations. Onda Few techniques for them. So one of them is the sunset. And you can see that we have really dark blue that's fading into the horizon here and from ILO is, um, yellow on orangey tone, that sort of shining up. And as you can see in this print, this is actually turning into a green. So the print I can't handle this and watercolor is really a little bit difficult. If you look at this on the screen, you won't see this green tinge because it isn't that so. And it won't be there if you look at it in the sky either. So let's take a look at how we can tackle this. Um, again, I'm wetting down my paper a little bit, and I will start with cerulean blue at the top, which gives a nice, intense blue. And I want to help the pain a little bit by tilting it and adding a little bit more water. So you know this first part, you know, this just a simple grated wash. So don't let it come to found out, okay? And what I'm going to do now for this orangy yellow is I'll take a really clean brush. Mix up a nice warm yellow so I will show you here and then I will simply I had a little bit off yellow here and let that travel up so that it can meet with the blue. And now the cool thing is, if you just let it do its thing If you just let the the pain do watered once then it will not turn green. So if you let the Pickman settle by themselves, then there will not be this this weird green effect. I'm feeling adventurous, so I'm adding a little bit more or runs and you now have this zone here where it's almost wide. But you have the slightest touch off yellow and blue and where these two are meetings. So don't feel tempted to go in with brush and and, you know, make it even because this will ruin it. You can even go back in and add a little bit more off this darkish blue until the big up For a little while I had a little bit more water if you want, But again, don't overwork these things okay? And I know I'll have to stop at this point, but this is how you can get this the's grated washers and convincing sort of sunset situation. You can see that in this photo there are actually darkest clouds in front off the off the sunset. So one way to to make this sunset stand out a little bit more just to add more yellow, more intense color and then remove it at the center so that it can really blow a little bit . You can see that with watercolor. The paper is the the brightest that you can get, so you can't actually add more white or more glow. So you have to to use the paper as a stand in for for the light that you can see in this guy. And so this is as as white as it can get, and you can off course always add white paint like wash, but it will always look a little bit chalky and less intense. So that's not something that I would suggest you can get way with adding wash for the clothes, though, and I will show this when this has dried. So let's put some clouds into this guy and I will use my small wash kid for this If you don't have goulash pains, all you really need in the worst case is some kind off white. So, um, some kind of opaque, wide, sometimes thes watercolor wides, a to least a little bit opaque. So sometimes these come with the pen sets that you can buy or you need just to get, um, a tube off wash white. So I obviously have a few more kindness and I'm going to use thes, so I'll just show you how this process looks like for me. Uhm, I'm going to mix a nice doc pink yellowish tone. Well, my wash and usually it drives a little bit Doc out when? When it dries on the page. So I'm going to leave it at this middle tone. And I'm just going to at this on top off off my off my watercolor sky, sir, again trying to keeping, trying to keep this a little bit irregular, as we learned earlier. This really important. And I'm also trying to to vary the color a little bit. Maybe a few up here, you can already see that with wash. You have really a different feel, so it feels more substantial as a pain. Um, it isn't asked, flowy and airy as water color. While this is still wet, I'm taking up more white, and I'm just dropping a lot off off white paint, um, and to into my iCloud so it will get a bit brighter. Andi bit more off this pink tone here, and this will make a little bit more define a little bit more interesting. Usually, Um, I'm not sure if I mentioned this before. Usually in the evening, um, clouds against the sky, Ataka, then the sky itself. So you can see this very nicely in in this photo. The clouds really don't get enough light to be, um, so that the light can shine through them. Only these very thin clouds, but the majority off the clouds is really already. Hm has this darkest. And this is what we can take advantage off when using wash here. So I'm going to drop in a little bit more pain, and that's already really wet. So maybe I should take some out again. And that way you can get really, um, interesting clouds with a different color than what you have below. So if I were to use watercolor for this, then you would have this transparent effect and he wouldn't really get nice colors for your clouds. 13. Pink Hazy Sunset: another interesting situation is this. We sort of did a study of this before. This is again this out of stratas, where you have the sun behind a dense layer of clouds and it's sort off like is this hazy blob? That's the sun. And I found this to be a really beautiful scene where, um, you have the sun sort off, like behind this, um, this pink veil. And I think this is a beautiful scene to render and watercolor. So let's see, um, how I would do this. And you can see that they're sort of these streaks off pink. And you have this blue have been the son. So let's take a look at this and again for the sun I'm using, um, I free on. Just be sure you have everything covered. You don't have to wet down your page every time you do this. If you're working outside or in your sketchbook than usually is just enough to spread the color, spread the pain when you work. And for these small studies, um, the pain won't dry as quickly. But when you're working on a larger scale, that it might be nice to have this um prepared background. Okay. And I'm just taking up Masaru Leah. And then I want to have a little bit off pink, and I will shake up this permanent rose here. So no, with my so ruli in blue, make it really watery. And I will again till the page a little bit so that gravity will help me so I can see that I have the slightest bit off blue and gray down here. The rest is this nice, intense pink on trying not to to mix the areas with my brush too much. But instead I try to do the Carter let the letting the color do its thing like with this other mix. If you apply the pig men's in this way, then you can get away with a lot. So this really, really lose. And then I'm adding a little bit more off this raise. My blue up here will look a bit more neutral. It's taking up the pink with my brush. And I think this will be really, really beautiful. Just adding tiny bit off yellow to my mix. It was a little bit too much, but we can spread this around and we'll give it a slightly warmer war, Martin. Making it a bit more intense. And remember, you can add too much, can I? So where must rise? It will look nice and lovely. And I think we don't have to do a lot more than this. So you can see in the places where I used the brush a lot. You have thes purple areas, but in these other areas, just a nice, nice pink. So that's what I was looking for Them. The pink will actually push away the blue pick, mend a little bit and can also lifted out again. As long as it's wet, you can do all kinds of things and add a bit more blue to to the mix. So maybe make this part but more grave. And then I think I will leave it at that. Okay, just letting this dry. 14. Sunset With Storm Clouds: for the last one. I want to use a slightly bigger for Mert and I want to try to and combine a few of the techniques that we have looked at. And this is another. You can also find this in the project section. And this is another, um, sunset situation. You can see that they're different things going on here you have in the in the top part these Elton cumulus clouds, which sort of look like nice textured clouds. And then you have these bigger dark parts, which and then the sun, which goes into this Pasto pink and yellowish tones. And I think that's, um on. I seem to to practice all these techniques on that week that we looked at. So the first thing that I'm going to do iss sketch in a few of these now our lives that I want to keep dark and again, I'm like before I'm using only very light touch. So this won't be too much. Okay, I think this already, you know, And the next thing I'm going to do is to sketched in the sun with my crayon. So these Ah, this is the area that's supposed to stay white, and I'm just adding a few dabs here and there where I think it would be nice to have this wide sort off like Halo for the sun. And I'm going to try the same technique with a crayon up here Where the these these sort off for these sort off medium fluffy out of cumulus clouds. So going to try out how the technique works for that? Okay. And for my first layoff pain, I'm going to apply. It's very faint mixed. So I'm going toe water down my entire any problem. The entire area on this is going to be a bit harder to keep wet. So you might start to understand why I like to work with smaller scale studies. Okay, so this has actually quite the neutral color. So not a lot of blue in this one. So this horrendous again and little bit to green. So I'm just going to drop in a lot off light gray, and I'm trying to keep this model so that it's a little bit loose and trying to to match what I can see here on Yeah, uh, less off these areas up here and my crayon is also helping me, too, to keep this sort off light. And if these darker spaces here you can see the bottom off, the cloud here is sort of, um has a little bit of a warmer tinge because the sunlight is hitting it. So I'm trying to add a little bit more off my maroon to tone here, and so you can really adjust your your gray to a warmer or a darker, um, sort of tone, and you can see that the paper has already dried. So I'm getting crisp edges here, but that's actually fine. Um, I can't see that. I have very crisp edge here and really dark cloud here. No, I will try and at some off the yellow around the sun. So this is actually the yellow is in this middle part here, and I think I want to wet it down again a little bit. So using my spray bottle to do this not too much, but just a little bit so that the color can spread. Andi. It's actually bit more orange ease. I will try and at this in. So it's this golden yellow. And while this part is drying a little bit. I'm working on what I can see at the top here, So there are few docker spaces that look a little bit more defined, so I will add peas. They are actually hits off blue, so I haven't had a little bit more surreal. Ian, you can see the beautiful granule ation that comes from the maroon that's in my gray mix, so that's really a cool way to to add. It's a really cool pigment. It's, um, Bash Benko and I really use it very rarely, because I don't have very much useful granulated pigments about for these clouds. I think it's really it's really spectacular. So I'm adding more off my gray mix down here, where the clouds are really dark, and I know I want to define these edges a little bit more when in this area has dried. So going back and to this still wet area to add a bit more off off this dark gray. And don't be afraid to push in a lot of contrast. So this is what will make you you know what your paper wide your son really shine. I'm actually thinking about adding a bit more a bit more pained up here, So this will look a little bit duller than, Ah, sunset area. For me, the key for these sort off glowing sunset colors is to use a transparent yellow. So, um, if you only have cadmium yellow in your palate, then by all means go and try a different yellow. Like I used this transparent yellow Um, there are also other kinds like this. Lemon yellow was also really transparent. That's really nice for making thes thes clear, bright mixes. That's really much better than using, uh, cadmium yellow, which can, which is opaque. And this it can become quite dull, especially in these in these border areas where it will mix with other pains. And this will become like money doll mix so quickly. So I'm I'm really a fan off these transparent pigments. I think this is looking quite nice, so I don't want to add too much to it. Maybe a little bit Mark Ray down here, but I think I will leave it at that. I want to let it dry so I can really find the the address of it more so the only thing that I'm going to add to this. A to this point has just slightly better define edges for few off thes cloud shapes. So I think down here, it's really essential because this sort of like the focal point off the whole thing. And then I don't think I I have to add many more places, so I really don't want to destroy it. Okay. I think this is all I'm going to do in this painting. Um, I believe it has turned out really cool. Um, I hope that you will. I have, um I have put a few more pages into the pdf with different types of clouds, so I hope that you won't find one that you really like. Um, or maybe you want to use your own photo for, um, yeah, making a project and painting a different loud situation. So I hope you'll enjoy this and have a little bit of fun with painting the clouds and the sky 15. Your Project + Final Thoughts: So I love to see your clouds and sky paintings. Please create a project with one of the techniques that I've shown in the class like a small cloud or risk I study. Or if you paint it along with the demonstration, that's also fine. Please up you load your work to the Project Gallery and to share your results with me and with the other students. And please let me encourage you to also post you experiments and maybe what you think might be failed paintings, because there's are usually the ones where we learned the most from Please also follow me here on skill share to get notified about new classes. I also love to hear what you think, so I'd be happy if you left review for this class. Thank you very much. I hope you've enjoyed this class and you've learned a few fun ways to pay the sky clouds. So see you outside and he wrong. Scarcer by