Sky Study by Johan Christian Clausen Dahl, oil on paper, 4 x 8 1/4. Collection the Thaw Collection at the Morgan Library & Museum, New York, New York.

Because it’s hardly ever really blue. Think of Turner’s skies or even Monet’s—they are multifaceted and carry the hum of several colors. As many of us transition from painting outdoors to inside the studio, we can sometimes make assumptions and take certain things for granted like the color of sky or water, perhaps because we may see our subjects primarily in photographs, or maybe because the weather or busy schedules give us a much more limited timeframe to go out and work in the landscape.

When it comes time for me to paint from an aerial perspective, I think of Georges Seurat’s paintings. This may be an extreme example, but for me his work demonstrates an awareness of the prevalence of color, especially in the sky. Thinking of his pointillist dots helps me remember that color is everywhere. In the spirit of this, I pulled together a few tips on painting the sky to help stave off the “blue syndrome.”

Build up the sky with various tones, and not just blue ones. Really look at the sky and see what colors are there. A rainy day can often have gray, green, and even yellow tinges to it. A sunset is often much darker than I usually paint it the first time, and can contain all kinds of deep reds, pinks, and purples.
 

		3.19.98, 6.10 p.m. by Kevin Macpherson, oil, 6 x 8.

Don’t paint the brightness of the sky alone—paint the shadows in it to give a sense of space and depth. The more moisture in the air, the more reflections—and, as a result, the more color—you will find. Even when the sky is clear there is a sense of depth perception to our field of vision. In every case, question how that occurs and try to accentuate it.

Clouds reflect the light in the sky. Even on a picture perfect day, when clouds look white and the sky looks blue, don’t reach for blue and white alone. They can make a painting look flat and clichéd. Experiment with the colors you perceive in reflections and the light to add depth and greater realism.

Study for Pacifica Coast by Joseph Mendez, 2007, oil, 12 x 16.

Adding texture to the painting surface can give an entirely different sense of atmosphere than you can get by manipulating paint color. Experiment with thick and thin strokes of paint and new mediums for surprising results.

The sky tends to lighten toward the horizon. Be mindful of this as you are painting because this alone can help create a more convincing landscape painting.

I want to hear your tips for painting the sky, so send them to me—along with any other techniques you have for creating great landscape paintings in the studio. For more great suggestions on creating compelling plein air paintings, check out the American Artist: Plein Air Painting special issue and our DVDs with artist-instructors Marcia Burtt and Frank Serrano. It’s a smart time to buy because purchases of $30 or more receive free shipping. Enjoy!

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