There are times when photo reference can aid in paintings and times when it is less than helpful.
This is one of those times. Unless I am purposely focused on a uniquely beautiful sky, in many of my reference photos the sky is unremarkable or just dull. While few paintings require a stunning sunrise or sunset, an interesting sky can be an important feature in a piece.
The sky is "eh."
Fortunately, this is a place I have spent many days. When I refer to "making it up" that presumes a knowledge of the subject and an inherent perception of what could be possible if you had the "perfect" reference.
The painting's setting is in Vineyard Haven harbor on the island of Martha's Vineyard. I have often watched banks of clouds develop over Cape Cod (which is the land in the background.)
I've used a technique I often employ for skies. As you've seen from my other paintings, once my drawing is complete, I use a light yellow ochre turpentine wash over the entire painting. This not only "locks" in my pencil drawing but also adds warmth to the white gessoed board. (Since I knew I would be winging it for the sky I didn't draw anything above the horizon land line.)
When I start painting the sky I mix several colors on my palette. Between the upper most color of the sky and the warmer color below it I left a small gap. With a very soft blending brush I blended most of the two colors together but left gaps where the wash underneath is visible or shows through the thinner layer of paint.
As I worked my way down the painting I kept in mind how clouds can form in this coastal area. After blocking in most of the colors (making sure the uppermost cool color appeared in long streaks in the warmer bank of clouds) it was time to use the blending brush again to soften any rough edges.
I wanted the clouds to be more interesting than any of my reference photos for this day but didn't want them to take center stage in the painting.
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