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My pleasure, Kirsten!

You're so right, greys can be warm and poetic, instead of cold and dreary. I learned a lot looking at some of the painters of the Haagse School, the 19th century Dutch version of Impressionism. They knew how to capture the sometimes (quite often rather) grey Dutch weather, with different shades of grey.

Thanks!

That's great, thanks!

Thanks, Mark. Good to hear you appreciate the way I handle the details. Some parts of my work may seem to have a lot of detail, but they almost never really have. I'm always looking for ways to avoid actually painting them. Ragged brushes play an important role here.

Thank you, Patrick!

My pleasure, Lindsey, thanks!

Fijn om the horen, dank je!

No, I have never used phtalo blue for my skies. Don't know why actually. At a certain point you develop a preference for certain colors and you sort of stop looking. Will include it in my next order. Thanks!

Thanks, Mark!

No, I do use opaque paints, bur only n the final stages of a painting, mainly for the lightest parts.

Great analogy. It's hiding somewhere, just have to uncover it...

No, it took 2 months to make. Maybe the trailer gave you the wrong impression, but if you'd see the full length video (exclusively on www.patreon.com/paintingskies) it's probably more clear.

Thanks, William!

Thanks! A few years back I did a number of paintings for a gallery on Martha's Vineyard, which included rocks on the beach. That was quite a challenge, but I really enjoyed it. Judge for yourself: edgartownartgallery.com/collection/paintings/janhendrik-dolsma/

It's pretty annoying. Thanks for pointing it out. In future videos I will make the final image of the painting last longer.

@@PaintingSkies1 I had a question about you. I cant help but wonder about your start as an artist. Surely you didnt jump out of bed one day to master clouds and oceans. Did you do pure landscape ever?

@@mark-dietz My love for landscape painting started when I was an art student (late sixties, early seventies). At the same time I felt a deep connection to the Dutch Wadden Sea and the bordering islands. I simply combined the two. It was as late as the nineties when I picked up my brushes again and started exhibiting my work. In 2004 I quit my teaching job and made a living as a professional painter since then.

@@PaintingSkies1 It was meant to be

Thank you, Mark. I recently read the Cloud Spotters Guide, a very entertaining book by Gavin Pretor-PInney. Maybe you know it, if not, it's a great read and very informative. He writes (among others) about clouds being part of a weather system, underlining your point exactly.

@@PaintingSkies1 Sounds like something to check out, thank you. Im lucky to live in a place with "big skies" and its very apparent that clouds are more than just puff balls in the sky.

That's a beautiful analogy, watching the world inhale. My favorite spot in this respect is the top of a Vlieland dune, just under the lighthouse, overlooking the Wadden Sea and the North Sea. I once watched a thunderstorm develop in the west, almost hitting the island and disappearing in the east. A peak moment.

@@PaintingSkies1 That sounds wonderful. My peak moment was watching the nights condensation lifting off of the mountain tops, just as the sun was rising. I was literally watching a weather system develop.

@@mark-dietz Amazing...

Thanks!!

Yes, that's indeed what I'm aiming at. The horizon is not a division between sky and ocean, but the area where they meet. I'm particularly fond of the kind of paintings you describe, where the hills and trees blend into the sky.

Ah, that's something to try out. Doesn't the blue get a little smudgy when you paint it on top of the black acrylics?

@@PaintingSkies1 I havent used an actual blue, because I tend to lean towards greys in skies and oceans, but I apply the overcoat quite sparingly, by scrubbing it on, looking only to add atmosphere. Keep in mind that this is a back lit painting done in muted orange, intermingled with muted purplish grey, with a soft whitish glow for the sun. Think of 2 headlands for example...I would paint or scrub a very very light coat over one...let it dry...It now looks further away. Then I do another VERY light coat over both headlands. Now the furthest has two coats and the nearer headland only has one. Essentially I achieve different values by adding these tinted washes, or layers. Everything becomes soft and moody. I hope I described that in an understandable way. You should give it a try as an experiment sometime when youre bored. Just paint a scene with all the elements in black. Mountains headlands, large rocks, shadows of waves etc. (silhouettes) Have a wonderful day!

@@mark-dietz Thanks, Mark, for the clear explanation. I'm really tempted to try. I have worked with tonal underpaintings in black before, but not in the way you describe it. Thanks again.

@@PaintingSkies1 Youre welcome

Thanks, Adrian. I always enjoy compliments, especially when coming from a fellow artist!

Thank you, Philip!

Thank you, John!

Thank you! Practice is the key...

I agree, though there is another moment in the process that I particularly enjoy. It's what I call my 'Now We're Gettin Somewhere' moment, when I first begin to see that there is light creeping into the painting. After that I'm confident I can pull it off.

Thanks!

Thank you! If you keep putting in the hours you'll get better. Talent is important, but there is still work to be done.

Thanks!

Thanks!

My pleasure, thanks. The chrome railing was quite a challenge for me too, it's a little outside my comfort zone. For your headlights you may want to check American photoresists from the seventies, in particular Richard Estes. Success!

My pleasure!

Thanks, Fred, good to hear you enjoy my videos. When creating a smooth transition between 2 colors I gradually add more of one of them to the mix. So in this case, when you start with the yellow just above the horizon you add evermore blue to the mix. You obviously will get a greenish blue, but that will slowly change into a real blue. Hope this helps!

@@PaintingSkies1 Thanks! I think the secret is how smoothly you apply it and the gradual addition of blue to the yellow. I'll try this on my next painting.

@@fredguedespereira4458 Don't forget the importance of the right brushes. I did a short video on the subject: czcams.com/video/GPIV9y3j8Kk/video.html.

That's great, thanks! Glad you like the "old music". I do the music for my videos myself and it's always nice to hear it's appreciated.

Thank you, that's very kind. If you just keep painting and putting in the hours, you'll get better. That's what I did.

Fijn om te horen, dank je!

That's very kind of you, thank you!

That's great, Michael, thanks!

Thank you so much, Michael.

Thanks Michelle! The advantage of small paintings is that your painting decisions can be quickly executed and you can learn a lot in a relatively short time.

Thanks, Michelle!

Thank you! It’s oil.

Thank you!

Drie maal dank, Mike!

The stippler and the fan brush can certainly be used with acrylics, though you'll have a lot les time because of the drying time of acrylics. I wrote an article about it on my blog: paintingcloudskies.blogspot.com/2016/08/oils-and-acrylics.html. If you find the time you could read the comment on the article of an acrylic painter (Gayle) with lots of tips to apply the glazing technique with acrylics.

@@PaintingSkies1 Thanks for responding. There's an acrylic paint product - Atelier... that " reactivates" ( unlocks) after it dries so blending is somewhat different than traditional acrylic paints.

@@jannz1942 That's interesting! Did you use it yet?

Thanks, Carolyn!

Thank you!

Thanks!

Very kind, Mark, thanks!

That's good to hear, Mike, thanks!