From Part 1 of Painting a Large Sky Scene; I transferred the line work from my preliminary sketch to the canvas surface. Now I concentrate on blocking in large areas within the painting with singular colors. For example, the entire cloud mass is painted this blue gray as a mid-tone starting point. Later I will come back and add darker shadows and lighter shadows. Later still I will add high-key sunlight spots.
At this stage I have added the darker areas to the underside of the clouds, I have added lighter areas of shadow to the clouds, (everything in this style of landscape painting is about modeling how light falls on a surface. I always try to model the shadow (low-key) areas for dark-medium-light tones and the sunlight (high-key) areas for dark-medium-light. At the bottom of the painting I have painted a medium-base tone for the distant foothills and a odd shaped foreground mass. Notice the blue sky values; the upper painting is an intense blues that fades as it falls.
The final painting has highlights in the clouds, and a corresponding foreground brightness. The lower left corner has the airport buildings and highway shown as a scale reference. The distant rain showers are hitting at various intervals for a more elaborate depth perspective.
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