mediums and texture: the sky

This collection focuses on the visual representation of the sky as a texture and how it is influenced by the medium used, taking into account variants of color combinations and techniques. The purpose of this is to make an exploration of the similarities and differences in perception found in the viewer, reached based on the choices of materials used while depicting a common element in both reality and paintings, the sky. The reason for picking each painting for this collection is because they offer a brief look at combinations of depth, value, colors and blending that create a variety of texture not always resembling space as light and airy as the clouds integrated to the rest of the sky. 

In this piece, the texture of the sky is warped because of the colors and brushstrokes. There are shapes that resemble clouds, but for the most part, it looks rough and with little to no depth.
Munch brings a night sky that almost seems to suck in the light of the houses. His management of color and sharp brushstrokes allows for a painting that gives the illusion of harmony and division.
Palmaroli accomplishes depth in the cloud covered sky, but the effect remains very grainy and does not retain the fluff we associate clouds with.
This image was chosen because Sisley manages to resemble reality more with oil on canvas. The clouds seem to be throughout the rest of the sky, but the effect is still very flat.
This painting shows a rough outline for the clouds in the sky because of the base, paperboard. Nonetheless, it still retains its weightless look thanks to the blending quality of oil paint.
This painting has a combined effect of accurate depth towards the center of the clouds. While the texture seems light and floating, it still conserves a flat look because the exterior outline is flat.
This art piece seems to show a well blended sky, along with depth in the clouds. However, this is just an illusion created by color blending characteristic of ink that separates with contrast.
This painting was chosen because of the difference in texture using oil paint on paperboard, like the first painting in the collection. Now the sky looks very well blended with no sharp outlines.
Using graphite on medium, slightly textured, beige laid paper; James Ward manages to show depth and light density while not making the outlines of the clouds too sharp.
Ward again shows understanding of texture. The clouds merge into each other while maintaining depth and perspective using brown and gray wash over graphite on medium, smooth, cream wove paper.
This painting shows a well represented sky that manages texture, value and perspective appropriately with the help of the characteristic aspect of watercolor.
Watercolor seems to be one of the best mediums to work with when illustrating a sky. Blending in this one is very well done; depth and perspective are accurate, creating a defined and dense sky.
Graphite again proves to be a nice medium when making a realistic sky. The outlines are not sharp; the illusion of depth and integration to the rest of the space is pleasant and makes it look fluffy.
A combination of what appears to be the most recommendable mediums to work a sky, watercolor and graphite, develop the most accurate texture with a well managed depth, value, perspective and density.
This serves to compare the diversity of mediums to the realistic quality of photography and digital print. A vivid sky captured by a lens finishes the collection with beauty and artistic expression.
Credits: All media
This user gallery has been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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