CLOUD INVERSIONS

This topic came to mind whilst driving to the studio this morning. I always get a thrill out of seeing the peaks of Great Shunner and Stags Fells rising out of a sea of mist where only the highest of roofs and the tower of Hawes church can be seen. Very much an Autumn phenomenon, cloud inversions are a great way of spicing-up a landscape.

The moment the sun rises can be a spectacular and special moment. The fact is; sunrise and sunset are, for the artist, without doubt, the best times of the day. As the days get shorter and the mornings colder, however, the potential for low-lying mists clinging to the valley floor become more frequent. Morning valley fog often appears after a clear night where air near the damp ground has cooled by radiation. As the cool air is heavier it stays in the valleys, leaving the tops in clear warmer air. The sun will normally destroy the effect within an hour or so of rising, so only the earliest of risers get to enjoy it. There are rare occasions, however, in mountainous regions where the effect can last all day – this is known as an Inversion Aloft (apparently), created when a layer of warmer air exists between colder air below and above (possibly caused by cool sea breezes undercutting warmer air). If this layer dips below summit level clouds at the top of the lower cold layer will appear as a cloud sea from summits.

Painting such an effect is surprisingly simple. Essentially, all you need to do is paint the rising hills wet-on-dry, and constantly soften-off the bottom edge with clean water on a damp (note; damp but not too wet) brush. the trick is to offer clean water up to the lower edge, thus encouraging it to flow downwards into the clean, damp area. If this area is too wet, the paint will flow to the bottom of the damp area and create another hard edge, so at some point a light dabbing with a tissue may be necessary to diffuse and disperse it. Barely-visible features within the area of mist should be added carefully, and with only a light, grey mix to preserve the mood and mystery.

Peter Woolley

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