Relating a blue sky to the tertiary ground

Okay, so now we'll add the blue. And again, on a painting I use different size brushes and it doesn't matter what the medium is, you know, don't use the same tool through your entire piece, because if you do, again, it's like the same texture, the same tone, the same value, creates monotony, it's not as interesting. So, I'm going to grab a little bit of my Antwerp, my blue-green blue. And I'm going to drag this into this area that I used the paper towel on. And you can still see the texture of that raw umber under there, and that adds interest. And I did that for a reason. I could have kept it really smooth if I had chosen to, but I liked when I did the pencil drawing. This sort of textual quality to the cover. I really thought that looked that looked nice. So here I'm also looking at the piece. There's a slight gradation of tone from the top of the sky to the base. So I'll add a little bit of water and keep this color lighter as it get down towards the tree line. You might say, well…