I gave myself a week on the northern coast and one rule: no pencil first, straight to ink. Most of what came out of that week was bad, which was sort of the point. The ones that weren’t bad are the six studies here.
Working wet-on-wet with wash means the weather is basically a collaborator. Overcast light flattens the water into one gray note, and you paint accordingly. An hour later the sun breaks through and everything you were doing is suddenly wrong for the light in front of you. I stopped fighting that around day three and just let each study belong to its own hour.
The line work is faster than I’d normally allow myself, on purpose. A coastline doesn’t hold still long enough for careful.