Turner seems to have accomplished some awesome atmospheric effects quickly and roughly, especially in his sketches, where he used his fingers as well as a brush to move paint around the page.
Today I tried a quick study of one of his sketchbook works of Eddystone Lighthouse. I have been reading about the paper he used being gelatin sized and the sizing being very resistant the first time around then breaking down. This reminded me of the Moleskine sketchbook paper, so I gave that a try with two colors: Payne’s Grey and Burnt Umber. The smoothness of the paper made these effects easier to accomplish. Here’s my sketch of his sketch:
And here is the original. The point in my mind wasn’t to duplicate the marks he made, but instead to get a sense of some techniques and apply them myself. I am looking forward to putting some of this to work out in the world.
Thanks for reading.
Corey Aber 
When I think about (or look at) the works of the “Masters,” I tend to think they tossed them off quickly, too. But maybe they didn’t. Maybe what looks like carefree and quick brushstrokes were actually the result of their careful consideration and they sat back and studied their subject and leaned in and made a careful mark, and repeated….repeated….
Good point. I was really referring to his sky studies, which would have been quick, while of course his more elaborate works were another story. So much to learn from Turner.