Sorry for the delay in today's post. Internet computer failed completely and a new modem was in order. Now I have cords all over the place until I get everything back in place. Funny how something I didn't need a few years ago, like the Internet, is now such a part of my life that two day's without it are difficult! Even missed my Twitter and Facebook friends!
Have you noticed that I've put a moon phase widget on the blog? If you ever want to know what phase the moon is in you can just take a look down the right hand column of the blog. Today it's a full moon, and the biggest moon in a very long time. Earlier clouds have cleared and even though it's getting cold (again) we should be able to enjoy tonight's big moon. Be sure and go take a look. It should be very beautiful, and If you're a romantic, take a nice long walk with a loved one or ones!
Today's daily painting is one that I'm trying out a couple of compositions for a large painting of one of the nicest Marco Island views. Palms on the beach are such a delight since they provide a nice vertical to our nearly horizontal landscape, and with just the littlest of breezes their fronds provide wonderful negative shapes against the sky.
7" x 5" (17.8cm x 12.7cm)
When we look at the sky to paint it, our first question is to ask if the sky is active or quiet. If active, our whole painting might take on the feeling of the wind moving over the landscape. It will affect the way we portray the trees, grasses, and any other part of the landscape that can be affected by the wind. Sometimes, it's only high above that we see the clouds racing by, and the earth remains somewhat quiet. Whichever it may be, remember that they feeling of your sky will affect the rest of the painting, and that they must not conflict. Learning to put volume into your sky is one of the most basic challenges of the landscape painter. But anyone who has spent any time looking up will know that the sky is like and upturned bowl, and that the sky color at the very top is usually very, very different from the sky color at the horizon. If you can follow this color change all the way to the background in the painting, your sky will have volume and will recede into the distance and give your landscape volume. Generally, the clouds overhead are much larger than you would expect, and clouds in the distance shrink in size and fade in color just like the rest of the landscape does as it recedes. The sky is most often cool in color, and the sunlit clouds are usually warmer. Up close the undersides of the clouds are usually darker and more ragged, but still much lighter than land. As clouds are seen in the distance, their bases become flatter and there image sharper and clearer. The also be come smaller, and will be warmer in color as they near the land. Practically, it will help to have your brightest clouds nearer to center of interest of your painting. Much of the painting above was done with a palette knife, and there's a nice sense of clouds and movement in the sky.