White Christmas on Marco Island!

White Christmas on Marco Island!
So what if its a white sand beach instead of the cold blowing icy snow? This darling snowman was demanding to be painted, but after struggling with time constraints I decided to make gingersnaps instead. You can have a few if you stop by! Thanks, Vickie, for sharing the photo!
The next few days will be devoted to enjoying the holiday, family and friends. Hope your Christmas, Hanukkah, Kwanzaa, or whatever you celebrate this time of year will bring you much pleasure and good memories. I'll look forward to posting and painting again in the New Year.
Merry Christmas! Happy New Year!


Condo View, Montery Studio painting by JoAnn Sanborn

This commissioned painting was fun to do. The clients live on the third floor of a condo, and the wife wanted a painting of the view for her husband who can't come to Marco Island quite as much as she can since he's still working. She wanted a wide expanse of transparent gulf, and to include the palms that they see from their window. The ground level was a particular challenge because despite looking out at really tall palms there was an understory of palms below. Trees are usually an upright element, meaning that they are a dark plane because less light falls on them. Seen from above, here, they become a flat plane, with more light falling on them. I compromised in value while painting them because if I had made them too bright and busy your eye would have been caught there instead of passing over them getting to the higher palms and the water. I didn't want this lower level of greenery to become too prominent. I'm pleased with the results, and wish that the painting will arrive on time for Christmas and safely with all the snow and storms up north! Let's also hope that the recipient doesn't take s sudden look at the blog and spoil the surprise!


Big Moon, Beach Palms Daily Painting by Everglades Artist JoAnn Sanborn

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.

Beach Palms
7" x 5" (17.8cm x 12.7cm)



Skies and Clouds, Late Autumn Studio Paining by Everglades Artist JoAnn Sanborn

Late Autumn

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.