West River Trail

                                                                                   (C) 2025 Dale DiMauro
 

The West River Trail in Brattleboro, VT is a lovely walk right after a fresh snowfall. The sun coming off the Connecticut River or from the East produces a lovely warmth with the local birds flitting about. 

I like the agricultural field which you soon pass by for it's color changes throughout the seasons. Also, the smaller water channels which parallel the Connecticut River add much value when I am exploring the sights and sounds of nature.

I like painting on this 'Master's Choice' watercolor paper. In particular, I like the 'rough' surface they have which has a nice bead to it. If you use your brush right you can get nice dry brush effects across this textured surface.

Tough Winter

                                                                                               (C) 2025 Dale DiMauro

Winter is a great time to paint watercolors. I find the snow a great source of inspiration with the light patterns and the landscape, in general, viewed from a different perspective.

However, this winter has been a real challenge, at least, for me. Days and days of bitter temperatures, the absence of snow and then frequent storms requiring endless shoveling has made this winter exhausting. 

This winter my house was so dry I couldn't keep my eyes and skin moist enough. I had to do an exhausting eye treatment of drops every fours for nine days or so and then I got not one but two respiratory flu-like colds which dragged on forever.

Other than that it was a good winter. I did get some watercolors painted but not nearly as I intended as the house was so cold. We had many gray days where the snow stayed on the roof and our solar panels become ineffective. However, I am beginning to appreciate the mid-day sun and increased length of daylight. Before long I will be able to paint outside again....
 

Monadnock Table Cover Artist

                                                                                      (C) 2025 Dale DiMauro
 

Since January I have been the featured cover artist on a local magazine called Monadnock Table. This magazine is published by the Keene Sentinel (Keene, NH) and primarily distributed in Cheshire County, New Hampshire.

Overall it has been a positive experience from the initial interview through emails and seeing it published. I relish the exposure it has created and the feedback from people who have seen it.

The theme of the publication was 'comfort foods', winter and snow. To fit this topic I supplied many watercolors of snow which were painted several years ago when we had snowier winters. Little did I know we would have a 'true' winter this calendar year.

Landscape Painting

                                                                                             (C) 2025 Dale DiMauro
 

When visiting coastal Maine last summer I noticed this woman in the distance dressed in red amongst a tangle of green. The green growth almost looked tropical in contrast to the woman's orderly appearance and behavior.

That flash of an image or memory sat with me for some time. Recently, I decided to put down that experience on paper. The mystery of what is happening out towards the ocean adds another layer of intrigue.

I like utilizing the complementary colors whenever I can. The red/green combination for me really balances out the composition.

LOCAL FIELD

                                                                                         (C) 2025 Dale DiMauro
 

There is a nice warm glow to this watercolor. I come back and can gaze at this picture endlessly. I don't know what it is - but I think it is that creamy yellow in the middle. There is warmth even in the shadows in the foreground.

Here in Vermont we have had a gray, cloudy, winter. Not to mention the coldest winter I can recall. So to look at that bright, sunny picture above makes me calm and focused.

I like the combination of yellow ochre/burnt umber for the woodland edge feathered up from darkest at the bottom. 

Experimenting with Painting Skies

                                                                                     (C) 2025 Dale DiMauro
 

Often I will turn over an unfinished plein air watercolor painting and just start painting on the backside. This is the case with this watercolor.

I keep developing my approach to painting the sky in watercolor. It is very easy or instinctive to paint a graded blue wash for the sky. However, most days are not truly full of blue skies. Also, the sky really conveys the mood for your scene so there is a large opportunity for me to seize.

In this sky I lifted out paint where the streaks of white are. Also, as the pigments dried I dropped in water or sprayed mist which created cloud-like shapes with soft and hard edges. These are some approaches I look forward to developing in the future.

Stepping back from this painting I can see how a J.M.W. Turner (1775-1851) influence may have seeped in. Turner was a landscape painter who left a vast quantity of watercolors, in addition to his oil paintings.

But no -I have not even thought of J.M.W Turner, in some time, even though I do find his work intriguing.

Landscape Painting

                                                                                      (C) 2025 Dale DiMauro
 

Nothing inspires me more than painting the landscape. The changing natural light and seasonal color can be endlessly fascinating. There are a limitless amount of techniques to adopt which can make your paintings evolve.

However, painting fast in watercolor is a thing. This approach is more about putting down pigment, minimizing detail and not fuzzing about.

This painting was done in about forty minutes. It was painting rapidly and very satisfying in execution. There is a directness and freshness which I like about this approach.

Test Sheets

 

                                                                                       (C) 2025 Dale DiMauro

In a post years ago I wrote about the value of test sheets. An artist can test a color combination, develop a value sketch or refine their composition on a test sheet. These are all important steps in the painting process. 

These small watercolor books purchased at my local coop provide a similar service for me. They are great for on the go or painting outside in warmer weather. They are just so portable. 

However, they are equally good for testing paint mixtures and compositions etc. They become a great reference to return to when painting a watercolor. Also, these books are great for painting studies or just putting down on paper what you observe out in nature.

Without hesitation I paint right on these sheets of watercolor paper. Often, I don't sketch at all on this paper.

P.S - I have been recovering from a respiratory illness and was not able to post last Sunday. Out of routine I try to post on Sunday and Wednesday's with very few exceptions. However, with all the sneezing and coughing the last week has been a challenge. Hopefully, I am back on schedule.

Monadnock Table Cover Art

 

                                                                                     (C) 2025 Dale DiMauro

For the months of January/February(2025) I am the cover artist in a local magazine called Monadnock Table. Inside the cover some other watercolor paintings I have done featuring the winter season are displayed.

A writer from the magazine based in Keene, NH, came over and interviewed me earlier in December. Overall working with the folks from this magazine has been rewarding but little did I know it was going to be fourteen below as it was at my house last night.

I think the cold temperature displayed in the above watercolor is quite indicative of the winter season we are in the midst of.

Dark Greens

                                                                                                   (C) 2025 Dale DiMauro

After years of watercolor painting I just learned how to mix a dark shadowy green which I like. Mixing paynes gray with permanent sap green offers up a cool, rich green. I only learned this by constantly experimenting with different techniques and paint combinations.

However, it makes a huge difference when painting landscapes where you want to convey a sense of depth in your picture. Also, it helps brings out all the other rich colors in your painting.

The paintings above were really improved upon by adding that cool, shadowy green in the foreground. It provides the foreground with a solid footing for the landscape to emerge from.

It's not that there aren't other greens out there. There certainly are. It's just that when you mix a lively combination the page comes alive which no store bought pigment can compete with.

Sketchbook Studies

                                                                                                  (C) 2025 Dale DiMauro
 

Using a sketchbook on a daily basis is critical for artistic development and in sharpening your observation skills out in the world. This sketchbook is made with watercolor paper which is a real plus.

By trial and error I learned that this paper is great for lifting paint. Lately, I have been experimenting with the skies I paint. I wanted to emulate the skies above me which had these white streaks cutting through the blue sky.

It was so easy and intuitive to lift the blue from the paper. Also, I applied drops of water to the damp paper and it created cloud-like forms which was real encouraging.

By the way, the paper used here is: Elseware 300 lb cold press watercolor paper.

Winter Landscape

                                                                             (C) 2025 Dale DiMauro
 

After dealing with some eye issues it feels good to be back painting. The dry heat in my house has given me some dry eye issues. Dry eye therapy drops have helped but there is still irritation. Getting outside every day helps a lot, too. 

With limited snow on the ground it has not been an inspiring winter so far. I miss the snow blanketing the landscape and all the neat light patterns that come with it. The freshness of snow with it's drifts of accumulation along with reflections across frozen water and in windows has been a distinct regional characteristic.

This watercolor is painted from memory weaving many experiences cross-country skiing in the local fields and hills of Vermont. It has the dense evergreens in the distance buffering the winds and the small frozen ice pond in the foreground with it's windblown surface and scraggly growth on the shoreline.

I like the under wash of alizarin crimson showing through in certain areas. Also, the varied light I find interesting

Winter Landscape

                                                                                 (C) 2025 Dale DiMauro
 

The more experience I gain in painting with watercolor the greater understanding of what I can do with the medium. I continue to appreciate leaving the white of the paper when I can. The dry brush texture in the middle and the contrast with other colors makes the white of the paper sing.

Recently, I came upon the combination of alizarin crimson with burnt umber and ultramarine blue. This creates a soft black in the photograph, above as, in the distant hills. It came off the brush as a fresh dark which felt great to work with.

This watercolor has winsor violet in it which provides a cool feel to the overall scene.

HAPPY NEW YEAR

                                                                                 (C) 2024 Dale DiMauro
 

Over this holiday period I have been reading Eye of the Beholder: Johannes Vermeer, Antoni Van Leeuwenhoek and the Reinvention of Seeing, by author Laura J. Snyder. At one point she references Vermeer painting color into his shadows in one or more of his lovely interior scenes in contrast with some prior painters primarily using black or dark gray. 

This thought has lingered in my conscious over the last twenty four hours or so. In the past I have been encouraged by various art instructors in go back into my shadows and describe with color and texture the feel of the landscape and its contours. 

This above landscape, has a different feel, to me simply because of the use of winsor violet. Winsor violet is a color I use sparingly, except yesterday, as it is featured in this picture. It makes a nice dark when combined with burnt umber. Mixed with raw sienna, winsor violet makes a lovely tree trunk color as can be seen in the above watercolor. Also, I used it in a color mixture for painting the distant hills.

I like the cool color temperature of the colors here and in the shadows, as it is reminiscent of some of the hollows I walk through in our local woods. In particular, the stretches of winter when the ground is absent of snow cover.

HAPPY HOLIDAYS!

                                                                               (C) 2024 Dale DiMauro
 

With this busy holiday season I have not been able to draw or paint as I would have liked. Plus my wife is still recovering from the surgery she had earlier in December. However, the various snow accumulations have freshened up the local landscape on these shortest days of the year.

Sometimes I simply put down a quick watercolor study as this one in my small watercolor book that I purchased at the Brattleboro Food Co-Op. I like this bound-book put out by elseware as it is a thicker paper with a nice texture. 

This combination of burnt umber and winsor violet creates a lovely dark red which sets a nice tone for the overall landscape. I have taken to adding lavender to my sky's on occasion and sometimes with payne's gray. It adds a pale color and offers a minor amount of drama to the overall scene.

Maple Picture Frame

                                                                                            (C) 2024 Dale DiMauro
 

Recently, I made this maple picture frame at a local workshop at the hatchspace in downtown Brattleboro, VT. It has a spline in the corners to strengthen the miter joinery. This frame-making experience led me to join the hatchspace with their promotional offer. They have four floors of tools, work stations and spaces.

The hatchspace has a machine that makes frame profile stock out of your wood. This is a machine I want to learn more about. In addition, I have a corner joiner at home which I want to put to good use this Winter.

So there is a lot to learn about for me regarding frame-making. In watercolor that also includes cutting glass and mats and assembling this sandwich all as one unit.

I apologize for the glare in the upper right of the image. I tried to use the cropping/red eye software to minimize or eliminate this glare but it didn't take me as far as I would like too. However, I do think the watercolor looks pretty good within this frame.

Cobalt Blue & Burnt Umber

                                                                               (C) 2024 Dale DiMauro
 

When you study the landscape you begin to see things for what they are. Over time you develop a clearer lens and this informs my decision when choosing what to paint and how to go about painting. Or at least that's how I feel about my painting.

It takes a great restraint to paint with a limited palette. Particularly when you limit yourself to two colors. Yet there is a great harmony of color when you use a simple palette.

This watercolor was painted with only cobalt blue and burnt umber. I like the light in this picture, it reminds me of the mid-winter noon hour. I have cross-country skied many days at this time of day. All the landscape elements are clearly defined by the light and the contrasting colors.

Color Swatches

                                                                                               (C) 2024 Dale DiMauro

In the past I have posted about the importance of painting color swatches in order to have a greater understanding of your color palette. With this practice my palette seems to continually expand.

For example, there are countless grays which can be produced as in the above photograph. However, there is such a range within the grays: warm and cool versions which add so much to a painting.

When I paint color swatches of plant combinations I turn them into miniature landscapes as a way to put them to use in painting. I paint these very intuitive and in a free-flow manner so as not analyze things too much.

Over time I realized I can get by with a limited palette as I better understand what I can do with the colors at my disposal.

Anders Zorn

                                                                                                 2024 Dale DiMauro
 

Anders Zorn(1860-1920) was a great artist from Sweden known for his mastery of watercolors and portraits in oil including United States presidents. He painted President William Taft and was a contemporary of John Singer Sargent.

This watercolor I did was inspired by a Anders Zorn watercolor, Sea Study, 1894. It was a small study 5" x 7-7/8". Zorn seemed to use a limited palette with a direct painting technique which caught my attention. I don't know his actual palette so I tried to replicate his colors.

For the sky I used ultramarine blue/raw sienna/paynes gray. And for the water I used ivory black and paynes' gray. I did my watercolor in one quick passage which I suspect Zorn may have done as well.

I saw Zorn's watercolor study in a book I purchased years ago titled: Anders Zorn: Sweden's Master Painter.

Retreat Field

                                                                                                (C) 2024 Dale DiMauro
 

Capturing the landscape in pencil or paint is both an obsession and a meditative state for me. The act of recording a scene makes me pay attention to what I see and then the practice of painting calms me down so that I am in the present moment like no other activity I can think of.

I just started this watercolor an hour or so ago and like how it is progressing. Like most artists the light is what caught my eye with this composition. That light makes the whole landscape seem special or at least noteworthy.

There is such a freshness to this watercolor with the pleasing pigments and the blending of colors that the warmth of light seems to be a result of the act of painting. That heavy shadow in the foreground seems to sharpen the view of the distant landscape.

At times the less you paint the more powerful the image can become. Would a figure in the foreground ruin this picture for you?