Watercolor sketch

(C) 2017 Dale DiMauro

Happy New Year.
May you take on new challenges
Just as I have tried my hand at the ukulele.

May the Olympics carry on.
May political division diminish.
May progress and change be truly meaningful.
May the earth's wounds heal.
May we see the advent of a new golden age.
May we all contribute to a better and more beautiful world.

To all you readers out there,
Near and far,
Artistically inclined or not,
Athletically motivated or home bound,
And certainly those technologically challenged,

May this be the best year ever.....

Along the Keene, NH, Rail Trail

(C) 2017 Dale DiMauro

This watercolor was started early this afternoon. I like where this picture is headed, however, my start was cut short by time constraints. Lately, I have become clear in my thinking as to how I want to approach the start of a painting. For example, there are occasions when toning the paper is beneficial, such as painting a winter scene. Other times I focus on the landscape and finish the sky later.

I have become more willing and even perhaps, more adept, at dropping in color when a section of the paper is wet. The fall colors were created this way. Fall foliage can appear fresh which I prefer, or can it become overworked, which I detest.

The way the big pine tree on the right frames the scene was the inspiration. In addition, I like the sharp contrast in light across the landscape.

MERRY CHRISTMAS

(C) 2017 Dale DiMauro

Each of the last three days in Brattleboro, Vermont, we have had either snow, sleet or freezing rain. It is pretty much a mess outside. On that note, I thought it would be best to introduce a little summer to this winter, during the holiday season. I noticed the high temperature forecast for thursday at nine degrees with a low of ten below.  

Last night I painted this watercolor from a photograph I took last summer. It is of a favorite local swimming and paddling spot.

Paint was lifted at the end to create the tree trunk reflections in the water. I like the little triangle shaped lush greenery on the right. There is lot of temperature felt in this picture.

Winter in Vermont

(C) 2017 Dale DiMauro

Yesterday, I set up my easel by the window, in our house and painted this outdoor scene. I approached this as if it was a plein air painting. Fortunately, the sun broke through in the afternoon creating all these beautiful shadow patterns across the land. 

In the morning, I was eager to experiment, with an underwash, before painting this scene or even laying it out. The warmth in the foreground, which is more noticeable in the painting, than in this photograph, is a result of putting an initial, wet wash of yellow ochre across the whole sheet. 

Usually, I start painting from a white surface but in this case it was already toned. This way I could exaggerate the warm qualities the sun was providing, in contrast to the cool blues and shadows, which characterize this landscape.

Is this an english landscape painting?

(C) 2017 Dale DiMauro

Is this an english landscape painting? No, but to me it has some qualities found in the british watercolor tradition. British artists often paint without the high contrast in color or light. In fact, they may not paint with much color at all. The ground plane they depict is often gray or a muted green, which when you consider their climate, is quite fitting.

This painting was inspired by the lush foliage and greens at the foot of the Harris Hill Ski Jump in Brattleboro, VT. I noticed cool blues in the shadows of the maple trees, which I had not noticed before, on a hike through their trails.

Recently, I have been dropping the pigment, burnt sienna, into my washes of green for the landscape. I like these pockets of warmth and variety, which seem to reveal more substance from the land. 

Pen & Ink Drawings

(C) 2017 Dale DiMauro

With this sudden burst of arctic air and the advent of winter, here in Vermont, I went about organizing my studio for the cold months ahead. I came upon this little sketchbook from several years ago, which has many pen and ink drawings of ideas for local gardens. Many ideas in this journal are for ways to reduce the quantity of lawn and offer a greater source and better variety of plants to consider for plantings.

While revisiting this journal for a few moments, I felt a little warmth of spring. However, I do like the organic, natural quality of the drawings. 

There is a special quality to the timeless use of stone, when crafted with pride, native plantings and trees allowed to reach their mature state, full of character.

Newly constructed mini-flat file

(C) 2017 Dale DiMauro

As it was getting colder and the days on the calendar were advancing, I was pushing to build this mini-flat file. A good chunk of the wood I used, which is primarily oak, was sitting around in the garage from last year. Any additional lumber I purchased from the local Home Depot, as they currently supply quite a selection of half inch stock.

Counter space, in my studio, is at a premium. Thus, this flat file was constructed to hold paint brushes and store small watercolor paper scraps. My studio is south facing which makes me leery when it comes to leaving watercolor paintings out in the sun.

For me, building things out of wood is very rewarding. I enjoy the process of figuring out how best to construct something. Finally, shaping the various pieces of wood and joining them into a finished product is very satisfying.

More progress................

(C) 2017 Dale DiMauro

For some time, I have been eager to paint an urban scene. The setting, believe it or not, is downtown Brattleboro, Vermont, right after a parade passed through. I took the artistic license and omitted other people from the scene. The white shirt brings out the dark complexion and vice versa, which on watercolor paper is stunning. In addition, I find the high-top shoes and the man's posture captivating.

For me, this is the point in a painting, at least, when the scale is significant, where the progress is exciting. Besides the figure, there is something compelling, about the background, with all the various surfaces in their differing shapes, textures and coloration.

The textured wall above the sidewalk, has lunar black, a color I have been experimenting with, which I wrote about in a previous post.

Public doodle

(C) 2017 Dale DiMauro

With the Christmas season in full swing, I attended our local Community Messiah Sing. In addition, to getting into the Christmas spirit, it was an opportunity to sketch your neighbor or neighbors' profile between songs. 

Capturing an individual in a natural pose can be a difficult task even if it is as simple as a two minute sketch. People constantly fidget about, not, unlike a bird. For example, people incessantly adjust their hair or glasses and run their hand over their face. 

At this scale, I am trying to capture the essence of someone without getting technical. Sketching these doodles makes me want to do more and develop others into larger drawings.

Late Fall in Brattleboro, VT

(C) 2017 Dale DiMauro

This is a watercolor I have been playing around with, here and there, over the last couple of weeks. I was struck by the russet fall colors this late in the season, in combination, with the long shadows. At this time of year the light is changing so rapidly I had to take a photograph before the landscape was all in shadow. I would have preferred to work in plein air except the temperature was dropping rapidly, too.

I came back to this after several days when it dawned on me I have a little used pigment on my palette which is needed to complete this picture. That color is called brown madder, which is a red. I applied it on some of the trees on the forest edge which added a richness it was lacking.

This photograph came out more on the orange side than the actual picture conveys.

Canaletto & the Art of Venice

Photograph taken from Canaletto(book)Author J.G. Link, Phaidon Press Limited, 1999

Yesterday, I found myself at the historic Latchis theater in downtown Brattleboro, VT. I walked down and saw the film titled: Canaletto & the Art of Venice. 

Canaletto(Giovanni Antonio Canal) was not known as a watercolor painter. He did carry out studies in pen, ink and wash, though. However, he was an extraordinary view painter with a skill unlike anyone else in his time. His advanced technical skills and knack for conveying atmospheric qualities make his paintings powerful. He was born in Venice, Italy, on October 28, 1697 and died in Venice, Italy, on April 19, 1768.

He painted urban scenes in Venice, along the canals, which are simply stunning. One observes that these landscapes are devoid of trees except for a rare specimen tree, badly misshapen by the elements and human existence. These paintings were primarily sold to tourists from England as the locals lived this landscape in their everyday lives and most likely could not afford them.

Whether he utilized a camera obscura or not as an aid in laying out the frame work for these paintings does not reduce the value of his work. In preparation for completing these large oil paintings, he filled his sketchbooks with impressive architectural drawings as studies, which some may have been done from the brow of a boat.

Unfortunately, with all his skill, labor and productivity he passed on poorly compensated.

Lunar black is .....the new orange....

(C) 2017 Dale DiMauro

In watercolor painting it is common not to use black as a pigment. Most artists often mix a combination of pigments which may include ultramarine, payne's gray and cadmium red among others, to arrive at a dark whether it on the warm or cool side. In the past I have used ivory black in the rarest of times primarily because the color is often flat and unexciting. In addition, neutral tint is a pleasing dark, but not a true black, right out of the tube.

Recently, I have been experimenting with lunar black. I find this black does not stain the paper, making it possible to lift color, is transparent and combines well with other pigments. As in this quick watercolor sketch, up by the figures, I combined cadmium red with lunar black arriving upon a rich, vibrant color.

After completing this sketch, I was struck by the quality of the light backlighting the figures. With the shadows projecting on the ground you can nearly feel the time of day and sun across their bodies.

Urban Landscape

(C) 2017 Dale DiMauro

Recently, I started this watercolor of an urban setting. It has all the qualities I usually do not paint. It has multiple walls and pavement. In fact, all the surfaces except the individual are hard. Clearly, there are no plants to be found here.

With that said, there is much appeal for me, in working on an urban landscape. The patterns, colors and textures of the various wall surfaces are endlessly fascinating. The shadows projected across the sidewalk and from the windowsill are full of life. They add dimension to the landscape.

However, the composition is truly about the individual. Once you put a figure in a painting the critical eye goes right to that area. Trying to capture the posture and how that person relates to the surrounding is an exciting moment. Just developing the form of the white shirt against the brick and skin tone is inspiring.

Sketchbook drawing

(C) 2017 Dale DiMauro

When possible I prefer to carry a sketchbook with me wherever I go. Even a simple sketch during lunch on a busy day keeps the mind thinking about potential compositions or the evolution of an idea. At the same time the hand is kept sharp through recording observations and experimenting with different media. Lately, for example, I keep thinking about doing more pen and ink studies.

In the late summer I picked up this sketch book by Canson. I am always experimenting with different papers. Some of my curiosity is simply based on the feel or texture of the paper.  Also, I am intrigued by how technology is changing both the preservation of works on paper and the paper available to use.

This new sketchbook, on the end cap, states that the paper will not turn yellow over time. How are they able to do this? In addition, more and more sketchbooks these days are made where the paper lays flat which was not the case in the recent past, particularly among bound books. Books which do not lay flat drive me nuts. Now that is an advancement that I truly can appreciate.

Eldridge Hardie

(C) 2017 Photograph Dale DiMauro

Several years ago, I purchased this used book, over the internet, titled: The Paintings of Eldridge Hardy: Art of a Life in Sport. There were not many available at the time but I am glad for acquiring it. It has become one of my favorite art books and I keep it at arm's length. 

What I admire about Eldridge Hardies' paintings are the small watercolors such as the one pictured above. There is usually a figure out in the landscape, fishing or hunting, perhaps with a dog. He captures the postures of the figures with simple elegance. His use of a simple watercolor palette enhances the composition. The paintings convey a directness of technique while utilizing the white of the paper to great effect. Often the sky will have a wash of blue with areas left unpainted suggesting clouds.

When I have time to paint outdoors and the weather is conducive to plein air painting I try to emulate the qualities that Eldridge captures in my own work.

Faces in the Crowd

(C) 2017 Drawing Dale DiMauro

When the World Series was on a few weeks ago I started drawing this portrait from a magazine photograph. The magazine has since been recycled so I do not know who took the photograph as to give credit where it is due. Nevertheless, the games ended up becoming such a lengthy affair that I completed this drawing in one sitting.

If I get the facial features relatively accurate in proportion, I feel like some quality about that individual has been captured which are not tangible. More specifically, an element of someone's spirit comes forth. To capture that quality or at least attempt to, with a single pencil and paper for me is exciting.

In drawing you can get straight to the point as it expresses the structural qualities of the face. I consider drawing my dry media as there is no clean-up required.

Along the Housatonic River

(C) 2017 Photograph Dale DiMauro

Yesterday, yet again, I traveled to Kent, Connecticut. This time to retrieve my painting at the conclusion of the North East Watercolor Society's 41st Annual International Open Exhibition.

I was struck by how beautiful the Housatonic River Valley is at this time of year. On route seven, which meanders along the river, vistas of rolling fields, distant hills, and even the Berkshires come into and out of view. Upon arriving into Kent, the sun had begun to blanket the fall landscape with a combination of ochre, sienna and tawny colors. Even the cross roads had stately specimens in full color, whether an oak or maple. 

Out in the landscape I felt as if I was a small figure moving across the canvas in an Eric Sloane painting, who was a local resident and well known artist.

The fly fisherman I posted on October 18th, was once again alive in the center of the river with waist high waders as I drove past. I truly wanted to take a photograph of this iconic scene but there was no place to safely pull over.

Keene reservoir & park

(C) 2017 Dale DiMauro

Some how I had a mix up this afternoon. I drove to Keene, NH for a one o'clock appointment but the people I expected to meet were not there. After eating lunch I decided to start a plein air painting to overcome my disappointing afternoon.  

At the end of summer I had discovered this park wrapped around a reservoir off a steep hill. I was able to spread my stuff out on a park bench and work on capturing the late fall color. The photograph does not do it justice, as I felt the picture got off to a great start. Just before leaving I took a photograph so it can be finished at home. 

Originally, I was taken by the stately tree, fall foliage and slope of the land down toward the water. What fascinates me are the marks created where there is a lack of paint.

Playing with pigments

(C) 2017 Dale DiMauro

Recently, I began using Winsor & Newton watercolor blocks for plein air painting. So I figured it would be a good idea to try their little watercolor book to acquire more experience with this paper and test out color combinations.

As I understand it, there is a bit of a resurgence of interest in watercolor. This is due, in part, to the sharing of information over social media, accessibility and the ease of portability that the medium offers. In addition, the influence and development of technology which is constantly impacting our lives is improving paper and preservation techniques etc. I am stating all this because the materials I have to choose from are quite different from day to day.

This imaginary landscape is a vehicle to experiment with this new tube of indian yellow I have been eager to try out. It was used in the foreground on it's own and in combination with prussian blue to paint the green of the tree on the left.

American Watercolor Society

(C) 2017 Dale DiMauro

The deadline for the mother of all watercolor shows is fast approaching. November 15 is the deadline to enter the 151st Annual International Exhibition of the American Watercolor Society. This exhibition runs from April 9 - April 28, 2018 at the Salamagundi Club in New York City.

This is certainly a prestigious show with lots of prize money. However, I am undecided about which painting to enter. 

This is one of many compositional studies explored through quick pencil sketches. Perhaps, I will produce a new painting on short notice. For some reason, I am leaning towards starting a painting on a half sheet, which is 15" x 30".

Plein Air Landscape

(C) 2017 Dale DiMauro

Late this afternoon I started this plein air watercolor. I was in Keene, NH, finishing some errands when I settled on this spot in the Asheulot Park. It may look a little amateurish, but I like the decisions made along the way. The days are getting so short that the window for painting is narrowing rapidly.

Since the yellow foliage was so fresh and dominant, I wanted to put down a vibrant wash and leave it alone. When plein air painting, it is important to utilize the old adage: warm colors advance. and cool colors recede.

When I started the sun was in my eyes with the landscape backlit, creating interesting shadow patterns and that mist-like quality on the right side.

Kent, CT

Last week I drove to Kent, Connecticut not once, but twice. This is where the North East Watercolor Society holds it's 41st International Exhibition. Many people have told me this is a prestigious show and that I had as good a chance as any of winning an award. 

The first time I went to Kent was to deliver my painting and the second was for the opening reception. Since I had never been to Kent, I really did not know what the area was like. However, on the drive down I became impressed with the landscape of the Housatonic River as you drive beside it for stretches at a time. 

On my first pass through the area, on Route 7, I saw a fly fisherman standing in the middle of the river with waders on, casting for his catch. I have since learned that this river is a popular fly fishing destination, on par with many western rivers. Apparently, it has among the finest trout in the eastern United States. You will find some remaining covered bridges along the way too. With my wife and mom, we did visit Kent Falls, a state park with seventeen different waterfalls.

When I go to retrieve my painting I plan on doing a plein air painting and fitting in a hike. 

This little watercolor was inspired from a photograph I saw in a Vermont tourism guide.

North East Watercolor Society 41st International Exhibition

(C) 2017 Dale DiMauro

Today was the opening reception for the North East Watercolor Society's 41st International Exhibition. My wife, mom and I traveled down to Kent, Connecticut from Vermont to attend the show. Kent is a lovely, rural area to drive through with much history to be found.

I was eager to see my watercolor hanging on the wall alongside many great paintings. I was hopeful to possibly win one of the many awards handed out, even if a modest one, indeed. However, that was not to be the case this time.

Out of four hundred plus entries, one hundred eight paintings were selected for the exhibition. I was one those artists who made the cut. You can see my painting in the background, titled 'My Brother'. On exhibit are paintings from China, Singapore, India, Taiwan, France, Canada and many from the northeast. In addition, there are paintings from the mid-west and even Oregon.

The exhibition is open to the public through Sunday October 29th at noon. 

Done

(C) 2017 Dale DiMauro

Well, I finally finished this watercolor. There is a little study of the subject's head which I included when I posted this. That little glint of sun across the paddlers neck makes the profile convincing.

This composition with the paddler off center I find endlessly captivating. He seems to glide cross the surface of the river from light into dark as the ripples lap towards the viewer. The depiction of water as inspired by nature can lead an artist in so many different directions. Water can be conveyed in so many ways from the calm surface of a pool, to swirls, cascades or waterfalls. Not to mention all its frozen qualities.

The inspiration for this painting came from a paddle I went on with members of the Brattleboro Outing Club. The water level was higher than usual enabling us to paddle farther into inlets and past floating logs and see nesting birds which one can't usually approach.

Yellows & Greens

(C) 2017 Dale DiMauro

This little watercolor is one of those warm up studies I do to get me going on larger paintings. There truly is little color in this picture. I used a limited palette of aureolin yellow, cobalt blue, payne's gray, ultramarine and burnt sienna.

This is a scene from a day trip this summer near the Berkshire Mountains in western MA. The absence of color in the sky provides a calm and serene quality to the landscape. I tried emphasizing darks in the foreground to give a sense of depth to the rural scene.

All summer and fall, I have been using these Kolinsky watercolor brushes, made by Rhapsody, for both studio and plein air painting. They hold a lot of water and spring back to a fine point when splayed out. I also drag them across the paper so they are nearly dead flat, creating interesting effects.

Creamery covered bridge

(C) 2017 Dale DiMauro

This past summer I painted many plein air watercolors. I wasn't sure how they would turn out. I learned the process is very different than painting in the studio. As a result, I have accumulated equipment to provide a smoother plein air experience. This equipment includes lightweight easels, a tray that mounts on my easel for my palette and two shoulder bags for transportation and quick access.

In general, I paint outside for an hour or so and complete it at home, if necessary. There is a freedom of expression in plein air achieved through watercolor that I find no other medium offers.

This watercolor was painted in late July. In this picture, I like the combination of red and green which naturally, are complimentary colors. In watercolor you can go back into a wash for example, such as the foliage and darken it or expand the massing.

A plein air revisited

(C) 2017 Dale DiMauro

It was a beautiful day here in southern Vermont, today. So I sought to take advantage of this favorable weather. A few weeks ago I started this plein air watercolor. When I started this, time was limited and the late afternoon sun was fading. When I first painted this, I stood on a causeway constructed of concrete while in the shade.

Well, early this afternoon I went back to this site and did more painting on this picture. However, when I set-up my easel on the same causeway, I was in the full sun. In addition, since last visit, some of the trees are beginning to acquire their fall color.

Regardless of the changes I have no control over, there is more depth added to the scene. From painting outside I have learned that marks here and there are just as effective as broad washes over a chunk of the paper. Many of these marks I add as other areas of the paper are drying. Ultimately, these marks can be interpreted as branching, reflections on the water or suggest direction in a scene.

Summer in the Fall

(C) 2017 Dale DiMauro

Last weekend when it was hot and humid, I got a paddle in before starting this plein air painting. Eager to escape the heat, I grabbed a watercolor sheet from a sample pack purchased years ago from Cheap Joe's, a big art supply store, and headed up to a local pond. When arriving by the water I realized how surreal the day was. The forecasted high for the day was above ninety degrees, which here in Vermont, a week shy of October, is not normal. The docks from the various beaches had been brought in for the winter, yet as I paddled around the perimeter of the water, there were more people on the beaches and in the water than I have ever seen.

When I started to paint this scene, the parking lot and boat landing, which is nearby, were still full of people and automobiles. After putting this aside for a few days, I found that I like the abstract quality of the washes. The subject and painting techniques, at least to me, have a Winslow Homer quality. I feel like my color mixes are attaining a greater richness, more accurate to what I am experiencing out in nature. There is a directness to plein air painting, which is unlike anything done in the studio.  I am eager to get back to this watercolor even if I have to finish it indoors, but I have been busy.

Plein Air Painting

(C) 2017 Dale DiMauro

The plein air painting that I have been doing this summer is evolving. At first it was a challenge to focus on one aspect of a natural scene before me without overcomplicating it. In addition, there are time constraints and the ever changing light when one works outside. Recently, I have adopted an approach where once I set up my equipment to paint, a photograph is taken, so that the watercolor can be completed at home. That way I have a reference particularly as Winter is around the corner.

When working outside I have learned to work from the top of the sheet down with a little angle to the surface. This way I can manipulate the pigment to move in ways that I intend it too. Sometimes this includes pigments blending with each other as in creating the wash for the sky.

Not only have I been refining my painting approach but my outdoor painting equipment has evolved too. When driving in town I take a mental note of desirable places to paint. If there is a picnic table nearby then all I need is my shoulder bag worth of painting supplies. I have acquired various easels which set-up quickly and enable me to stand without holding anything. The above plein air was started on an easel yesterday in Keene, NH. It took me all of ten minutes to install my easel. 

This summer in Maine I purchased a Winsor & Newton watercolor block which this was painted on. This is the first time I have used this paper in a block form. I really like the texture of the paper and am gaining a feel for some of the affects I can achieve with this surface. 

The Great Outdoors

(C) 2017 Dale DiMauro

This is a watercolor started back in the Spring which I have been eager to get back to. It speaks to why people come to Vermont in the first place. To spend time outside away from the commercialism and electronic culture that we have become. It speaks to paying attention to the natural rhythms of life around us at a pace we can comprehend.

There is a modern Winslow Homer quality which inspired me to this subject. The relatively-still water is gently disrupted with the lapping of the water from the paddling. The brilliant blues in the water and the vivid greens on the shore are striking.

Most of all, I am captivated by the composition. Even though the photograph does not show it, the paddler is in the lower right quadrant which conveys a calming affect. You can imagine the paddler gliding through the picture with little actual physical effort.

Clark Art Museum

(C) 2017 Dale DiMauro

The Clark Art Museum is located in Williamstown, MA., a small college town along the western side of the state, amidst the Berkshire Mountains. As you may know, the Clark as it is often referred, is a gem of an institution on its own, but the fact that it is nestled in this bucolic setting is equally impressive. The recent renovation and expansion reflects the importance the landscape has in its layout and development. While in the museum you are made aware of the distant hills through the clever placement of corridors and windows, the courtyard brings you to the base of this verdant landscape. However, it is not until one climbs the trails above the Clark, when one can sees how it fits into the larger landscape.

After my wife and I made our annual Summer tour of the museum I took a stroll on these trails with their long views up and down the valley. It seems to be quite the locale for a plein air painting or two. I took many photographs of these views as time was limited. 

This was painted last week in my kitchen. The rich green in the center was made from a combination of aureolin(yellow) and phthalo blue which is a new experimental pairing.

Eric Sloane

2017 Dale DiMauro

Eric Sloane was a noted regional painter who lived in both Connecticut and New Mexico. He wrote and illustrated over forty books with incredible drawings depicting knowledge of some of our ancestors building methods, craftsmanship and wisdom. Over the years I have acquired many of his books, primarily for the drawings which depict farm life, a way of life fast fading. He is also well known for his oil paintings, primarily of rural life, which number in the thousands. A few years back when my wife and I were at the Smithsonian Institute's Air and Space Museum we saw his mural of the sky, depicted on a great scale, along the entry way.

This watercolor painting I did many years ago is a copy of one of his oil paintings. I was inspired by the late afternoon light draped across the New England landscape with it's compound of farm buildings. 

At this point in time, I used payne's gray as an under painting to convey depth in a picture. The depiction of the eves and shadows across the landscape solely utilize payne's gray. It is not based on a Winter scene but I like how it reads as one.

One of the elements of this watercolor that I most admire is the sky with it's unconscious explosion of washes creating both soft and hard edges. There are small random marks in the sky left from where the paper was not wet, providing a textural quality to the scene. It is hard to capture these in a photograph on this scale. 

Holbein Multi-Drawing Book

(C) 2017 Dale DiMauro

This summer when my wife and I were on vacation in Maine, I came upon this sketchbook while we were staying in Portland. This book handles watercolor washes well for a sketchbook. From my experience, most sketchbook paper buckles too readily and lacks the mark making you can achieve from a quality sheet of watercolor paper, such as one made by Arches, for example. I was beyond ecstatic to find this one.

You may be wondering what I am talking about. Well, Holbein, which puts out this book, has a long tradition of making quality watercolor paints, which originated in Japan many centuries ago. 

The other quality about this book that I truly appreciate is that the coiled binder lets the sheets lay flat as compared to other sketchbooks that close on you, which frustrates me to no end.

I purchased this Holbein Multi-Drawing Book at the Artist & Craftsman Supply store in Portland, Maine. Since then I have ordered others, as they come in various sizes. As I see it, these books are not for finished paintings but drawings with light washes, studies and doodles. I like to try out new color combinations in these books. You can develop great compositional studies in these sketch books, which can lead to great things down the road. 

It must be noted that I have no affiliation with this company other than that I enjoy to use their paper in this format.

South Pond

(C) 2017 Dale DiMauro

Often when paddling in the summer season, I am searching for places to capture in watercolor. South Pond in Southern Vermont, offers much to be desired for the paddler and the artist, simultaneously. Generally speaking, it is a quiet place, with minimal development and a variety of wildlife if you are paying attention. I have come upon cormorants, loons, red-winged black birds and numerous other birds that escape my identification abilities. My most spectacular experience, as I mentioned in a prior post, was when a deer with a full set of antlers swam thrashing across the still surface of the pond. 

Recently, I left South Pond, with my kayak on the roof of my car and this plein air in hand. In town it was one of those sticky, muggy days, which motivates me to seek a cooler setting. After an hour and a half of standing in the shallow water, I was pleased with the direction this picture was going. The light had changed significantly, but I like the greens and browns that were such a part of this small protected cove.

New Watercolor Palette

(C) 2017 Photo Dale DiMauro

This summer I have experimented with different palettes and considered various ways of arranging my paints. Generally speaking, there are metal, plastic and ceramic palettes available. From my experience ceramic is simply too heavy. Plastic is common with many choices available. However, I have not come upon the perfect palette and may not in the future.

Last week I registered for a plein air workshop led by Gary Tucker with the Monadnock Area Artists Association in Walpole, NH. Gary is a watercolor painter from Boston, MA. Reading through his handouts for the workshop I came upon this palette, which he recommends. It seems well conceived with tough plastic, so I figured it was worth trying. It is available on this website: http://www.shysart.com/.

I like this one for plein air because the two covers snap shut creating a tight seal over the paint. This way the pigment cannot run around and make a mess. The paint wells in the middle area are deep and wide for larger brushes. This palette folds down to the size of the two centered sections which makes it convenient for travel. 

Other palettes that I have used are difficult to clean as there are many paint wells with small areas where pigment builds up. For this palette I intend on only using Holbein watercolor paints. I have been informed that Holbein paint does not use ox-gall, which can make paint a bit runny, which can be a challenge when working outside. In addition, other paints may be susceptible to the development of mold in moist conditions, but not this brand's.

Ashuelot Park Plein Air

(C) 2017 Dale DiMauro

Plein air painting has transformed how I paint and view the world I am portraying. With the changing light it is important to not become distracted with all that is going on around me. This concentration can become exhausting if I paint for a long period of time. I generally plein air paint for a little over an hour and at that point it is time for a break. Usually by then the light has changed and I need to step back and take a fresh look at where I am on the picture.

This is a plein air painting which I started in Ashuelot Park, in Keene, NH. Yesterday I did some finishing touches at home. This view is in the vicinity of the waterfall with some buildings deleted. Mount Monadnock is very much in view.

On these outdoor excursions I have been experimenting with a Sennelier watercolor pan set which is different from my Winsor and Newton studio palette. The Sennelier set, made in France, limits the number of pigments I use to fourteen. In contrast, in the studio, I have at my disposal up to thirty five pigments from my Winsor and Newton palette. 

Until I worked on this at home, the tree trunks were so transparent that you could see the mountain through the base of the tree. I had to lift out the paint in this area and go back in with a darker color to correct this problem. Other than that, I love the vivid colors and how the paint gets absorbed into the paper.

The tree shadow gives dimension and roots the trunk into the earth. Unfortunately, the photograph does not do it justice. When painting outside you really don't know what the result will be as the paper is transformed through various wash cycles which brings the whole experience into the present moment.

The Watercolor Board

(C) 2017 Dale DiMauro

It was a gorgeous day here in Vermont. This afternoon I sought to get outside and take advantage of the good weather we have been having. I took a trail walk through the local woods and strapped my kayak on the car for an afternoon paddle.

This was my set-up for plein air painting, in the late afternoon, on a nearby pond. Recently, I purchased a new mount, which holds the paper in place as tight as a drum. This frame stretches the paper which is important in preventing buckling which causes pigment to settle in the low spots whether you want that to happen or not.

I felt like I got off to a good start on this picture except that passersby delayed my process numerous times. At this time of year I really notice the changing light. Regardless, of the results, I feel good about this painting and the utilization of this new mount.

Andrew Wyeth at the Farnsworth Art Museum

2017 Photograph Dale DiMauro

Earlier this Summer my wife and I visited the Farnsworth Art Museum in Rockland, Maine. This year Andrew Wyeth would have turned one hundred, thus, the museum celebrated by assembling a strong exhibit of his paintings. As much as anything on display, I found the exhibit on his drawings fascinating. 

This landscape drawing was done with such strong tonal values that it appears photographic at first glimpse. One can truly see where he pressed down hard on the paper. The shadows along the shore and those cast from the tree trunks give the viewer a sense of the mood of that day.

Many of these drawings or watercolor studies are the size of some of his finished paintings. Not only is the scale significant, but his draftsmanship was superb. For me, some of these more complete drawings are paintings in of themselves. 

To think he drew outside on this scale as a plein air painter would do, is unbelievable. Speaking from experience, to lug around large sheets of paper out in the elements is no easy task. One display panel mentioned that Andrew Wyeth painted one hundred to one hundred fifty watercolors per year which over the course of six or seven decades is a quantity hard to comprehend.

Long lost painting

(C) 2017 Dale DiMauro

This painting was begun towards the end of last winter. I was inspired by the quality of the light across the landscape and the dramatic perspective framed by the fence. Then I put it in a drawer in my flat files to keep it out of the sun as the days were lengthening, and I lost track of it for a while. 

Some of these large watercolors as they accumulate paint begin to bow. Thus, they don't want to lay flat. Due to this characteristic I believe they hang in the top of the draw, which makes them difficult to locate. This may seem bizarre, but I searched these flat files several times in early spring and could not find this painting.

Since coming upon this painting by accident a few weeks ago, I have moved the trunk of the big tree from the middle of the painting to its off-center location. The figure, which is me, is becoming more refined. I have further worked on the fence and strengthened the presence of the shadows. The foreground of the painting has acquired the cool temperature of winter, which makes the sunny areas feel warm. 

Brattleboro Common

(C) 2017 Dale DiMauro

This morning I spent some time plein air painting on the Brattleboro Common. I had some time as my appointment ended early. It was not even mid-day and the sun was above me, which is a time of day I seldom have the chance to capture.

It is always a challenge to paint outside. However, it can be very rewarding. Regardless of the outcome, it is always a memorable experience.

When my hour or so working on this picture was up I was swarmed by twenty or so young children brought outside with their adult supervisors. They climbed up the gazebo, ran around the monument and spread out over the lawn. Some of these children wanted to know what I was up to as I had settled in at a picnic table more or less in the middle of the Common.

One of the supervisors described this picture as a sketch or drawing as a way to entice the children to take in the view that I had chosen. The little building is a tourist information kiosk when the window on the opposite side is open. I tried to match as close as possible the changing colors that were before me.

Watercolor doodle

(C) 2017 Dale DiMauro

When we were in Maine on vacation last month I purchased this small Arches watercolor block (about 4" x 10"). I found it in Northeast Harbor at a science store of all places. I thought it would be a useful size to practice painting figures. Also, it seems desirable to add a cool car or two to some of my watercolors when they are called for. I think of these as little practice sheets.

There are important lessons I have learned in regard to seating figures into the landscape. Figures give motion and direction to a picture. Just that little bit of a skin tone to the face or arm makes it feel human. The lower leg or boot needs to be of a darker value to define the presence of the figure. Washes suggesting grass or meadow around the feet naturalize the image and offer a pleasing composition.

Automobiles need to be anchored into the landscape, too. Tires usually cast shadows, which unite the vehicle with the ground plane. These shadows typically are the same value as the tires. This underbelly value gives the vehicle substance and contrasts well with the color of the frame.

I hope to practice these figure and automobile studies until I am very fluid in their execution. They give a sense of scale and character to a watercolor.

Plein air challenges

(C) 2017 Dale DiMauro

Plein air painting in watercolor is a real challenge. I have mentioned in prior posts how the changing light, a sudden burst of wind or rain, can alter the scene in a moment. Well, late this afternoon I experienced all these qualities in my hour or so working on this piece. As a result the final version is much different than my start.

My first wash involved adding blue for the sky above the distant hill. I misted the top of the paper with my sprayer then dropped in blue and rotated the watercolor block around to prevent the pigment from running down the page. The sky was faint when I blocked in the hill, but as the weather changed, the hill was obscured. There were two guys playing basketball on the right, and I sketched in one of the figures but he scurried away as the clouds moved in.

Regardless of the challenges, I am embracing open air painting. It makes me really concentrate on the task while honing my observation skills. It also frees me to paint unlike any studio piece. I have learned to approach a plein air painting subject differently, with flexibility and a focus on simplicity. 

North East Watercolor Society Exhibition

(C) 2017 Dale DiMauro

Recently, I was informed that this painting titled My Brother was accepted into a major watercolor exhibition. The painting was selected for the 41st Annual International Open Exhibition 2017 by a jury of five signature members of the North East Watercolor Society.

The exhibit will take place in Kent, Ct from October 15th - 29th. There will be an opening reception on Sunday, October 15th from 2-4 pm. In addition, there will be an awards ceremony at this reception. The juror of awards this year is Mel Stabin, AWS, a nationally known watercolor painter.

Naturally, I am excited to report on this bit of news. Now I just have to get this painting framed.

Stickney Brook Falls

(C) 2017 Dale DiMauro

I found yesterday afternoon to be a hot and humid day in Brattleboro, Vermont, so I escaped to these little falls not far from where we live. I love the sound of the falls, the breeze they create, and being able to cool down on a hot day.

It was a challenge to paint this scene. I had two rambunctious girls circling around me while throwing stones. At the same time their energetic dog was shaking water from its body right at my foot, and licking my knee from time to time.

With many plein air paintings, you don't really know what you'll get until you're done. I worked on this a little too much since the light had changed and the sun moved directly into my eyes. The cascading water that zig-zagged down the hill was at times invisible to the eye yet audible as it flowed from one outcropping to the next.

By the end of my painting time, consciously or not, I was exclusively painting in purples and grays or black. After I got home and took a second look with a fresh eye, I was pleased with my result. The rock ledges have a cool, shadowy quality to them.

Thumbnail sketch

(C) 2017 Dale DiMauro

When my wife and I vacationed recently, in the state of Maine, we took daily hikes for exercise but also to get out in the landscape. When we were on Mt. Desert Island, we were rewarded with breath-taking views nearly every hike. 

Since we got back home, I have had pictures printed that either I or my wife took. Last night while listening to a podcast on plein air painting, I doodled this little thumbnail sketch from a photograph taken while climbing Acadia Mountain. 

Sometimes these little doodles are the best as I am not attached to any set composition. In my mind I was rapidly changing the landscape to strengthen the composition. I moved trees around and inverted the landform to make the figure (me) have a stronger presence. I am not looking to dominate the picture but tweak it in a way that reveals some quality inherent in the landscape, whether it is an atmospheric effect or the quality of the light.

Plein air bag

(C) 2017 Photograph Dale DiMauro

After two weeks vacationing in the state of Maine, my wife and I returned home. The weather was great, and we socialized with friends and relatives more than we had anticipated when we left.

This afternoon as we unpacked, I emptied out my bag for plein air painting, which was originally intended for fishing.  When we visited an outlet store of L.L. Bean's in Ellsworth, Maine I picked up a plein air bag that is better than the one I have been using. The new one, like the one I have been using, is waterproof with useful water and spray bottle holders. However, the new one also has an assortment of small pockets to hold pencils and paper towels with greater dividers.

Before leaving Portland this morning, I got to visit one of the best art stores I have ever been to. Most art stores these days do not carry much product, and the quality of their offerings are not what they used to be. However, The Artist & Craftsman Supply store is similar to a warehouse with aisles of goodies. Additionally, it is an employee-owned company.