 |
(C) 2018 Dale DiMauro
|
This little landscape is one of those quick little paintings that I love to work on. These are experimental with different pigments dropped in without much fuzzing around. On these paintings I do not even lay out the framework in pencil, it is all done with the brush. There are times when an incomplete wash is more effective with dry brush effects.
These watercolors I approach with plein air techniques while done in the studio. The paper is pre-wet with a water bottle, while tilting the paper, I manipulate the pigment to run as I see fit.
This scene is a short walk from our house, on Brattleboro Retreat property. The sky and shadow patterns are usually quite captivating, yet dramatic in scale.
 |
| (C) 2017 Dale DiMauro |
This watercolor was started as a study of my face and hands for a larger composition. Originally, I sought to grab a sheet of watercolor paper and start developing the face so that it had dimension. I was not necessarily looking to develop this watercolor into a completed painting. However, I am inspired to carry it farther. There is a lot of peacock blue in this painting which seems to complement the skin tone. In my hands I am opening a small chip bag.
Since the New Year I have been studying human anatomy and filling up sketchbooks with drawings of the body, with it's various proportions. To convey some of the numerous postures of people and the body in motion is an exciting development, which will hopefully, enrich my paintings.
The photograph did not come out as intended. Perhaps, tomorrow during the daylight hours I will post an upgraded photograph. In the meantime I may do more on the painting.
 |
| (C) 2018 Dale DiMauro |
Since the New Year I have been reading all sorts of books on anatomy and the proportions of the human body. I feel like I have made real progress for the most part, even though there is a ways to go. By spring I hope to make significant strides in portraying the body and it's various postures. However, on occasion, I struggle on a drawing with this the most recent example.
Capturing an individuals likeness is not easy, even though it is not necessarily hard, either.
I started this drawing of my wife from a photograph taken several years ago. The frontal viewpoint nearly tells you it was taken from a photograph.
Basically, I wanted to sketch her face so I could quickly move on to a watercolor. However, I feel like it does not truly look like her. When I stepped away and looked at the photograph it really was not off in any significant way. In person, her face is a little more full than depicted and the glasses cover her high cheek bones further down the face. Her expression is genuine.
Oh, but to add color and atmosphere makes the face come to life.
 |
| (C) 2018 Dale DiMauro |
The early stages of this watercolor summarize the kind of winter we have had so far in Vermont. Extreme cold followed by lingering snow accumulations. With these cold temperatures, snow has adhered to our car tires, making the roads slippery on numerous occasions. When the sun does come out, our solar panels often deposit snow in our front yard.
Nevertheless, it has been great to get outside and enjoy the winter. I have enjoyed cross country skiing, snowshoeing and ice hockey.
This painting does not have much color in it. However, it has a lot of (cold) temperature in it with the varying degrees of blue. My palette has more kinds of blues than any other color. Not all the blues are cold. Some occupy the warmer range. Yet, if there is a color to describe this winter, blue would be it.
 |
| (C) 2017 Dale DiMauro |
Prior to working on a watercolor I often paint a study as a warm-up exercise. This way I can try out new techniques or experiment with different pigments and on occasion even try a new kind of paper.
I have been longing to paint on Arches 300lb hot press since ordering a five pack recently. Normally I use either Arches or Saunders watercolor paper, but in the cold press version, which has some texture but is not rough. There are a variety of techniques an artist can achieve to great effect in these varying surfaces. This hot press surface is smooth as one can imagine, but I like how one can drop in pigment along the way once the paper is wet and push it around or lift the sheet and easily direct the pigment.
The other good thing about working on a study in watercolor is that you just get paint down without thinking too much. In my mind I usually have already considered the approach I would like to tackle on a given picture. This way you don't labor too much while being flexible along the way. Sometimes a happy accident ends up working it's way into a painting, which if you are open to, can be a good thing.
 |
| (C) 2018 Dale DiMauro |
This watercolor was inspired from a hike around Jordan Pond, on Mount Desert Island, this past summer, in Maine. My wife and I weren't the only ones on the loop trail which includes board walks, foot bridges and raised planks. All the scenery is quite lovely, but the quiet inlets with rocks peering above the water and embedded in the shoreline are quite striking. I particularly, was taken by the soft shadows and layers of green growth.
This scene is painted on 300 lb watercolor paper, which many artists consider thick. After soaking the sheet early on, it would not lay flat so I decided to turn it over and soaked the back with water. While the paper was still wet I put empty jars on it so it would dry flat. This technique worked so well that I am considering pre-wetting both sides in advance of future paintings.
In hindsight, I like the earthy brown tones in the foreground with the splash of red off the shoreline in contrast to the cool background colors.
 |
| (C) 2017 Dale DiMauro |
Since we had this extreme cold recently, at least in Vermont, I keep thinking about painting a summer scene to warm things up. Last summer while paddling my kayak I took a photograph of a small sailboat moored off the shore.
These small sketches are quick little doodles. They are the result of searching for alternative compositions to develop into a painting. They lack clarity as I have yet, been unable, to arrive at a singular composition.
However, I have become intrigued or even obsessed with tweaking the shoreline so as it will not compete visually with the focal point, which is the sail boat. One of my ideas is to push the foliage back on the left side of the boat which will make the boat more visible, strengthened with it's shadow. Behind the boat on the left there is a beach which I may enhance, with a sand bar arcing out towards the water. Or maybe I will be inclined to go in another direction.
I do like the vertical orientation of the boat on the page in a likewise format.
 |
| (C) 2017 Dale DiMauro |
With this prolonged extreme cold weather, it is challenging to settle back into a painting routine. Over this time period, I have done more drawing than painting. Last night in Brattleboro, VT, the temperature reached sixteen below, so it has been best to stay inside, as advised.
Earlier this week I walked down town with the biting wind. With a majority of the sidewalks un- passable it was a challenge. Nonetheless, I picked up this little drawing pad, of textured paper, before I left downtown.
I like the waffle-like texture of the paper and trying to manipulate it's qualities with my pencil. This drawing was inspired by a photograph in STAND an ACLU publication which arrived recently. I drew this last night while watching a detective show.
 |
| (C) 2017 Dale DiMauro |
Finding a sketchbook, that I like, for the winter months is no easy task. In general, I find the quality of sketchbook paper has become worse over time. In the winter, I prefer large, hardbound, sketchbooks which can take some abuse and seldom fit easily into any shoulder bags.
Many sketchbooks have smooth paper with little or no tooth. These yield a dull drawing with a limited range of affects. On the other hand, there are sketchbooks with a rough tooth providing a grainy and smeared result. With these two versions, unless, I have one on hand, I do not know what I have spent money on until they are in use.
Recently, I posted on a sort of, new age sketchbook manufactured by Canson called the Art Book Universal. They claim the paper will not yellow over time and it can repeatedly take erasure without damage amongst other qualities. I indeed like these sketchbooks. Of note, is that the paper lays flat. However, they are not easy to find locally. In addition, I have found them only in smaller sizes ie (8.5" x 11"). I seek the 11" x 14" and larger sized sketchbook.
There are Strathmore sketchbooks sold at Michaels which I like and use a lot but they are basically softbound. Anyone know of any other options available?
