Self-portrait

(C) 2018 Dale DiMauro

Recently, I started this self-portrait. It will be a while before it is done as it is on a full sheet which measures 22"x 30". However, the colors, angles, light and natural pose make it an intriguing composition. I particularly like the vertical orientation with all the space above my head.

It has some modern elements such as the vacuum sealed potato chip bag, which draws the eye into the picture. This subject matter was inspired by a trip last summer to Portland, Maine.

However, it does feel odd to paint yourself on a large scale. In addition, it is a challenge to view myself objectively without some sort of bias. Regardless, I think this watercolor is off to a good start but it could end up looking like someone else.

Can you hear me now?

(C) 2018 Dale DiMauro

Recently, I finally finished this painting. It was inspired from a local paddle on a glorious day. The vivid colors and sharp reflections captivated my imagination and they do to this very moment.

It was begun a few years ago on a Saunders watercolor block and developed rapidly. However, as in life, there were other demands which pulled me away.

When returning to this painting I realized that I am a different painter today. I feel it is important to have the ability to return to a painting and carry on so that it is not frozen in time or left unfinished. 

Since I started this painting my artistic skills have expanded greatly from acquiring increased knowledge and use of pigments to simplifying my compositions. In addition, my brush handling and drawing abilities have improved. 

It is not my intention to drone on about my abilities but this realization came to the surface when returning to this watercolor. May all artists have a such a meaningful moment in their journey.

Greenpeace or a piece of green?

(C) 2018 Dale DiMauro

This watercolor was inspired by a recent paddling trip here in Vermont. The diversity of greens in the landscape were still emerging after the late Winter. 

For about the last year I have been using or at least mixing more browns than in the past. Often I use burnt sienna right out of the tube to give a field or landscape some variety. Also, I have been experimenting with raw or burnt umber in combination with ultramarine. This combination gives the artist a rich mud-like color which I find lends a calming quality to the landscape. This color adds an organic quality to the landscape which I find to be more natural in appearance.

Close to the shoreline on the right I used a razor blade to lift color. I do not know that it can be seen in this photograph but it gives the surface of the water the sensation of air bubbles and the vertical strokes imply grasses growing in the mud.

Imaginary Landscape

(C) 2018 Dale DiMauro

Many watercolor artists keep paper to test their pigment mixtures on. This is one example with an imaginary landscape. 

Once a sheet of paper has been marked, artists typically feel more comfortable going forward. For me with these scrap sheets I become spontaneous and looser in my approach. Usually, I don't overdue it, either.

On this scrap paper, on both sides, are doodles in pencil, measurements for framing, facial studies and paint combinations I am trying out. For example, the foliage on the tree is the result of a combination of quinacridone gold and ultramarine blue, which I have not used before.

This image is a combination of playing around with my watercolors and my subconscious mind desiring a cool environment as we confront this hot and humid weather coming tomorrow. I have scores of these little watercolors sitting idle in my flat files.

Changing of the Palette?

2018 Photograph Dale DiMauro

For an artist to change palettes is a big deal. At least for me it is. If you have been using your existing palette for years, you know where all the pigments are or should be. 

Many artists have cool colors which are primarily blues in one area and warm colors that include yellows on the opposite side with space for some neutrals or darks. 

Experience has taught me to seek a palette which is easy to clean, durable and with plenty of area to mix pigments. The residue from past mixtures on my palette are a rich source to draw upon. Some pigments run into others creating 'happy accidents'. These mixtures make me consider how I would utilize them in the future.

The other consideration I often ponder is which palette is best for transporting. I prefer a palette which does not consume too much desk space, yet the ones that fold, run pigment all over the place, if folded, when still wet. 

This is a John Pike palette which is well made that I purchased a couple years ago. I finally am considering putting it to use but only in the studio. 

This post is probably rather uninspiring. However, the issues I find with palettes keep resurfacing. So it is time for a fresh start.

Winter in Vermont

(C) 2018 Dale DiMauro

This watercolor has been posted several times now. However, it keeps evolving into a more advanced stage. Perhaps, this is the final chapter.

Let's go back to it's origin. This was painted as a plein air painting in mid-December through our bay window facing south. I intentionally pre-toned the paper yellow so the picture would have an exaggerated warmth to it. Snow in the sunlight, at times, has these characteristics.

As a plein air painting I approach it differently than a studio piece. Painting outside requires the artist to simplify the composition, paint directly and often finalize the details at home. While inside the studio I usually paint on a larger scale at my own pace with the comfort of a reference photo or drawing.

As we know from experience, natural light changes rapidly. For this picture there is no reference other than my memory. At home I have added more branching and brought more resolution to the building on the left. I feel the freshness from painting directly has been retained while adding details has strengthened the overall composition.

A Maryland landscape

(C) 2018 Dale DiMauro

This little watercolor was inspired by a recent trip to Maryland, north of Baltimore. The unfurling of the foliage after a long winter, was naturally, more advanced down in Maryland than it was in Vermont. However, the browns with the combination of the green foliage drew my attention.

This state park has an impressive waterfall and draws lots of people. Apparently, some are known to dive in, while many wade into the water to cool down. It is reminiscent of many swimming holes in southern Vermont.

I do like how you can see through the water to the rocks beneath the surface. The water is shallow and it is characteristic of this river which I recalled from a previous outing. Capturing this quality is important and I think this is the best I have done to date.

(C) 2018 Dale DiMauro

This is in essence, a plein air watercolor, painted through my window last December. My art mentor Gerard Doucette thought I should add some finishing touches. Basically, I recall him suggesting that I should sharpen up the values so that the forms are clear with crisp edges in a painterly fashion.

Around this period I started pre-staining my watercolor sheets when I thought it was relevant to the outcome. In this case the paper was stained with quinacridone yellow to give an overall sense of warmth which snow in the light reveals.

When you paint outside, at least in Vermont, during the growing season, most of the foliage has some degree  of green to it. As a result, during this time of year, I am considering pre-staining some of my plein air paintings in the cooler spectrum of blue to green. This way I can establish a cool base to start from and simultaneously get rid of the bright white of the paper which I do not associate the summer with.