Seasonal Change

(C) 2019 Dale DiMauro

Last night, I painted these watercolors of the same vantage point. That is, looking West from Brattleboro, VT in late summer and early spring. These were painted on the same sheet of Saunders watercolor paper. However, the internet went down preventing me from posting them.

Two watercolor pigments dominate my consciousness lately, permanent alizarin crimson and burnt sienna. They were used in both paintings. I have been using alizarin crimson in my blending of the lower sky while burnt sienna is useful in landscape painting by adding a red-brown into the fields.

Merry Christmas & Happy Holidays!

(C) 2019 Dale DiMauro

Merry Christmas and Happy Holidays to one and all. I wish a day of warmth with great food and family.

Perhaps you opened art supplies today. It is a good time to take the inspiration all around us and put it to use.

This watercolor reminds of this time of year. The low light and landscape of snow is upon us.

Winter Landscape

(C) 2019 Dale DiMauro

This week, at least in Vermont, we experienced our first true cold snap. The temperature dropped, any snow underfoot became crunchy and it required layers of clothing and time to exit the house.

Earlier in December I decided it was best to attempt one plein painting per week throughout the Winter. I made a list of potential locales suitable for plein air painting. All of these are from the comforts of the indoors. In reality I could paint interiors or landscapes when situated looking through a large window. Possible sites include any of the local libraries, my own house, or a local cafe etc.

This watercolor I did the other day during the cold snap from a window in our house. No reference photographs were taken or used. Naturally, with plein air painting it had to evolve rapidly or the daylight would leave you behind.

Library Book Sales

Library book sales are a win-win for everybody involved. Books are sold at a huge discount and it raises money for your local library. In addition, unlike Amazon purchases, you have no shipping charges or packaging involved.

Painting on Location, by David Curtis & Robin Capon, I purchased from my local library last week for three dollars. This is in essence, a brand-new book, with no markings, which originally sold at retail for $26.99.

David Curtis, one of the authors, is one of my favorite landscape painters. He paints equally well in watercolor and in oil. I previewed this book, by chance, the day before the library sale and said there is no way I am not making this purchase. In retrospect, I have no regrets. May you hit the jackpot too.

Winter in Vermont

(C) 2019 Dale DiMauro

The watercolor paper artists prefer is such a personal choice. Some watercolor papers I prefer include Arches, Fabriano and Saunders, amongst others. Usually, I am quite willing to experiment with various papers and differing weights.

I have been eager to try this relatively new Canson Heritage watercolor paper. So here it is. I cut it down to a smaller size to play with. 

This paper has an interesting surface pattern which differs greatly from the reverse side.

With more practice I will gain better judgement. However, I do like how it retains the colors of the pigments. Also, I have been told that it is a good paper for lifting pigment.

Watercolor sketches

(C) 2019 Dale DiMauro

It pays to kayak on the Ashuelot River, in Keene, New Hampshire. These paintings were inspired from a paddle last Spring.

These watercolor sketches help me refine my compositions before I commit to a larger painting. It is valuable for me, at least, to experiment with different backgrounds. As you can see, sometimes I pre-tone the paper before starting. The watercolor on top was originally started with cobalt blue while the painting on the bottom was initiated with yellow.

The reflections and movement of the water are endlessly fascinating. Also, it occurred to me that I had not yet painted brown water. Not all rivers have blue water so it was a really different approach.

Urban Landscapes

(C) 2019 Dale DiMauro

Painting the urban landscape is way different from depicting the rural countryside. At least that is my take, recently, after painting many scenes of the countryside full of vegetation. In street scenes you need to get the perspective right along with many decisions about how to portray the windows, doors and reflections etc.

This is not a negative, but the process is a bit more involved, as there are areas where you definitely have strong contrasts such as the sky against the building. How these areas are articulated are important as there are many linear aspects to the built landscape.

This weekend I was sorting through some watercolors and came upon this painting which I had worked on several years ago. Reflecting back on this painting I like the colors and warmth of the light.

For some reason it reminds of an Ed Hopper painting. I think it has to do with the qualities of an urban scene devoid of people.

On the Move

(C) 2019 Dale DiMauro

At the start of the week, here in Brattleboro, VT, we had one to two feet of snow. As a result, I am already tired of shoveling snow. It even motivated me to search for a battery-powered snow blower. It may sound silly, but this snowstorm really changed the landscape.

However, there is a romantic quality when suddenly living with drifts of fresh snow. With this new blanket of snow, the afternoon natural light is special. That is, if you can catch it when the sun is out.

After a summer season of fitting in painting sessions around work, it is a welcome time to slow down and paint larger pieces. This detail, of a larger watercolor, is the beginning of one such piece.

Drawing: The Head & Figure, by Jack Hamm

Drawing: The Head & Figure, by Jack Hamm, is one of my favorite art books. It demonstrates countless techniques for drawing every part of the human body. Not only does it have great visuals but the text is spot on with accurate descriptions. 

More than anything else I return to this book time and again to practice drawing the human figure. It has drawings in pen and pencil, which I appreciate, as I use both media.

It has been in print for generations yet only cost me $12.95. I kick myself for not getting it earlier even though I have had it for years. I find it that valuable as so many anatomy books lack the thoroughness of this one.

Experimentation

(C) 2019 Dale DiMauro

When I get interrupted while painting I often revert to experimentation. If the door bell rings or someone lingers at the front door I lose my focus.

I take this as an opportunity to experiment. I let the pigments run into each other and mix on my palette. Some marks left on a practice sheet, from a previous painting session, at times, inspire me to develop small landscapes. At this point, drawing becomes crucial as a means to clarify or evolve my image. However, the greatest benefit of experimenting, I find, is becoming re-engaged in the painting process.

This landscape makes me look forward and back at the same time. I am always looking for new ways to depict the landscape while reflecting on the season which has just passed. These landscapes, for me, have deep meaning. Ultimately, I am searching for ways to express that meaning in the simplest yet most powerful way I can.

Mannequin

Photograph Dale DiMauro

Capturing the human figure with correct proportions is a challenge like no other. Naturally, the human figure comes in all kinds of sizes and shapes. However, the human eye can tell when something is not quite right.

Hopefully, this little fellow will help me along the way. 

This mannequin I purchased last week in Keene, New Hampshire. It is great because (s)he holds it's position unlike other mannequins. The hands and feet have magnets so you can position the figure standing upright or upside down. In addition, with an artificial light in use, you can see shadows across the figure, too.

This may be an odd post but this mannequin has been on my mind lately.

Ashuelot River

(C) 2019 Dale DiMauro

The Ashuelot River is a great place to paddle. Also, I have discovered it's an excellent place to plein air paint. However, this was painted in the comforts of my home. 

I was experimenting with pigments, without any real plan and it developed into a watercolor. The greens and cool water inspired me to paint this particular landscape. I had taken some photographs along the river, earlier in the Summer, perched in my kayak. 

This scene with it's strong light and shadows lends itself as a strong composition for landscape painting. The lush growth of vegetation along the river and reflected in the water in combination with the expanse of slow moving water is striking.

Lately, I have been thinking about how divorced we are from nature. In this digital age and global economy it seems we have lost appreciation for the local landscape. I think many of these local scenes, which some are very ordinary, resonate with deeper meaning, often taken for granted.

Sky and Landscape study

(C) 2019 Dale DiMauro

As a warm-up activity I paint a little watercolor. These are usually done on odd-sized leftover watercolor paper or on the back of less than desirable paintings.

As a result of the process of plein air painting these watercolors have become rather direct and natural or free flowing in execution. This is one such watercolor. 

Recently, the sky has taken on greater significance for me in my paintings. I have been experimenting with different techniques, colorings and ways of depicting the sky. Since my first wash usually includes the sky I have gained appreciation for the mood or drama cast over the land. 

Here I painted the sky first and created an imaginary landscape based on the markings left from applying the first wash.

Toned paper

(C) 2019 Dale DiMauro

For many artists a white, unblemished sheet of paper is intimidating. If the mood of your picture is heavy or serious or the image is going to be relatively dark it is a good idea to pre-tone your paper. Personally, I find it very satisfying to work on toned paper.

Even when painting outside I often tone my paper. Since I work from the sky down, often reflections cast on the water are similar in color to the sky. In addition, the more pigment marks you leave on your paper often makes for a richer and more varied painting.

This landscape was started on a scrap of paper while waiting for a yummy lunch to be served. In hindsight, I really like the yellow sky on the right of the watercolor. It truly casts an eerie quality to the picture.

Landscape painting

(C) 2019 Dale DiMauro

Could this be the Connecticut River? This watercolor started with a lovely wash of burnt sienna and ultramarine. These two pigments created this lavender-like combination seen in the low horizon. From that point the subject and approach evolved into this little landscape. 

The shadow projected onto the water was an important wash in developing this painting. It was such a clean, cohesive wash that it gave life and depth to the scene.

I am amazed at the range of values and coloring which one can come up with in combining burnt sienna and ultramarine. Not only can one come up with a lavender-like color but there are a whole range of gray's at the watercolorists disposal.

Where to put all those watercolors?

(C) 2019 Dale DiMauro

As the days have gotten shorter and Winter moves in I decided to organize some of the stuff in my flat files. Above, is the top drawer with for the most part, recent watercolors. I have it organized it so the watercolors I am working on are easily accessible but not in the way or left in the sun.

One flat file drawer just has pencil portraits. In fact, I counted over two hundred pencil drawings of faces and heads. To sort through all these pencil studies I have to admit was impressive in it's totality.

Most of these drawings or watercolors are finished or nearly done. I have discovered that I don't have a problem going back and putting in some finishing touches even though some time has passed and I may look at the work differently.

Coastal Maine

(C) 2019 Dale DiMauro

One evening over the weekend, I worked on this little watercolor inspired from the Maine coast. Originally, I was taken by the sweet color of the shoreline rocks. That color against the blue of the water drew my attention.

In the October 2019 issue of Watercolor Artist magazine I read the colors noted watercolorist Charles Reid had used to paint rock formations. He is said to have used a combination which includes alizarin crimson, cerulean or cobalt and raw sienna or yellow ochre.

With this in mind, I figured it was an opportunity to try these pigment and burnt sienna in this watercolor. Lately, in addition, I have been introducing more greens into my blues for water. 

Experimenting and learning new pigment combinations for me is endlessly fascinating. I look back at earlier paintings and notice quite clearly how my palette has evolved.

Great Colors this Fall

(C) 2019 Dale DiMauro

The colors this fall have been great. With shorter and shorter days upon us and the recent string of dreary gray days, the colors of the leaves have been a true blessing. While driving or walking I have studied the shape and character of some trees I would not usually notice. 

It is not just visual. Playing tennis and walking along the road I have been pelted with falling acorns. They say a big acorn year means an increase in the mouse population next season and as a result, a high tick count will be looming.

Nevertheless, I find the rich colors intoxicating this year. In fact, my property has some trees just beginning to peak as you read this. 

I can't wait for sunny days again so I can do more plein air painting before the leaves all come down.

Fall foliage

(C) 2019 Dale DiMauro

On my travels in southern Vermont and New Hampshire the fall foliage has been lovely this year. I have really noticed the yellows and ochres as most pleasing to the eye.

This watercolor was started very freely. I did not layout or transfer any aspect of this composition. In fact, the composition is still evolving as I paint it. This morning I decided that the mountain landscape on the left I will carry over to the right of the house so that the character of the land is fitting for this old New England house.

I don't know anyone personally, who successfully paints peak fall foliage in watercolor without becoming too gaudy. Not that there aren't great watercolorists out there who can't paint fall foliage but it is a challenge to keep a freshness to the colors without overdoing it.

Abstract landscape

(C) 2019 Dale DiMauro

This abstract landscape is the result of playing around on my practice sheet. A forested mountain began to emerge so it seemed fitting to have a body of water at the foot of it. It even has some reflective qualities. 

This could be Wantastiquet Mountain on the other side of the Connecticut River in New Hampshire. Or it could be a meditative garden in the Japanese landscape tradition.

I have learned through drawing and observation that the foot of a body of mass is darker and therefore adds more substance or believability to a picture. In that regard, for sometime I drop in pigment as areas begin to dry. The dark green was dropped in to give the base of the mountain some added substance. It adds an element of scale to the overall setting, too.

I have learned to appreciate the atmospheric qualities watercolor can provide. Other forms of media (ie. oil, pastel etc.) do not lend themselves to suggestion as well as watercolor in my experience. What is not seen is as important as what it visible.

Watercolor sketches

(C) 2019 Dale DiMauro

Often I paint a simple little preliminary watercolor sketch before settling on a composition. It gets me thinking about a potential painting. Sometimes I paint them because time is limited while in other instances it is important to just get something down which I can come back to.

Both of these watercolors were down in about twenty minutes. It gives me a chance to consider pigments I might use. Also, I try out different techniques. 

In the top watercolor I wanted to capture the quality of the glow of foliage against the dark vertical trunks. I want to keep it simple yet draw the eye deeper into the forest. 

This is such a precious time of year as all that deciduous foliage is going to disappear quickly leaving the stark reminder that Winter is around the corner. I do like the quality of light in the watercolor, though.

Paint brush storage

(C) 2019 Dale DiMauro

With work a little slow and the weather iffy I decided to build a brush holder for when I am working on a watercolor at home. I built this little box out of oak, purchased from Home Depot, in my garage. 

I cut in half a basic sponge which my brushes sit on and this enables them to dry in the open air. I have found that I do not like getting my table in my studio wet and sometimes my brushes roll off the table. Whether painting inside or out I try to limit myself to using four or five brushes as it is less to keep track of. 

In addition, I find this system keeps the tips of my brushes in good shape. If I am interrupted by a phone call or someone comes to the door I can easily rinse out my brush and set it on the holder in no time and resume painting when time permits.

As they say, to each their own. At least I find this works for me. You might want to consider something like this in the future.

Landscape study

(C) 2019 Dale DiMauro

Recently, I have rediscovered permanent alizarin crimson. As a result it has found it's way back onto my palette. I particularly like how it combines with cerulean blue to create a warm violet sky low in the horizon.

To me this landscape study has an oil painting quality. The top edge of the foliage and the demarcations of the birch tree trunks appears as if a palette knife may have been used.

Coming up with greens by combining blues and yellows is a wide open field. I have been combining cadmium yellow with cerulean blue which creates this great late Summer foliage. I feel some humidity in the air in mixing this pairing.

These color combinations I learned were favorites of Charles Reid a noted watercolorist and instructor who painted for decades.

At water's edge

(C) 2019 Dale DiMauro

Some Vermonters are real independent minded folks. Others are distracted by their devices. 
The times we live in shape our values and the landscape expresses something about our character. 

I hope I captured this individual's strong presence and unique posture. Or at least to some degree. 

This was a rapidly developing watercolor with an equally evolving composition. It was all about the figure even though he was painted last. There is an english quality with the way the vegetation was painted and the heavy use of browns and greens.

Thumbnail (watercolor)sketch

(C) 2019 Dale DiMauro

When I am not sure what to paint, a thumbnail sketch gets the creative juices flowing. It can be done in pencil or watercolor or both as in this example. It makes you think about the composition and even the colors you may consider in your final painting.

One of the best aspects of doing a thumbnail sketch is that you are not tied to any specific outcome. Thus, the drawing and painting is recorded freely with direct brush strokes. It is basically an emotional release. At some later point you can come back and modify your composition when you feel it will strengthen the outcome of your painting.

On the other hand if you are pressed for time it is good to get some painting in on days when you feel stressed out. Just to return to this recored image calms the body. After traveling or when you have more free time you can return to developing this as a painting.

Self Portrait

(C) 2019 Dale DiMauro

Recently, I started a self-portrait from a photograph taken by my wife while on vacation in Maine. It is at an exciting stage. The picture can go in a number of different directions. However, it is a strong composition, nevertheless.

I was eager to try Fabriano Artistico 300 pound soft press which I am not experienced with. In fact, it is my first real painting on this surface. I do like how the paper absorbs the pigment.

At this point I could have a solo show of self-portraits. Regardless, it is always a challenge. It is hard to look at yourself without some sort of bias.

N.C. Wyeth: New Perspectives

This Friday, October 4, 2019 through January 12, 2020 there is a major exhibit of N.C. Wyeth's paintings at the Portland Museum of Art, in Portland, Maine. I have read where Wyeth's work has not been displayed on this scale in over fifty years. This reflects a renewed interest by the general public in his art. This traveling show originated at the Brandywine Museum of Art in Chadd's Ford, Pennsylvania.

N.C. Wyeth is known for his illustrative work. These include the Scribner's Illustrated Classics such as The Last of the Mohicans dating from the early nineteen hundreds. He painted on a large scale, in murals, rugged individuals as well as lovely landscape paintings of Chadd's Ford, PA and along the coast of Maine where he lived. 

Personally, I admired how he captured the postures of the individual's he depicted. Whether they were riding a horse or working the family farm. 

When I was at the Clark Art Museum during the Summer, I purchased the catalog N.C. Wyeth: New Perspectives(published by the Brandywine River Museum of Art and the Portland Museum of Art in association with Yale University Press, New Haven and London).

Along the Maine Coast

(C) 2019 Dale DiMauro

My wife and I stayed one night during our Summer vacation in a lovely inn with a stunning view of the Atlantic Ocean. A short drive to where the beach was led us to these lovely wetlands. As it was late in the day, the green heads were out. Green heads are these aggressive, biting insects. I was reassured in a few days they would all be gone.

Since coming down with flu-like symptoms on Monday I was surprised I had any energy to paint this watercolor. It reminds me of some of those lovely British watercolors you might see in the 20th century featuring browns and greens in the landscape. These watercolors are characterized by the use of muted colors, flat light and soft edges.

Fabriano Artistico(soft press)

(C) 2019 Dale DiMauro

Recently, I started painting on Fabriano Artistico paper. In particular, I like their soft press paper which is between a hot and cold press in texture. It does not seem to look all that special in your hand but when you drag the brush across the paper you can get this rich gradation of color. I do not have much experience with this paper but I continue to experiment with it so there is much to be learned.

This is a similar scene from a recent post. Since I have started a self-portrait on a larger scale I want to get more comfortable with this newer paper. So here I was seeing what I could do with this paper. Not bad as far as I am concerned.

As a side note, blue is the color I use the most and therefore have to replace more frequently than any other. Some form of blue was mixed or applied in all the colorings in this picture.

Connecticut River(boat landing)

(C) 2019 Dale DiMauro

With this phenomenal sunny weather we our experiencing, I am trying to get out as much as I can to plein air paint. The tinge of color on the foliage tells me the leaves will be falling soon. In fact, in some places it is already on the ground.

In my mind I try to envision where the sun will be, in determining where I want to paint. Earlier this week I chose an early morning site where I could face west across the Connecticut River. If it had rising mist all the better. Nevertheless, a lovely location.

I started out focusing on the river as the subject until I noticed the sun warming the log in front of all this vibrant growth. The overall light conveyed across the scene I find quite welcoming. I spent a little over an hour on this piece. At that point I did not want to overwork the painting.

Landscape doodle

(C) 2019 Dale DiMauro

It's always fun to play with paint. Any little piece of watercolor paper at hand is all you need. I learn something each time I play with paint, paper and brushes.

This imaginary landscape is the result of having some unplanned time in my schedule prior to an appointment. It's amazing what happens when you let colors blend into each on the paper with a little manipulation. Over time I have learned to appreciate using warm and cool pigments and how affective their placement can be. 

At times when painting I feel like I am in a 'zone'. This is when a picture moves along freely without any hesitations. You can just feel the painting come together after visualizing where you want to go with it. This is an exciting time because it feels like a growth spurt. Since it is recorded on paper you can go back and see where you were at that time and learn from it.

Thoughts on painting trees in the landscape

(C) 2019 Dale DiMauro

These days I usually pre-stain my watercolor sheet. Not always, but more frequently then in the past. This way I can get beyond the white of the paper. Of course, it all depends on your subject matter. 

This is the perfect example. I wanted subdued colors so the grass and green of the trees would stand out. This sky has a touch of pink which is pretty much the complimentary color to green. The cool gray of the drive helps to frame the greenery.

Trees can be hard to paint if you don't have a clear vision of what you want. For me it is important to have the tree in the foreground lighter than the tree in the background. It is also important to depict the foreground tree with greater height and a thicker trunk to suggest that it is closer to the viewer. Also, expressing the foliage distinct from the other tree in your technique can be helpful. Many artists use some sort of masking fluid during the painting of trees but I shy away from this approach.

I'll post the final version of this watercolor when I finish it. I do appreciate the large specimen trees you sometimes find along old residential neighborhoods. It seems like they are becoming harder to find these days. Trees take a commitment to be allowed to grow to a mature height without too much interference.

Summertime by the Water

(C) 2019 Dale DiMauro

For the most part, painting the landscape is a joy in good weather during the Summer season. There is great plant growth, bird activity and interesting cloud patterns to observe endlessly.

I like this watercolor even if there are some obvious flaws to be addressed. The colors are lively and pretty accurate to the scene. There is movement to the unsettled surface of the water which I find fascinating. The granulation from the ultramarine blue in the sky adds a nice feel to the overall painting.

The flaws originate from trying to lift color to suggest multiple tree trunks on the right foreground. Seeing through the foliage makes the tree appear like it is on the distant shoreline when in fact, it is in the foreground. Nevertheless, the burst of transparent green foliage on the lower right is so rich I come back again and again to this corner of the picture.

The distant tree-line I have been studying all summer with it's undergrowth and spit of sand. This is by far my best approach to date. So yes I find this watercolor to be exciting and a yardstick of progress. Also, it was done in a little over an hour. 

Perhaps, a good watercolor is not the result of time spent as much as a clear vision in the steps forward. 

Thumbnail sketch

(C) 2019 Dale DiMauro

A quick thumbnail sketch is the way to go. If you are pressed for time, at least you can put something down on paper and return to it later. This way you can build upon your initial impression.

These value studies get right to the point. If done well you can understand the foreground, middle area and background. This way you can benefit from the feedback of others.

This pencil study was inspired from my recent trip to Maine. I saw the setting sun on several evenings with quite dramatic color reflected across the water with it's long shadows.

All I needed was an HB pencil and a piece of scrap paper. It is a great opportunity to refine your composition so that it is as simple and strong in layout as possible.

Leonardo da Vinci

The Berkshire Museum, located in downtown Pittsfield, MA, has an exhibit titled: Leonardo da Vinci: Machines in Motion. This exhibit features forty model replica's of Leonardo 's inventions. However, the exhibit ends soon, on September 8. I don't know if I have the time to squeeze in a visit but do not want to miss it.

These are some of the magazines and books on Leonardo which I have read recently. Beyond his legendary paintings, I have always been taken by his drawings which are such powerful depictions of his imagination and observations. The fluidity of his pen reflect his mastery of human anatomy like no other.

Over the centuries as we discover(or rediscover) more insights from his papers, his works become more intriguing. Is Leonardo the model for some of his drawings on the human form? Many scholars think so.

Watercolor sketch

(C) 2019 Dale DiMauro

This week I forgot to include my paint brushes when I met with our dedicated art group. That is a first, at least for me. Fortunately, we share not just our experiences but our materials. It gave me an opportunity to practice with some different brushes. In particular, I liked the feel and control of this Holbein brush I used.

This little imaginary watercolor sketch was done with the Holbein brush. Since I was unfamiliar with the brush and how it handled, I figured it was best to do a warm up exercise.

It is always satisfying to complete a watercolor in one sitting, when possible. When you're inspired and you feel a good vibe, the painting progresses well. During this process, I feel the freedom to experiment and drop in pigment to existing washes. I find this freshness hard to duplicate at a later date. It may not be my best painting, but I learn from them all, nevertheless.

Painting techniques

(C) 2019 Dale DiMauro

This is a detail of a painting that I began recently. When I was painting the clapboards as artists often do, I began experimenting with different techniques. 

I really don't want to paint every single clapboard. More than that, I don't want the painting to look over worked and labored. So I began painting the clapboard where it meets the vertical trim on both ends. In from the trim where the paint was still wet, marking where the clapboard is, I blotted the paper with a paper towel. 

I found this technique quite effective. It dried fast and I could move on to the next clapboard without fussing around too much. I became quite inspired by this development in approach.

I'll see where this takes me and let you know my thoughts on a future post.

One if by land, two if by sea...

(C) 2019 Dale DiMauro

In watercolor there is an abstract quality with how the washes dry on the paper. Once you gain a feel for some of the affects you can achieve, one can really use it to your advantage. By no means am I a claiming to be a master of the medium. However, in the above picture, for example, the speckles in the water is where the brush left a few unpainted slivers of paper to the imagination. Also, at the trunk of the tree you have this cloudy area which may suggest the lifting of fog in a different context.

You can strengthen your drawing through your painting. We know that warm colors advance while cool colors recede. This principle is good to keep in mind when painting. 

In addition, you can convince the viewer by painting the horizon dead even with a sureness of hand. This is a great place to build your picture going forward. 

On the other hand it feels good to simply play around with paint. Particularly when you free yourself from expectations. An unconscious element may kick in and the picture develops in a direction you could not foresee. At the end, you can add a little color by dropping in a figure or two as I did in the above watercolor.

ANDERS ZORN: Sweden's Master Painter

Anders Zorn (1860-1920) was quite the artist. Zorn, from Sweden, was a contemporary of John Singer Sargent. He traveled extensively throughout Europe and the United States, achieving international success as one of the most celebrated portrait painters of his era. With his ability to capture the individual characteristics of his sitters, he went on to paint three American presidents: Grover Cleveland, William H. Taft, and Theodore Roosevelt.

Recently, I came upon the book Anders Zorn: Sweden's Master Painter, which is shown above with its front and back covers featuring two of his watercolors. I had not realized Zorn was such an accomplished watercolor painter. 

The watercolor on the back of the book, Summer Vacation, was painted in 1886, one hundred and twenty-three years ago. It is painted on a full sheet, which I thought was uncommon for the time. In addition, I understand it is the priciest Swedish painting ever sold. It sold for 26 million Swedish Krona in 2010 (about 3.7 million U.S. dollars, I believe). And this is for a watercolor, not an oil.

Cederlund, Johan, et al. Anders Zorn, Sweden's Master Painter. Forward by Colin B. Bailey, Rizzoli Electra (with Fine Arts Museums of San Francisco), 2013.

Bar Harbor(Maine) Sunset

(C) 2019 Photograph Dale DiMauro

One evening during my vacation in Maine, I hurried down to catch the sunset. During low tide, if you are lucky enough, to catch the sunset in good weather, the walk along the beach to Bar Island can be spectacular. 

Recently, tourists have become foolish enough to drive out by the edge of the island. Before long the tide moves in and your automobile is under water. In addition, this blatant disrespect for the natural environment ruins the experience for other people, including children playing along the beach.

As you can see this area is home to dramatic sunsets at this time of year with the changing light and ever moving shoreline, lapping at your feet. 

It is not difficult to imagine a watercolor derived from this photograph. With the natural patterns of the waves in the foreground and the vibrant washes of oranges and blues in the sky, the landscape takes on greater meaning.

Summer in Vermont

(C) 2019 Dale DiMauro

There is no other place I have been in this world with the richness of greens in the Summer as in Vermont. When I have left to go visit other states they often have drought-like conditions but once I arrive back in the Connecticut River Valley, the lush, verdant landscape smells of moisture in the air. 

Lately, I have been painting the skies I experience as accurate as I can, which is not easy. When you really look above you there is great diversity in the light and cloud patterns that influences our day. 

How you paint the sky is really important as it is often the first thing I put down in watercolor. It basically, sets the mood for your painting. The other thing about skies it that they are abstract. Or at least you can tweak the colors or exaggerate the values as long as your perspective with the horizon is working in your favor. 

Also, I have learned that the landscape is a couple values darker than the sky which gives it a solid foundation. I keep this in mind while working on a painting. It seems to be a good principle to build upon instead of going back to the ground area and making corrections.

Lake Sebago

(C) 2019 Dale DiMauro

Coastal Maine is a great place to visit, particularly in the Summer. I read somewhere that Bar Harbor had 30,000 people on one particular day when the residential population is in the neighborhood of 5,000. When your town has Acadia National Park on it, you attract crowds. Clearly, we were not the only ones visiting Maine but a change of scenery is alway welcome.

On one of the hotter days when traveling my wife and I visited Lake Sebago, which has the vast openness of a small ocean. However, the beach has smooth sand, free of rocks for the most part, which makes it great for swimming. Set back from the beach, Lake Sebago is distinct in having a transition area between the parking lot and shoreline dotted with mature pine trees. These trees provide a canopy from the sun over the picnic tables and walking trails with dappled light reaching the ground.

This watercolor is a 'memory' sketch from our day at Lake Sebago. My camera was left behind for the day so I painted what I recalled at a specific location along the beach. 

Of my three times visiting Lake Sebago, this was by far, the largest population at the beach. Scores of young children, in matching swimsuits with other day campers, are bussed to the beach in the Summer.  

Landscape Painting

(C) 2019 Dale DiMauro

Summer is a great time to paint watercolors. You don't have to go far for inspiration. Also, the days are long which gives you the opportunity to notice the changing light and capture it one way or another. I try to capture it with my camera. Or with pencil and brush. It makes you see things differently.

These are watercolors I have done in the last year. It is very satisfying to lay several out in a group not unlike a collage. It is also rewarding to try different types of watercolor paper and different sized formats. These paintings were done on Arches, Saunders and Fabriano watercolor paper.

Creating depth in a picture through foliage can be challenging yet rewarding if you come upon the right color combinations. This Summer season I have been eager to see what I can do with Hansa yellow. It is such a clean, transparent color. I like the range of greens it provides when mixed with various blues. 

Quick Sketch

(C) 2019 Dale DiMauro

Recording a quick sketch when your subject is in an unposed posture can be quite rewarding. Naturally, it can be challenging too. Regardless, this is a good practice to develop in public if you get the chance. 

On the one hand it may be best to ask for an individual's permission. On the other hand it may not be as unposed as you intended. Occasionally, on a picnic I will sketch a friend or relatives posture, in that moment, if I can.

If it turns out terrible you can turn the page and start another one at a later point. Really, there is no loss, you just move on.

This drawing was done fast. I liked the way this guy's body was held up in and around his folding chair. You can't make this posture up. It was too good--perhaps even comical. 

Foreshortening is usually tough to convey accurately. Is his right arm drawn the way it is? I don't know but after reviewing what was done I figure the next time I will do even better.

Stickney Brook II

(C) 2019 Dale DiMauro

As you may have figured out by now, Stickney Brook is one of my favorite local plein air spots. The dappled light, burst of foliage, cool breezes and water in its various forms is enticing. In numerous points along the brook you have falls, pools, eddies and meandering, offering diverse vantage points to paint and dip in.

I sat on a flat ledge-like rock, seat height, with my feet dangling in the rushing water. The light was changing quickly so I worked fast from top to bottom. These days I have evolved to rotating the watercolor block in my hand to manipulate the areas which are wet until I move on to another area. The spatial qualities of the brook I feel good about even if the foreground could use some finishing touches.

This Summer I have been using Holbein watercolors almost exclusively for painting outside. One of the great things about painting outdoors is the simplicity one attains whether conscious or not. For this painting I only used two brushes.

New table for plein air painting

(C) 2019 Dale DiMauro

Yesterday, I happened upon a table suitable for plein air painting. Or at least for my needs. I was downtown in our local sporting goods store where they stock portable folding tables and chairs intended for the outdoors. This one is aluminum, thus very light and quite handsome, I must add. Including sales tax it cost under forty dollars. 

It beats perusing a mail order catalog or online where you are not quite sure what you are purchasing until it arrives at your door. The employee I met was knowledgeable about its assembly and the various settings to utilize. So I am quite pleased with this purchase.

The last two paint outings have been frustrating with regards to holding my brushes, palette, water container, etc. Most of the time outside I find an easel is not necessary. With this table I am convinced it is convenient to paint sitting down or standing. It is a good feeling to be able to put things down and change your position from time to time. Also, the setup is simple and quick, which is key when working outside. The wind or rain can come your direction in no time at all.

Stickney Brook Falls

(C) 2019 Dale DiMauro

During the recent heat and humidity I have painted several plein air watercolors at this local watering hole. While painting, it feels great to hear the sound of rushing water with a shady canopy overhead. It is also refreshing to take a dip or walk through the water where it is low in spots.

I don't know if I would call this a finished painting even though it probably will not require much more work. When the first few washes were put down I was full of excitement at the direction it was heading. The colors remind me of this particular place at the time I was there.

I have come to the realization that I am mixing colors that match what I see out in nature. I can't say that I could do that in the past, at least consistently. The other thing I have been working on is contour drawing. If I really concentrate when drawing and painting outside I seem to be able to layout the image I am conveying quickly. This is important when plein air painting as the light and color is constantly changing. 

In conclusion, it is important to focus on one area of the landscape, not all the stuff before you. It takes time to develop an eye for what you want to develop on your watercolor paper.

Ashuelot River

(C) 2019 Photograph Dale DiMauro

Vermont is a beautiful place to live. Sometimes I lose track of this. Particularly, when the demands on my time are great. As a result, it is important to get outside and embrace the natural world. Fortunately, I can take a hike and access this wonder quite readily. It can be even more rewarding to paddle through an abundance of greenery and see wildlife first hand.

After a busy Spring, work wise, I am back to watercolor painting both in the studio and out in the landscape. I took this photograph last month, from the bow of my kayak, while paddling on the Ashuelot River in Keene, NH.

I have noticed the transformation of the foliage around us from the yellows of Spring to the heavier blue/greens of Summer. In retrospect, it is good to reflect on the natural world which we live within. Particularly, as the seasons change so rapidly, at least here in Vermont.

It was not until this afternoon when I realized I had failed to write and publish a post on Wednesday. So this is it.