Tree on the Common

(C) 2019 Dale DiMauro

Painting trees is exciting, rewarding and at times, frustrating. Lately, I have become obsessed with these specimen trees I see exposed to the wintry elements. They have such character with their graceful limbs, speckled trunks and strong shadows. Recently, I have seen numerous birds congregate up in their crowns while chewing on seeds. On windy days I am concerned they will blow down on neighboring power lines.

It is good practice I believe, to force yourself, to paint a watercolor in a limited window. I finished this painting an hour ago and started it the prior hour. From my experience, these time constraints parallel some of the characteristics of plein air painting. I was forced to keep the composition simple along with the chosen palette and forced to paint directly.

Finally, it was frustrating cropping the photograph with the blogger software for some reason. I failed to crop the first photograph but uploaded a second and it seemed to be misplaced in the folder.   

Adding Vehicles into Watercolors

(C) 2019 Dale DiMauro

Many artists include vehicles in their paintings. In particular, I like the work of Joseph Zbukvic. His watercolors, which feature vehicles, have an integrated quality to the overall composition.

Recently, I have been struggling in selecting vehicles to consider for painting. Some of the challenges are based on weather I do a side view or back orientation. Also, one can paint a vehicle in perspective, which offers more depth, with added detail. At this point, if I add a vehicle I intend it not to be the sole focal point.

This watercolor drawing is an attempt to get something down quickly, without too much fussing around. In this case, there was not much consideration regarding composition. However, I do like the shadows and atmospheric qualities in this picture.

Sketchbook drawing

(C) 2019 Dale DiMauro

It is wonderful to carry around a sketchbook and record what inspires you or draw imaginary landscapes. You can look back through the pages and see the progress an artist makes over a period of time. As individuals we develop the ability to see the world in a different light.

In the past I have made progress capturing the human head. This year my emphasis is on the whole human body. Depicting the whole human body with correct proportions while it moves requires a lot of practice. Many artists stay away from the human figure but I embrace it.

Lately I have been drawing on a daily basis, both in ink and in pencil. There is something amazing about using a fountain pen. With some practice you develop a fluidity which I believe the human body expresses. While a pen communicates through a series of lines a pencil can capture the gradations of our body mass and facial expressions.

This is exciting stuff. If you have not used a sketchbook you might consider purchasing one. Using a sketchbook forces you to notice the world around you and concentrate on a specific subject.

Ruth Bader Ginsburg: A Life

(C) 2019 Dale DiMauro watercolor

Earlier this winter, I read a biography of Ruth Bader Ginsburg. This book, Ruth Bader Ginsburg: A Life by Jane Sherron De Hart, is some five hundred and fifty pages long. It had been classified a new acquisition by my local public library. As a result, I had to get reading because the library loan was limited.

Originally, I was curious because Ginsburg has become a legend in the public's eye and well-respected in the legal field. It is well documented that Ginsburg was a minority in a men's field. Her thorough research and precise writing in legal briefs has yielded significant advances towards reducing discrimination. The book highlights Ginsburg's remarkable achievements in the field of law. She has inspired many and become a sort of superhero, the Notorious RBG. 

Recently, in my sketchbook I have been applying watercolor washes over my pencil drawings of individuals. It seems to give life and dimension to the person. This watercolor drawing is derived from the photograph of RBG, as she is known, on the back of the book. I hope it does some justice to the Supreme Court justice. 

Brattleboro Common

(C) 2019 Dale DiMauro

The Brattleboro Common is such an important park in the downtown area as there is minimal open space for the public to access. In the Winter, I find the experience of walking through the Common with the deciduous leaves down, in the sun, more appealing than in the Summer.

This watercolor started out as a study of the two trees in the foreground. It wasn't necessarily going to be a completed painting but I liked the direction it was going. Initially, the feel of fresh snow and the crisp shadows on the snow were a source of inspiration..

Clearly, elements were deleted from the site to simplify the composition. The gazebo looks a bit like a folly but I like it nonetheless. I seldom use phthalo blue, but that is the only pigment used for the sky.

Plein Air Painting

(C) 2019 Dale DiMauro

As the length of day has been increasing I am becoming more and more eager to paint outside. This may seem like an odd desire since it only February. However, at least in my mind, I am mapping out areas in my town desirable to paint. 

Over time I have learned to appreciate the simplicity and directness of plein air painting. On the one hand, the light changes quickly so an artist cannot get too boggled down in details. On the other hand, it is quite social as people feel entitled to see what your working on. Often people passing by offer there unsolicited opinion.

While painting outside I have become aware of how rapidly plants and foliage change daily. The leaves on the trees unfurl in a light hue which becomes much darker as the Summer season evolves. 

With such an early Winter and long one indeed, I am eager for signs of Spring. I suppose hope does Spring eternal.

Hansa Yellow Light

(C) 2019 Dale DiMauro

This week I introduced hansa yellow light to my palette. I had been thinking about this pigment for quite some time as it's color mixing attributes are appealing. Throughout the fall I had been searching for an opaque green to use for tree foliage. With more experimentation I hope to meet this need. 

Hansa yellow light mixes well with a range of blues creating fresh, you might say, 'garden' greens. This versatility is useful when painting the landscape.

In the color swatch above I mixed hansa yellow light with ultramarine. The next swatch consists of hansa yellow light with cerulean. The third swatch down combines hansa yellow light with phthalo blue.

In my limited exposure to this pigment I have learned that hansa yellow light is useful whether in a thin or thick application.

In conclusion, I learned this pigment is not as available as some other colors. The one I purchased is from Daniel Smith. In retrospect, this post may not be the most exciting for the reader but I believe there is value in the information presented.

Little landscapes

(C) 2019 Dale DiMauro

Doodling little landscapes in pencil, pen and watercolor is a favorite pastime of mine. Each time I challenge myself with different color schemes or ways to to express atmospheric qualities. Along the way I hope to become more proficient with the the brush and paint.

When I have success in painting landscapes it is important to start with the sky and work towards the foreground. A weak wash to imply a distant land mass can be very convincing. This also makes the foreground vegetation stand out in contrast. The second wash over the water gives depth and makes the water along the shore appear shallow.

Over time I have learned it is best to establish a convincing horizon. Keep it simple and parallel to the bottom of the page.

Recently, I have been trying to achieve cleaner washes with simpler mixes and broader strokes. The bigger brush I use the better. It is also important to leave the wash alone once it is put down. You can always add a second or third wash if necessary after the first has dried.