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| (C) 2019 Dale DiMauro |
Winslow Homer(1836-1910), the illustrator known for depicting civil war scenes and capturing the turbulent Maine coast in oil, many consider to be the greatest of American artists.
While the tradition of painting in watercolor had yet to become firmly established in America, Homer sought to earn a reputation in the medium dependent on supplies originating from England. His pioneering efforts opened up new opportunities for future watercolorists.
As his subject matter evolved over his career, many reflect back on his earlier period of watercolors of local children out in the rural landscape, during the mid-1870's, with great affection. I include myself in this demographic.
This watercolor study was not intended to have any reference to Winslow Homer. However, the subject matter and the unadorned quality of the figure triggered in my mind a connection to Homer's era. On reflection, I'd be blessed to join his company.
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| (C) 2019 Dale DiMauro |
In the past I have explored combining ink with watercolor. This combination I find appealing. You have the freedom and atmospheric qualities of the washes over the structure the pen provides.
Lately, I have been drawing with my fountain pen on a daily basis. Primarily to improve upon capturing the proportions of the human figure. This has got me to thinking about painting with pen and ink again.
This watercolor I did a while back of an imaginary landscape. The water on the land is the guiding principal of the culture in all its forms. Whether water meanders across the valleys, gathers into pools, nourishes the crops or refreshes in the form of fountains etc.
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| (C) 2019 Dale DiMauro |
Sometimes returning to a painting you started changes your perspective on things. This watercolor is one such case.
Last fall I wanted to paint a landscape. Not just any landscape but a real painting that drew you into the picture. I wanted to capture the sky and landscape with a feeling of depth, color and light which we don't see every day. To do this, I had this odd-sized sheet of Saunders Waterford, watercolor paper with a vertical-orientation kicking around. So it was to be done on this paper.
I started this picture but the early winter snow discouraged me from finishing it. This photograph is a detail from the overall watercolor.
Recently, I painted some more washes which gave the foreground richer colors and greater depth. As a result I became re-energized.
Prior to starting any painting I consider how to approach the subject. Sometimes I tone the paper with some-sort of pigment. Other times I leave other areas to be painted last. However, in this case, I realized the absence of color just below the woods would suggest the sun-bleached field. As it has been said by countless other people long before me: less is more.
This book, Drawing Human Anatomy, by Giovanni Civardi has drawn my attention for some time. At one point I borrowed an earlier publication of this book and could not get enough of his drawings on anatomy. Civardi is well known in the illustration field with numerous other books out on anatomy, portraiture and drawing in general.
What makes this book great is that it is not weighed down with a ton of medical jargon yet has inspiring drawings. Unlike most books on anatomy, he advises the reader on tips for life drawing and art materials one might want to consider.
As in any kind of anatomy drawing it takes considerable effort to get the proportions and scale right before tweaking these parameters to express an individual's characteristics. However, if you can master the human figure you can pretty much draw or paint anything you want.
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| (C) 2019 Dale DiMauro |
First plein air watercolor of the year. I had an hour outside to lay down the initial washes and later on, did finishing touches inside.
Since it was my first outdoor painting in a while, I wanted to keep the composition simple and see how it went. I was concerned the paper wasn't going to dry in a timely manner. The wind started to pick up as I set-up my equipment.
There is some quality about the light in the foreground with the tree trunks and dry brush marks that I repeatedly come back to.
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| (C) 2019 Dale DiMauro |
In a recent post I mentioned I was trying to get better at depicting the human figure. Conveying the correct proportions is critical along with getting the essence of the human posture.
Also, I am trying to get better at depicting automobiles. Sometimes it is important to exaggerate the characteristics of different automobiles and pick-up trucks to better understand their differences. I have a ways to go, but the fountain pen has helped me become more fluid with my vehicle drawings.
Down the road I hope to be able to portray a vehicle in my watercolors when it seems appropriate, without too much trouble. Using a sketchbook is vital in developing these skills without the pressure of failing.
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| (C) 2019 Dale DiMauro |
After completing my taxes and some yard work it is exciting to get back to painting. Every time I paint I seem to learn something. Sometimes it is simply learning new color combinations or as in this instance, seeing things a little clearer.
I started this watercolor last fall but was unimpressed with the foreground. The ruts in the field I believe are an important part of the composition. They seem like graphic marks which draw you into the landscape. They create a sense of depth and richness in combination with the umbers and ochres. As a result this landscape has become much warmer in tone, which I appreciate.
It is important to paint freely at times with no expectations. You can learn new techniques or simply leave certain areas alone. Inspiration can take you places you can not anticipate.
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| (C) 2019 Dale DiMauro |
Painting trees in watercolor I find to be a fun exercise, even a spiritual process. There is some magic if you can capture the presence of a large tree with all its character, to some degree, on paper. Each species of tree is quite individualistic, yet familiar in some way. Of course, tropical trees are a whole separate matter, I suppose.
Most trees I come across in nature or in our cultural landscape are misshapen with irregular silhouettes or devoid of large chunks of limbs, which can add character. Also, trees often cast dramatic shadows across the earth, which gives them a greater sense of presence. It is good to capture some of these qualities.
When I prepare to paint a tree, I am not seeking to paint a perfectly shaped tree. However, I am continually trying to improve on the trees I paint. I think it is important to paint as fluid a trunk and branching as you can. It is also important to anchor your tree to the earth.
This tree I just made up, or perhaps you could say I painted it from a conglomeration of memory.
