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| (C) 2019 Dale DiMauro |
Warms against cools and vice versa in watercolor can make a picture sing. Particularly, when there are soft edges that bleed together. I have learned the hard way that there are times when it is best to leave a wash alone. This is one such example.
This is one of those little landscapes I create when I have limited time. Continuity is important in painting as in others aspects of life.
There is an intuitive element about these that I find mesmerizing. To turn the paper on edge and draw the wash across the paper creates excitement and changes your perspective. In addition, the absence of color makes other areas with pigment stronger. Often less is more.
Experimenting with color and pigments is quite addictive. If there is any time of year to broaden your horizons this is it. As Spring continues to unfurl new colors and forms everyday we see the world with a fresh eye.
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| (C) 2019 Dale DiMauro |
In the last few years, when painting a landscape, I have appreciated the early stages of the process. There is an abstract quality to watercolor; when if you seize the moment, you can exaggerate the atmosphere, color or drawing to your preferences. By this I mean you can take the painting in a totally different direction. For a study I find this to be desirable as the light on the landscape is always changing anyway.
When painting outside, I find myself trying to capture or record what the eye sees before it changes. At the same time I believe the use of my palette is evolving with new color combinations as a result of what I am seeing.
This watercolor is inspired by a visit to the Audubon Society in Portland, Maine. During the summer, they have these lovely trails through the woods with shoreline vistas and, equally important, mowed paths cut through their meadows. If you pay attention while on a stroll, you will notice much bird activity.
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| (C) 2019 Dale DiMauro |
This painting was started last fall, at a watercolor workshop, led by Robert O'Brien in Vermont. Most of it was painted in that one sitting. It has an overall pleasing feel to it. Or at least that is my take on the subject.
This painting is done on the thicker 300lb Arches watercolor paper in contrast to the thinner 140lb paper, which I often use.
Part of the appeal for me is the expression of the sky. Usually the first wash I do, is in fact, the sky. I left it at the time, seemingly incomplete even though the dry brush affect intrigued me.
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| (C) 2019 Dale DiMauro |
Recently, I acquired this bound watercolor book consisting of Arches watercolor paper on the internet. I have learned it is difficult to find a sketchbook with high quality watercolor paper. So I am giving this a try.
I must say this is a well crafted book with a quality binding. Most of the pages consist of the cold press variety which has some tooth to the page. However, the end pages consist of the smoother hot press.
When time is limited such as in the Summer it is important to be able to paint on the go. Even though it is the same paper as found in the popular block form I find it will take some adjusting to this different format. This is the first painting I started in this book, so we'll see.
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| (C) 2019 Dale DiMauro |
This painting I posted recently in a less advanced stage. I had not painted to date a great mature tree in silhouette. I feel like I made a good attempt at capturing the presence of this specimen with it's twisting limbs and gnarly bark.
Above all I love the landscape. The feel of fresh snow and mystery of what's over the rise in land adds more to the picture.
Gerard Doucette, my critic and art advisor, helped to articulate the snow line so that it was not such a hard edge and give dimension. Also, he suggested an approach to correcting the upper left limb which had become flat and out of proportion. We basically lifted paint from the meaty part of the limb extending it towards the sky to counterbalance with the other major branching.
It is always rewarding to receive constructive criticism and gain insight from other people. Such comments give a final direction to the painting. This way when I am at a similar fork in the road on a future painting I may draw upon a greater well of experience.
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| (C) 2019 Dale DiMauro |
It has been a rough transition from Winter to Spring here in southern Vermont. Many rainy or cloudy periods have been followed by an occasional sunny day. I heard a forecast earlier this evening which included the chance for snow in the higher elevations up north.
My wife and I did the annual Mountain Day hike, on Mt. Wantastiquet on Saturday which was a glorious day.
This watercolor was inspired by last Summer's visit to the Clark Art Museum in Williamstown, MA. The museum has these lovely walking trails through their rural campus with diverse vantage points.
Green seems to be the color of Spring in all it's gradations.
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| (C) 2019 Dale DiMauro |
J
ohn Pike(1911-1979) was a well known watercolor painter and instructor from Woodstock, New York. He often painted Winter scenes with a warm glow to them. He was credited with writing John Pike Paints Watercolors, first published in 1978. Recently, I read where he had fifty-four one-man shows.
This watercolor I started a few evenings ago reminds me of his work. In no way was this picture inspired or referenced from his work. Regardless, he painted some great watercolors and received many prestigious rewards.
In the late Winter I developed a desire to paint a great specimen tree in silhouette. There is something about a tree with all it's character and commanding presence dominating the edge of a field or high point.
In some ways this simply is a study of the growth pattern of a tree. Capturing the hierarchy of the branching with fluidity is no easy task. It certainly is worth pushing the skill level to greater heights.
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| (C) 2019 Dale DiMauro |
Painting the landscape is one thing. However, painting the sky is another thing unto itself. It can be really challenging. Regardless, I like it when there is an element of depth or variation in the patterns of a sky.
When I start a watercolor the first thing I do is put a wash down for the sky and then proceed to other areas of a painting. I have been told, or read that the landscape in general is darker in value than the sky. If the landscape is weak in value then your picture has no real foundation to build upon.
This picture is inspired from a late afternoon paddle on a nearby pond in Vermont. I looked up from paddling and experienced the vastness of the sky, which was so inspiring yet, truly overwhelming.
As a result I felt the need to challenge myself to take on more adventurous studies of the sky. If there is any medium capable of expressing the atmospheric qualities of the sky it seems like watercolor would be most suitable.
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| (C) 2019 Dale DiMauro |
After some finishing touches with a big assist from artist and art restorer Gerard Doucette, this is the finished watercolor study. My wife thinks the child is of Asian ethnicity which, perhaps gives the piece a contemporary feel.
Aside from the child I like the warm yellow sky. This reminds me of hot, humid Summer days when a breeze is hard to find. The sky also reminds me of Cape Cod for some reason. Perhaps childhood memories playing along the beach in the sand and changing tides.
As a final note it is a good practice to not overwork a picture. Or at least that is what I think to myself when all is said and done.
