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| (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.
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| (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.
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| (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.
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| (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.
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| (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.
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| (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.
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| (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.
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| (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.
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(C) 2019 Dale DiMauro
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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.
