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| (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.
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| 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.
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| (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.
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| (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.
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| (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.
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| (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.
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| (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.
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| (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.
