Local Field

                                                                                       (C) 2021 Dale DiMauro
 

This view was first seen by me in early December on a walk along the West River Trail. A mild, late fall with relatively little snow, provided the inspiration for this picture.

I did some finishing touches on this watercolor from the last post. A foreground wash of raw umber and ultramarine blue provided shadows in contrast to the warm sun across the distant field. The foliage on the edge of the field was also strengthened. 

It felt good to work in my studio from start to finish with relatively few interruptions.

Early December Landscape

                                                                                       (C) 2021 Dale DiMauro

This December I took many walks in the woods because the ground was largely free of ice and snow. That has since changed, but I can't recall spending so much time in the woods or fields so late in the season. I really noticed how long the shadows become late in the day.

It felt great to get back to painting again. December had a lot of work demands and preparation for the holidays which was odd because we didn't really go anywhere - due to CIVID-19.

I just started this watercolor and am largely pleased with my progress. I like the light and warm colors.

Portable Palette

                                                                           (C) 2021 Dale DiMauro
 

Late last Summer I figured I came up with a great idea. Since I prefer to use full pans instead of half-pans which individual pigments sit in, I could combine various pigments together and make my own set. This means I can change my palette whenever I needed to or combine specific colors for whatever reason may come up.

I talked to one of the major art retailers and they said they would special order this empty palette for me. Except with all the supply chain delays it took until this week to receive the empty palette.

Regardless, I am excited to be able to put together my own palette for traveling or painting outside. I like this small size which fits into a small bag and is easy to clean.

Mark-Making & Other Thoughts

                                                                             (C) 2021 Dale DiMauro
 

It is always fun to play with watercolors to see what kind of marks you can make. Along the way your mark-making evolves along with your understanding of your palette and it's mixtures.

This watercolor was done from memory after coming into the house from a local walk on a glorious sunny afternoon. Before the snow arrived, the colors of the landscape were quite lovely with strong warm tones until the shadows move in later in the day.

The edges of your washes are so important in watercolor. Depending on how you want to articulate them you can achieve tremendous variety. Around the body of water above, I feathered in the foliage to make them appear to be in the natural light. I will continue to experiment and see what direction this takes me.

West River Trail

                                                                    (C) 2021 Photograph Dale DiMauro
 

Last Sunday I took a walk on the West River Trail and took this photograph on the way back to my car. Once I took this picture I was certain it was a gem. 

There is something compelling about the fall colors which we underestimate. I don't mean the vivid reds or oranges of a maple tree which definitely are stunning. The warm colors of the earth, the ochres and sienna's let the other colors have the center stage. These colors warm the landscape and make the blues of the water sing.

The shadows projecting from the gate and revealing the contours have a special quality unto themselves. 

Today I had to post this photograph as it had been on my mind for several days. It pays to get outside in the landscape and experience nature and all that it has to offer.

Lifting Paint

                                                                              (C) 2021 Dale DiMauro
 

Recently, I started this watercolor of a local field with a large puddle with reflections in the foreground. Before starting, I pre-stained the entire sheet with quinacridone gold giving the image a warm yellow feel to it.

However, the image looked flat so I have been lifting more color than I ever have from a watercolor. The horizontal bands in the field, along with the surface of the puddle and some of the passages in the foreground, with clumps of vegetation, all are areas I lifted paint.

I am curious and optimistic of the final result. I think there will be depth and variation through techniques I have not really used before. Of course you can repaint areas where paint had been lifted before. 

Used Book

My local library has been having a used book sale. I picked up this book, The Complete Watercolor Book, by Wendon Blake, for two dollars. Not only is this a great book with many tips on making watercolors but it is a hardcover, for again, just two dollars.

Blake has a section on painting seascapes and this composition and coloring caught my eye. It reminds me of the coast of Maine. Also, I like the low horizon line.

I quickly painted this scene, based on a photograph, of his watercolor from the book. I figure it is always a plus to tackle subjects on the edge of one's comfort zone. 

 

Missing A Figure?

                                                                        (C) 2021 Dale DiMauro

This is the kind of composition where a figure would complete the picture. Some color and a strong focal point could seal the deal. 

However, I have learned to appreciate the subtleties of color and their variations, particularly at this time of year. Certain colors express the regional characteristics like no other. A combination of permanent brown and yellow ochre can look strikingly like the woodland edge in November with no further pigmentation.

Now to find a figure to finish this watercolor......
 

Color Swatches

                                                                                        (C)2021 Dale DiMauro
 

In a recent post I mentioned how Charles Reid wrote in his book, Watercolor Basics, that during a down time it is good practice to make color swatches. Your vocabulary of color expands and your brushwork develops too.

Well, lately I have been making many color swatches. I like this swatch in particular. This juicy, light brown was created by mixing permanent brown with quinacridone gold. At this time of year the distant hills when in the sun can acquire this warm, earthy coloring.

It is not so much the color itself that is striking as when it is combined with a red or blue which will make the colors sing.

You Can Paint On Pretty Much Anything

                                                                                       (C) 2021 Dale DiMauro
 

This little watercolor was painted in a spiral-bound book by the Bee Paper Company. It absorbs watercolor paints, yet is only 93 lb paper. It is great if you simply want to put something down on paper quickly. Also, it is a handy surface to test pigment mixtures.

Every type of paper manufactured handles pigments differently. Thus, it is great practice to be able and willing to use different papers and find which surface suits you and how you handle the paper.

I find painting everyday, even if just for half an hour real beneficial. Continuity and progress are real important.

                                                                                       (C) 2021 Dale DiMauro
 

Winter definitely feels like it is moving in, here in Vermont. It is colder at night and the strength of the sun during the day seems weak. 

However, we have had many sunny days lately. I try to get in the sun whenever possible even if it means eating lunch in the car or getting a walk in at erratic times of the day.

I have discovered this brownish mix by combining burnt umber and phthalocyanine blue which I have begun to experiment more with lately. It offers a nice earthly base which you can warm up or cool down depending on how you want to tweak the colors.

At this time of year the landscape can develop an eerie quality with all the leaves gone and a dismal lack of color. It is as if the landscape is waiting for the snow to arrive.

Moody Landscape

                                                                          (C) 2021 Dale DiMauro
 

The colors in this watercolor, for me, express this time of year here in Vermont. The sun has become weak with long shadows and you have to take advantage of it's warmth when it's out. All of a sudden I look out my window at 11AM with the sun out and there is a bunch of people squeezing in a walk or attending to their pets.

I usually don't paint gray skies but I tried a mixture of burnt sienna and cobalt blue. This sky color really sets the tone for the painting.

Often a sheet of watercolor paper curls or buckles on me once there is an accumulation of paint on it. However, this doesn't faze me so much as it might have in the past. I just turn it over and soak it under water from my sink. Next I lay it down on a flat surface and put an empty jar or two on it and then it will dry flat.

Blues & Greens: The Colors of Summer

                                                                                       (C) 2021 Dale DiMauro
 

Years ago I purchased one of Cheap Joe's sample packs. They offer a variety of watercolor papers cut down to a smaller size so budding artists can experiment and find out which paper they may prefer in the future.

This watercolor I did on 300lb Fabriano Artistico watercolor paper which has been kicking around in my flat file for some time. This sheet has additional watercolors I did from many years ago on the top.

I have not worked on the thicker watercolor paper for some time and appreciated the slower dry times. In addition, to my eye, the colors remain vivid, just as when I was painting on the surface.

ULTRAMARINE BLUE

                                                                                       (C) 2021 Dale DiMauro
 

Sometimes it is best to just play with your pigments and see where it takes you. This was a test sheet for sampling color mixtures which became an imaginary landscape. There is a bit of drawing which helped in the composition. Even some memories of the landscape oozed out, too.

However, I have been trying to resist the urge to cover the whole sheet with pigment. I am beginning to see the strength of the white of the paper more and more. Also, I think the mind and eye fill in the composition with color in some spots.

The blue I used here is ultramarine blue. I use this more than any other pigment and it blends well with other pigments. One of the keys is to vary the concentration of the color which strengthens the perspective and can appeal to the eye.

October in Maine

                                                                           (C) 2021 Dale DiMauro
 

This watercolor is a sort of personal postcard of my trip to Bar Harbor, Maine in late October. The natural colors of the island had a natural richness one does not experience during the summer season. Also, the burden of overpopulation had dispersed by the late fall.

With family members I went on a hike on Great Head(in Acadia National Park)with lovely views of Sand Beach and the Atlantic Ocean. It always is rewarding to smell the ocean air.

The rocks have a peculiar greenish tone which I had not seen before. I did not portray this color here but they are distinctly artificial in tone. It remains a mystery to me. I am baffled at what colors to even mix to achieve that color.

Living Memorial Park

                                                                            (C) 2021 Dale DiMauro
 

Today's painting is of Living Memorial Park, which I painted this evening. It felt great to get back to painting after spending much time preparing my house and property for this coming winter. 

My timing was great as winter feels like it has begun to move in. Most of the raking, organizing the garage and cleaning the gutters of leaves has been done.

During COVID-19 I have visited Living Memorial Park many, many times. Over the course of these visits I have come to appreciate the changing light across the fields and hills of the park. The other thing I look forward to are the views across the park and into the distant hills.

Large Brush Practice

                                         (C) 2021 Dale DiMauro

 

Recently, I have started doing large brush exercises before digging into the painting I am working on. I can see how the pools of pigment bleed into each other on the paper. Naturally, this involves preparing greater quantities of pigment.

However, this is a very satisfying activity. I can always go back and do more if I want but it makes me more sure in my strokes, with less fussing about. Also, I use an inexpensive watercolor pad, so there is no loss if a picture doesn't work out.

I will see where this takes me but I appreciate the increased scale and boldness of my approach. There are so many ways one can work on developing their watercolor skills and this is just my current approach.

Memories of Maine

                                                                                     (C) 2021 Dale DiMauro
 

It felt good to get back to painting. After a weekend in Maine your perspective changes a bit. In general, I don't have much recollection of fall in Maine, but I found the colors of the foliage to be rich and striking, nonetheless.

Maine over the last two summers seems to have become a negative experience for me, due in part to the pandemic and hordes of people and uncertain accommodations. However, it is always a delight to smell the ocean no matter what time of year and see the activity that it attracts.

This watercolor is a collage of those associations of Maine that I bring home with me.

Landscape Doodle

                                                                                       (C) 2021 Dale DiMauro
 

It always feels good to put paint to paper. Even if time is limited. You can always come back and add more to what you started. I learn so much about the pigments the more I use them.

My most recent color exploration is combining cadmium red with turquoise(or any blue green). Depending on the proportions you come up with, a warm or grayish blue sky, or both.

I read where Charles Reid(a noted watercolor painter, author of: Watercolor Basics) suggested during idle hours painting swatches to develop greater understanding of colors and learning how to mix paint on the paper.

Just putting something down on paper keeps the mind sharp and the hand loose. Continuity is important.

Woodstock, Vermont

                                                                                       (C) 2021 Dale DiMauro
 

This summer I had the opportunity to walk the carriage roads and foot paths of the March-Billings-Rockefeller National Historic Park, in Woodstock, VT. There are such lovely vista's with open meadows and large trees which are hard to find these days.

Since I was away part of this week, my painting was limited. I fit in this watercolor earlier this evening. This view is from one of those carriage roads with a rather dramatic drop in the grade across the meadow to the distant hills.

There is always much to be learned in painting the landscape as well as interpreting what is seen.

Eldridge Hardie(1940-2021)

Eldridge Hardie(1940 -2021) painted sporting art in a similiar vein as Winslow Homer and Ogden Pleissner. He loved fishing, hunting and making art. He lived a good chunk of his adult years in Colorado.

I have had a used book on his art for years called: The Paintings of Eldridge Hardie: Art of A Life In Sport. I pulled it out of my bookshelf the other day. I had forgotten how much I appreciated his watercolors.

The colors in his watercolors remind of this time of year with the changing of the seasons and the vibrant fall foliage.

Above, I copied a detail from his painting: New Brunswick: September 30, 1994, both as a study of his approach and expressive brushwork. I find it hard to find figures in the landscape(who aren't moving all the time) yet I love some of the spatial qualities of the natural landscape here in Vermont.
 

Bookmark Anyone?

                                                              (C) 2021 Dale DiMauro
 

Any size painting can lead to a lovely watercolor. This odd-size painting was done in less than half an hour. I used only two pigments in creating this picture - ultramarine blue and quinacridone red.

The gradual blending of pigments often yields positive results. In addition, recently, I have rediscovered the importance of not covering the whole page with pigment. The white of the paper is beautiful in it's own right with it's texture and all. However, up against the white of the paper, any pigment has an expressive vibrancy unlike any other medium.

It is easy to overwork a watercolor and when that happens much of the freshness or even directness is lost. 

River's Edge

                                                                                       (C) 2021 Dale DiMauro
 

Since late summer I have been experimenting with the three primary colors: red, blue and yellow. This is the product of one of my more recent experiments. I love the rich, fluid blending of colors. In particular, I like the darks which add so much to a watercolor painting.

The pigments used in this watercolor are: yellow ochre/permanent brown/ultramarine blue. I find the absence of color(the white of the paper) compelling when edged by darks. Also, this scenario seems to add depth to the landscape on the paper.

This was painted in an inexpensive watercolor book with 80# paper. It is very smooth paper. It simply shows - that it is important to paint on as many surfaces as you can so as to be flexible or adaptive in your painting approach.

Black & Blue

                                                                                       (C) 2021 Dale DiMauro
 

For some time, in the evening, when watching television with my wife, I have some post-it notes on hand. Often I ponder what color I will get when mixing certain colors in my mind. I then write down these color combinations so I can try them out later. 

This dark blue - black is the product of one of those evenings watching television. In watercolor, as many of you know, it is hard to find a rich dark approaching black. Most tube blacks are dull and uninteresting out of the tube. In contrast, however, when pigments are combined they usually become rich and lively.

When I mixed this combination of yellow ochre/permanent brown and ultramarine blue the whole sheet of paper came to life. I started applying this mixture in other watercolor paintings and became totally inspired.

Basically, the combination of yellow ochre/permanent brown and ultramarine blue are a variation of the three primary colors: yellow, red and blue. There are so many combinations of these primary colors for artists to explore that it is overwhelming. However, I find it rewarding to experiment along the way and increase my knowledge so that later on I can draw upon this in my painting.

Today's Plein Air

                                                                           (C) 2021 Dale DiMauro
 

It turned out to be such a beautiful day after many days of rain. As a result, it was great to get outside and fit in some watercolor painting.

This picture was done at the Brattleboro Common, which has a service road that can look at times like a dirt path. Many people were taking advantage of the services the park provides today.

Overall, it was a pleasant painting experience. However, after the watercolor dried and I had stepped back some, I noticed the lack of variety in the spacing and size of the trees in the background. Other than that I have no complaints.

I did use a Winsor Newton watercolor block. All summer long I have been painting on Arches but I am fine with either painting surface.

The Retreat Meadows

                                                                             C) 2021 Dale DiMauro

My wife and I attended one of these Thursday evening food roundups late in the summer, down by the Retreat Meadows. We couldn't believe the number of people in attendance nor the length of the lines to each vendor.

What we did experience was this amazing sunset over the Retreat Meadows, which lit up the landscape in a most spectacular way. The glow across the distant hills and grasses in contrast to the shadows across the water was striking.

This experience became the inspiration for this watercolor, which I soon started. Also, I was struck by the dark foliage which framed the view on the top of the painting. 

With peak foliage upcoming I am sure to view this area much differently than the grungy-feel of the earlier summer milfoil season.

USING DARKS

                                                                                       (C) 2021 Dale DiMauro

Many artists complain their colors appear bleached or lack strength. Thus, they do not get greater depth in their paintings.

I have certainly complained when my watercolors lack life. Over time I learned to combine dark umber and ultramarine when I want a warm dark. After time experimenting with this combination I can say this dark has transformed my painting. 

In almost every painting I drop in this color combination, whether it is at the foot of a woodland edge, the trunk of a tree or the edge of the lawn etc. 

Nevertheless, I am often searching for other darks to utilize in my painting. This purplish color above is the result of combining ultramarine blue/alizarin crimson and burnt siena. The jury is still out on this dark but I embrace the variety of options for when the right opportunity presents itself.

Color Swatches

                                                                            (C) 2021 Dale DiMauro
 

If I have less than an hour of idle time I often make color swatches. There seems to be an endless number of pigments one can combine on a sheet of paper. However, over time I believe I have learned much about the characteristics of certain pigments.

Along the way one learns how the pigment reacts to certain paper or dries in a particular way. For example, Payne's gray, in general, dries much lighter than the value you see when it is wet.

Often, I paint little landscapes over the initial washes as time allows. This includes a wide range of colors for the sky as it is here that sets the mood for the image. In particular, I like it when the sky develops a mottled appearance, with variation, from the settling pigments.

Groton State Park

                                                                           (C) 2021 Dale DiMauro
 

Last summer, by accident, my wife and I discovered Groton State Forest, east of Montpelier, VT. This forest totals 26,164 acres with seven state parks, eight lakes and ponds and a nature center. The civilian conservative corps was critical in developing the area - constructing roads, trails, picnic shelters and planting trees.

Due to Covid-19, last year, we drove inland away from the coast(and populated areas) on our way back from Maine. This summer we re-visited Montpelier, Vt which has the smallest capital of any state in the United States. We made a day trip to hike in the Groton State Forest in July.

This watercolor was inspired from that experience. As the picture shows, there is a great uninterrupted expanse of forest with zero development to the horizon. You really feel like you may run into some form of wildlife you have not seen before or rarely see when hiking on these trails.

Abstract Wash

                                                                                 C)2021 Dale DiMauro

Watercolor painting seems to largely involve applying washes of color while developing soft and hard edges. How you articulate these edges you paint is really descriptive of your subject matter and reflect your signature style at the same time.

The quinacridone violet I used here reminds me of a visit to the mall, in Washington DC, in the spring, when the cherry trees are in bloom. We carry these strong color associations with us throughout our lives.

The hard edges in this image guide your eye through the landscape which I find fascinating. My parting wisdom is that it is always rewarding to play with color to see where it will take you.

 

Along the West River(Brattleboro, VT)

(C) 2021 Dale DiMauro

 

Recently, someone added benches along the West River Trail in Brattleboro, VT. They are sited to take advantage of lovely vista's up or across the river. It even appears that someone cut back the brush in some areas to expand the views.

This was painted from one of those benches. However, it started raining once I set-up my plein equipment. One result was a bunch of watermarks and brown blemishes, on the paper, once dry. So I came back a week later and carried on. 

This picture has an English feel to it with muted colors and diffused light. I feel that all that is necessary is to add some finishing touches. The unpainted figure is a man paddling his red canoe which happened right before my eyes.

63rd Annual Art in the Park

                                                                            (C) Photograph Dale DiMauro
 

On Saturday, September 4, 2021, my wife and I attended Keene, NH's annual Art in the Park. It was a beautiful sunny day and many people were out. As a matter of fact, I couldn't believe how many people  visited the park. 

I had been to Keene, NH twice in the last two years and one of the times was to have a colonoscopy. So I didn't know what to expect of our visit. However, we ran into many people we knew at the festival, including some who were vendors.

With the ongoing Covid-19 pandemic, it was unclear, at least back in the spring, whether they would even have Art-in-the Park this year. Well it was a hit this year even though on the closing Sunday, the last day of the event, the weather was not nearly as nice.

Latest Plein Air

                                                                   (C) 2021 Dale DiMauro
 

We have had such beautiful weather, lately, that I have been making a strong emphasis of painting outside, when possible. Recently, late day has been my preference for painting outside.

I painted this picture prior to dinner on Sunday. It evolved rapidly, as I wasn't sure what direction I wanted to go as far as subject matter was concerned. This picture was completed in one sitting, all outside.

This watercolor has a unique perspective which drew me to the subject. There is a lot of elements in this picture with a sense of an elongated depth, which the light dramatically reveals.

Painting outside educates me in more ways than one. Also, I find it is important to use my time wisely. Finally, the experience makes me truly see things as they are  - whether it is the colors of nature or the lay of the land.

Plein Air

                                                                                      (C) 2021 Dale DiMauro

This plein air was painted entirely outside last week on a lovely afternoon. It was painted very much in the spur of the moment. I am sure it is a quirky little picture and that may be why I like it. After I started this watercolor I was swarmed by kids - as this area was where they waited for their rides home from school.

When I go plein air painting there usually is a location in mind with an understanding of where the natural light might fall. In this case I found the lay of the land appealing and this shed full of character with some boards tacked on in a rather random manner.

The warmth of light and how the trees in the background came out were quite satisfying as I progressed through this picture.

Plein Air Painting

                                                                            (C) 2021 Dale DiMauro
 

The sun finally broke out yesterday afternoon, so I got an hour in, on this plein air painting. Little did I know that a sizeable bullfrog was with me at the base of this wall. He or she must have been at least six inches in length. It was simply bathing in the afternoon sun. No matter what noise I made or how close I got it would not budge the whole time I was there.

This watercolor is directly the result of painting what I saw in from of me, minus some extraneous stuff. I like the abstract qualities of the elements in this landscape. Before long the sun had become strong and I could sense a quality of fall rapidly approaching.

Lately, I have seen a great heron frequenting a log in the water as it hunts for a meal. It is quite a site with it's long angular wings tucked in by it's side.

Local Woods

                                                                              (C) 2021 Dale DiMauro
 

This scene pretty much sums up the 2021 summer for me, here in southern Vermont. From my perspective it was very wet and humid, for long stretches, while even dark at times. I can't remember a summer like this and I hope it is way different next year, in all aspects.

On the other hand there is a quality to this watercolor which I find calming and refreshing with the various greens of the forest vegetation. Perhaps, it is that these recognizable colors and patterns of the local flora are familiar and recognizable. 

Seldom do I work on a painting that doesn't really have a sky. This is what may evoke an element of mystery to the whole scene. After all, watercolor is the medium for conveying atmospheric conditions.

Oil Painting

                                                                                   (C) 2021 Dale DiMauro
 

Lately, I have been getting the itch to paint in oil. I realize this is a watercolor blog but there are times when working in other mediums can improve your painting skills. 

What is most appealing to me is painting with a palette knife. Paint thinners are not necessary making clean-up very simple. You can even paint a whole picture with just one palette knife which provides room for a lot of creativity.

Last week during the heavy rains I thinned out some books and came upon this small book by Hazel Soan, titled Learn Oils Quickly. I immediately read it and in the process became inspired to paint in oil again.

Plein Air: Neighborhood Park

                                                                                       (C) 2021 Dale DiMauro

Of all the plein air painting experiences I have had, this was one of the most pleasant. You truly don't know what's going to happen - it could snow or an unfed dog could come bearing down at me.

Yesterday my wife and I decided late in the day we would walk to an outdoor concert - once we figured the rain would hold off. So I had about one hour and a half to settle on a site to paint and then paint it. This is a result of that time spent three blocks from my house. Fortunately, the park had only a handful of people as I had to focus on my task at hand.

This watercolor was painted on a small watercolor block so I had to simplify my composition. Many trees in the foreground I excluded from the picture both due to a lack of time and it would have made the scene way too crowded.

The colors were much more livelier and richer when the paint was wet, but I like the overall character of the scene and the vegetation in general. When you paint outside it is good to have modest expectations because you don't always know what you will come up with in the end.

Watercolor Study

                                                                             (C) 2021 Dale DiMauro
 

For some time I have been meaning to plunge into a watercolor without much planning and this is what I have to show for it. Mentally, I broke the composition down into thirds(as in a third of the paper), made a pencil mark and started painting. 

Actually, this is how I have been painting smaller landscapes for over a year with either one third of the composition dedicated to the sky or the landscape. If the sky is really interesting that area becomes more dominant but usually the landscape is two-thirds of the painting. I find this approach pleasing to the eye as the landscape has much variation with it color changes or gradations of light.

On the top of the sky I did have a mishap with too much red looking like a blob. I was able to lift most of the pigment out after it dried with a scrubber.

I do love the simple contours of the land and the vibrancy of the colors.

Watercolor Study

                                                                             (C) 2021 Dale DiMauro

The beautiful weather today led me to Guilford, Vermont - to the Green River and it's covered bridge. I hadn't been there in years and forgot how special it is to be there with the river, waterfall and historic bridge all in one location.

This watercolor was today's plein air painting. Often it is a challenge to finish a painting outside. However, I am pleased with how far I got with this picture. My only criticism after stepping back from the painting is that the river in the foreground doesn't quite read as water. It needed to be a bit darker in value but it has many of the colorings I found on site.

This year in particular seems to be a season of greens and browns with all the rain we have received. The river bottoms have been stirred up for much of the season and the greens are more vibrant than I can recall for so late in the season.

Abstract Landscape

                                                                                       (C) 2021 Dale DiMauro

If I am pressed for time I at least try to put down some washes on a piece of paper or make a quick sketch. This image is one such case. By doing this I continue to evolve or maintain engagement intellectually as far as color mixing or considering the next step in my painting process.

This landscape primarily has pigments I had not combined before. However, Cerulean blue is dragged across the paper to suggest the sky with no other pigments included. The foliage is the combination of Hansa yellow and Phthalocyanine blue which gives me a lively green. The beach color is the pairing of quinacridone red and yellow ochre which creates a substitute for raw sienna. On top of this I painted ultramarine blue which gives the water a grainy, yet transparent quality.

Lately, I have been limiting my use of cadmium colors while finding substitutes. It seems that cadmium pigments are being phased out for health reasons. Also, it is important to be flexible and make use of what ever pigments you have available even if they are not always neatly arranged on your palette.

In conclusion, I keep thinking about this little watercolor doodle as it has left such fresh and lively markings on the paper and in my memory. It is something to build on for future reference.

Middlebury, VT

                                                                     2021(C) Photograph Dale DiMauro
 

Last week my wife and I went on a vacation in Vermont. We spent time in Middlebury, Montpelier and Woodstock, Vermont. In Montpelier, we toured the statehouse, on a Saturday and ran into the Governor and a neighbor pretty much all at the same time. We learned that the original carved figure on the statehouse dome was created in Brattleboro, by a worker from the Estey Organ Company.

Not far from Montpelier, we hiked in the Goshen State Forest(26,000+ acres) and I dipped into the largest of it's numerous lakes on a deserted beach with the sound of loon calls in the background. Also, in Montpelier we climbed the tower in Hubbard Park above and adjacent to the statehouse grounds.

In East Middlebury, we stayed at an inn which was used as the backdrop for the opening sequence of the Newhart Show, back in the 1980's. In the morning on the last day before heading out, we learned that parts of Windham County, in Vermont, were inundated with more rain and that Governor Scott had toured some of the damaged areas. 

When in Middlebury, my wife and I just sort of came upon these falls which were roaring right through the center of town. There is a major construction project in town too. The train will be going under the town center which now has newly established gardens and parks above the tracks.

On the drive home we visited the Texas Falls which are located in a deep gorge on the edge of the Green Mountain National Forest. 

There was little time for painting but plenty of inspiration to be had each and every day. In retrospect, Vermont has a lot to offer it's residents and visitors alike.

Charles Reid

Charles Reid(1937-2019) is one of my favorite watercolor painters. He was known for his drawing skills and considered a master of watercolor. Reid was a successful teacher, workshop instructor and published numerous books. I own several of his books.

I admire his fluid, free flowing and direct approach to watercolor painting. In that vein, last month, I painted a copy of one of his watercolors, titled, Macy 2. My version is pictured above. I painted it in one sitting, which it seems like how he would have approached it.

Reid in watercolor did not build up too many layers of pigment so I tried this method, too. In addition, where possible, I tried to use the pigments he would use.

It is important for me to try other artist's methods as a break from my own routines.

Watercolor Sketch

                                                                                       (C) 2021 Dale DiMauro
 

Sometimes the absence of color can really work to your advantage. When painting water in the distance it often is either, misty or faint in coloration. This area is best left with soft edges. Also, it can create a greater sense of distance.

In contrast, smooth, rich saturation of color in the foreground can bring a lot of excitement to your painting. I am continually experimenting between these two extremes in landscape painting. The other aspect in landscape painting which has begun to capture my imagination consciously or not is the sense of space in a picture. The simpler the composition the more powerful one can be drawn into the atmospheric characteristics of a landscape.

What I like about this watercolor is the smooth, rich coloration with just a few washes of pigment. The freshness of paint one can achieve in watercolor is unlike any other medium. 

Summer Landscape

                                                                             (C) 2021 Dale DiMauro
 

After working too much lately, it was great to get back to watercolor painting. We have had so much rain in July, they say, record numbers, that the landscape is greening up again.

I tried to capture some of those vivid colors in this watercolor. Blues and greens are vital to painting the landscape in Summer.

Continuity in watercolor painting, I find, is important, as approaches to painting are continually evolving. For example. I have been searching for that elusive dark green of foliage you often see when looking from a shady area out towards sunny areas. Of late, I have been combining burnt umber and ultramarine blue which provides a rich dark.

Test Sheet II

                                                                          (C) 2021 Dale DiMauro
 

In previous posts I have profiled the value of using test sheets. An artist may use a piece of scrap paper or a piece of watercolor paper, left over, after being trimmed down to size, during the framing process.

First of all, it always worthwhile to experiment with different papers as the pigment will mark differently from paper to paper. Over time one learns how to manipulate the paper to their liking. This includes learning how the pigment dries on the paper and when you can go back into a painting to add more pigment or not.

When I am trying to come up with a color for my painting it is a good idea to see if it is actually the color I want before committing it to my painting. This is a great time to simply play with pigments on the paper without over thinking it too much.

These two images are little landscape doodles which get the creative process going. In the top image I mixed colors(raw umber and burnt umber) which I don't usually mix together to create a brownish sky which brings out the color of the water. In the lower image I am forever combining blues and yellows to come up with combinations for vegetation which can distinguish the foreground from the background.

John Constable

                                                                               Painting by John Constable 

It has been a long time since I have left the state of Vermont. In many instances it is best to not leave Vermont because it is truly a beautiful state. It is not dominated by strip malls, overpopulation and polluted air which other urban areas strive to overcome.

However, yesterday was the first time I entered a neighboring state, Massachusetts, in over a year. My wife and I went to the Clark Art Museum, in Williamstown, MA. It was good to escape the thick, humid air and visit some favorite paintings of ours. We checked in our favorite paintings by the likes of John Singer Sargent, Thomas Gainsborough and Mary Cassatt, amongst others.

Over time, I have learned to appreciate the landscapes of english painter, John Constable(1776-1837). This small landscape, painted in 1816, oil on canvas, is titled, Osmington Bay. In addition, to his cloud studies, which he is well known for, I learned he painted landscapes in watercolor, too.

I like the low horizon with the big sky and sweeping beach. It seems to be such a timeless subject with an individual providing a sense of scale. 

 

Summer Portrait

                                                                           (C) 2021 Dale DiMauro

It is always a good idea to paint family members and others in your life so you can do an improved one later on. More importantly, it is best to catch someone in their natural state. A posed portrait is rather stiff and uninspiring.

We as humans are continually aging or evolving and thus never quite look the same from day to day. Or at least that is my experience.

I pre-stained the paper before painting this portrait, but you can hardly tell. However, I think the coolish tone enhances the red on the page. 

Finally, I don't think you should over work a portrait because one always sees things about that person which can alter your perspective. As long as you place the location of the facial features correctly, you have a good start to your painting.

After the Storm

                                                                                      (C) 2021 Dale DiMauro
 

Using or leaving the white of the paper can be an effective strategy in your watercolor painting process. Also, it is great to not cover every inch of your paper every time you paint with pigments. The white of the paper can give you distinct edges reminiscent of patterns on the surface of a body of water. In addition, you can retain greater depth in your picture with less layers of paint in various areas.

Often I combine permanent alizarin crimson with ultramarine blue lower in the horizon which provides some warmth to the lower sky. On the other hand vibrant greens I associate with the landscape after a spring rain.

I used the photograph editing tool on my computer to remove a smear of brown paint from the sky. I can't believe how effective this function is. This is the first time I ever used it on a larger area.

My Latest Watercolor.......

                                                                                 (C) 2021 Dale DiMauro
 

With such a run of sunny days this spring, it seemed important to try capturing some of the characteristics of the light and the many greens all around me here in Vermont. My exploration has resulted in three landscapes on one sheet.

In the last year I have fully embraced using mop watercolor brushes. One of my favorites can be seen on the right in the photograph. They lay down a meaty wash and retain a fine point for detail work. This means one less brush to carry outside when painting plein air.

I have been searching for this opaque foliage color/value, the saturated dark green-brown of the deep shade, used here for the scraggly vegetation in the foreground. This would take my paintings to a whole other level. The misplaced blob of paint in the upper left is a Van Dyke brown, which is closer to what I am searching for. However Van Dyke brown is considered a fugitive pigment and fades fast in sunlight and thus, not permanent.