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.

Imaginary Landscape

                                                                           (C) 2021 Dale DiMauro
 

Sometimes the best paintings develop when I am tired. When I am tired direct painting takes over. I become too impatient for contemplating which colors to use or fussing over which brush to use and simply paint.

Also, there is a freshness to this method of painting. Watercolors can become overworked but not with this approach.

If something catches my eye out in nature and I need to record the colors or image, this is the way I paint. This is basically a study. Regardless, there is much to be said for this way of painting. This is sort of a recording which can jog my memory at a future point in time. 

The Brattleboro Common

 

                                                                           (C) 2021 Dale DiMauro

Plein air painting can be a wild ride of unpredictability. Late this afternoon I painted this watercolor from a picnic table on the Brattleboro Common. It was exciting to work on this picture when the paper and pigment were still wet and juicy. 

Of note, I took a very direct approach to painting this scene. I kept painting areas while other areas were still wet. Also, I did minimal drawing prior to painting. Thus, I worked out the composition as I painted.

However, as it dried it looks a bit flat while the photograph is not kind to the subject matter. It is a challenge and rare to completely finish a watercolor in one sitting.

What really drew me to this perspective were the two women sitting on the park bench. It is great to have a human presence in your paintings. However, they clearly do not dominate the scene. I like the sense of depth in the picture and the layers of foliage.

It goes to show every once in a while you come up with a dud. However, I learn the most from these experiences.