Else Ware Watercolor Paper

                                                                                           (C) 2024 Dale DiMauro
 

There is so much joy in watercolor painting. Part of it is what one learns along the way. There are so many different surfaces one can paint on from paper to illustration board to aquabord. In addition, there is a vast number of pigments to choose from, not to mention the range of brushes at one's disposal.

I love this new watercolor paper I have been using, so much, I am posting another image from that book.  The paper is called else ware and I just received a shipment of this paper in a larger book which is 7" x 10". 

It is difficult to find 300 lb Cold Press watercolor paper that is in a bound format. I simply love the texture of this paper and how it retains the fresh pigmentation.

Dark Brown

                                                                                (C) 2024 Dale DiMauro

It is exciting to arrive upon a new color combination. In particular, for me, to discover a rich dark brown is truly a revelation. The dark brown shadow on the water, above, is from combining ivory black with burnt sienna. 

This color adds so much to a watercolor painting. Sepia is another dark brown but I don't find it to have the freshness of this new combination.

With the light gray and greens of this image, the brown adds a crispness which clarifies the scene. This picture nearly has all neutral colors yet there is a lovey quality of light nonetheless..

Watercolor Book

                                                                                   (C) 2024 Dale DiMauro
 

After two days of traveling I came home to this watercolor book by elsewaresupply.com with eager anticipation. Most watercolor paper buckles but this paper is simply different. It may depend, in part, on how wet you paint.

First, I bought it locally at the Brattleboro Food Coop in town. It is marketed as 300 lb paper. I don't know if it is or not, however it has a wonderful texture. Also, when the paper is wet the pigment seems rich and vivid unlike any other paper I have used.

I have only found it in these smaller sizes: 4.25" x 5.75" and 7" x 10 1/8". Regardless, it is a great portable paper for plein air or direct painting. 

I keep adding little landscapes to this watercolor book. I truly am impressed with the results.

Watercolor Book

                                                                                            (C) 2024 Dale DiMauro

Recently, I purchased this little watercolor book at my local coop. I like the thick paper and portability. It is great for testing out color combinations and little studies.

This paper is made in the USA and has a lovely texture. The label on the front is titled 'else ware'. 

Depending on how you paint the paper doesn't really buckle much. This is coming from a watercolorist who paints pretty wet.

Cloud Study

                                                                                             (C) 2024 Dale DiMauro

Landscape studies always have value for me. It is important to observe and concentrate on some aspect of the landscape which I can return to. It might simply be a record of the setting sun or an unusual cloud pattern.

Last week I painted this dramatic cloud formation, from a photograph I took at Popham Beach, in Maine, many summers ago. This winter I have been focusing on painting more diverse sky's with or without clouds.

There are only three pigments used in painting these clouds: ultramarine blue, payne's gray and raw sienna. One can see there are both soft and hard edges both on the perimeter and within the clouds.

New Mop Brush

 

The brushes you use to paint your watercolors are so personal. The feel, length of the handle and movement of the bristles we experience vary from one person to the next.

As a gift for my birthday I received this new mop brush which I absolutely love. Holding the handle in my hand just feels so right. It is a size 6  Raphael. 

For me it paints large juicy washes yet has the point of a pen when used vertically. I can pretty much paint an entire painting with this one brush.

West River Trail

                                                                                           (C) 2024 Dale DiMauro
 

The West River Trail, in Brattleboro, VT, has become a popular spot to walk your dog or jog along the water's edge. Naturally, in the warmer months it draws a lot more people and activities than during the wet and cold days of winter.

This watercolor was started a while ago but yesterday I advanced this picture quite a bit. There is a lot going on in this scene but I like the quality of the light - an overall warmth to the landscape.

This is painted on a watercolor block, called, 'The Master's Choice' which has a lovely textured surface. I am eager to paint on the rest of the block with this new mop brush I recently purchased.

Landscape Painting

 

                                                                                             (C)2024 Dale DiMauro

Painting trees and the landscape is something I love to do. In fact, I could paint the landscape all day. Particularly, if I have the freedom to modify elements in the landscape to my liking.

This painting, Local Field, was originally posted on 12/13/23. However, I keep coming back to this painting as the colors and wispy foliage above the field draw me back in. 

It has been hard for me to arrive at a color for foliage which appears natural in color and depiction yet has an opaque quality to it. In addition, the dark foliage above, is simply expressive.

In reviewing this painting, I realize how many of my paintings now have saturated color with richer darks and lights.

Sketchbook Watercolor

                                                                                       (C) 2024 Dale DiMauro
 

Experimentation is key. Playing around with watercolors takes you places you can't imagine. There are color combinations you can't come up with on your own. 

However, if you can draw, learn what others do and let pigments run on your palette you will come up with great stuff.

This watercolor I started as a doodle in my watercolor sketchbook. Before long the subject matter changed and it became a landscape. Basically, it was painted exclusively with neutral colors which had formed in the reservoirs of my palette. 

I was attracted to the edges of the foliage which are so descriptive and frame the landscape. In addition, the sky has a lot of variety with color blending plus hard and soft edges which adds a lot the painting. Finally, I felt like the color and movement of the water would draw you into the picture.

                                                                                      (C) 2024 Dale DiMauro
 

It is funny how some paintings evolve. At times I start a watercolor and paint straight-through until it is complete more or less. Other times it is painted in one sitting, particularly when working outside.

This watercolor I started about a month ago, partly because I had this odd-sized paper remnant kicking around from a previous painting. This watercolor is painted on 200lb cold press Saunders which is a lovely paper to paint on. It feels like silk, painting on this paper, as the brush simply glides across the surface. 

I paint relatively wet yet the paper does not truly buckle which I find can be an issue with the larger sheets if they are not stretched and stapled down.

I am eager to get back to this painting in part because the landscape outside looks about the same as it did as month ago. We still have patches of snow outside and the shadows are really distinct at this time of year. That mental association with your subject matter I find really important.

Further Along...........

                                                                               (C) 2024 Dale DiMauro
 

At this time of year the earth colors( ie. sienna's and ochers) are particularly noticeable out in nature. One could argue they are more present when we have an absence of snow as most of this winter has been.

The russet of leaf litter in the foreground makes one think we are viewing a beech tree with it's muscular, gray bark. Also, it marks the end of foliage season as the leaves usually stay around into the winter months.

From a painting perspective it adds weight and substance to the tree trunks which have a lot of characteristics we take for granted. The wispy branching and strong shadows root the tree into the earth yet define the uneven surface of ground it emerged out of.

Landscape Painting

                                                                                 (C)2024 Dale DiMauro

This winter I got used to painting with relatively little snow on the ground. However, this weekend we had a major snowstorm in Vermont. So everything has become bright with the sun and snow on the ground.

I did start this painting last week in a different mindset. The subject is the view from the Northampton Rail Trail toward some of the local agricultural land.

The vertical emphasis of the trees are reflected in my vertical orientation on the paper. These days I prefer a clean, fluid wash in my earlier stages and then I move on to other areas of focus. The tree trunks seem to move across the paper.

Barren Landscape

                                                                                (C) 2024 Dale DiMauro
 

In southern Vermont, this winter, we have seen a barren landscape, for the most part. It really is a different kind of look for winter. However, if you look with your eyes, you will see the colors are just as beautiful as if the ground were covered with snow.

What snow we had melted quickly, at least if you live in town. I have never biked as much as I did this winter. More to the point, I felt more sure of myself riding around free of ice and snow at my feet.

I got off to a good start with this watercolor. There is bit of warmth to this landscape. In particular, I like the patch of snow(or is it winter's past?) in the foreground. There is no white pigment used in the picture, just the plain white of the paper.

Beach Color

                           (C) 2024 Dale DiMauro

 

The color we associate as a sandy beach has often been elusive for me. Not that there is one color in particular, to lean on. However, I rely on the combination of raw sienna and cobalt blue to do the job. Of course, if you want a cooler tone, I add a wash of ultramarine blue.

It is one of those things learned by experience and acquired judgment. However, there is much variation along a beach with changing light and shadows that the colors I believe need to reflect this.

I am writing about this topic today because it seems like late winter before the growth emerges yet while water is often stirred up that this tan-brown color is most evident.

This may seem like a dull topic to write about. However, in my travels observing and mixing colors that I see out in nature, getting a combination right is important and an exciting process.

Box Building 101

                                                                                       (C) 2024 Dale DiMauro
 

Lately I have not painted as much. However, instead I have made many boxes using pine and hardwood from the garage. I am on a mission to use up some of the wood sitting around as it is often in the way when I want to get at some of my summertime toys(ie. kayak & bicycles).

One of the boxes I made holds my fountains pens and ink cartridges. It is made to the specifications of some of those cigar boxes you see from time to time. It is a great way to store fountain pens, yet have easy access to them.

The painting wedge from a previous post is in the background. I find it a very useful shape to paint small and large paintings alike by leaning a sheet or board across the surface.

The other two boxes are useful in storing tools and art supplies. It is basically an open storage system for on the go. The taller one in the back is great for storing boxes of screws or nails. Also, it can be useful for carrying plein air supplies out in the field.

Next I intend on building a portable table-top easel, primarily for indoors. I find few easels are designed for watercolor artists. And even fewer are constructed well. Plus, I want a relatively light weight easel with an adjustable angle for my painting surface.

On the Common

                                                                              (C) 2024 Dale DiMauro
 

The bright light and shadows at this time of year are becoming magical during the mid-day hours. At least when the sun is out.

The other day I drove through Brattleboro, VT on Putney Road and along the Brattleboro Common and was struck by the natural light across the landscape. With the absence of snow the land had a crispness to it which I had not noticed before. 

The regional landscape is slowly beginning to wake up for spring. I have seen many ochres and siennas in the bare landscape which I don't usually get to see in the winter months.

That is what caught my attention and inspired to paint this scene. It was nearly warm enough for me to grab my plein air set and paint outside. I could see through the woodland edge and up the valley in some locations which was quite expansive.

In Search for that Elusive Brown

                                                                                        (C) 2024 Dale DiMauro
 

In my experience brown is a tricky color to come up with. It's not that I can't create a combination of pigments that make a brown. However, I see a huge, subtle range of browns out in nature. For example, the rich, muddy banks of a river bed are full of a range of browns. Those colors resonate with me but then I go back into the studio and am dumbstruck when it comes to creating a brown.

Recently, I have been studying John Singer Sargent's watercolors, many include a whole range of browns, whether along the canals of Venice or in some of his interior scenes.

This experience has made me rethink the color brown. This quick watercolor was done by combining burnt umber/cadmium red and ultramarine blue. The deeper browns convey a somber mood to the overall landscape.

Painting Fast

                                                                                        (C) 2024 Dale DiMauro

Plein air painting for me is a very direct and focused experience. The light changes rapidly and you need to keep to a simple composition. Over time, outside, you develop an eye for color and shape in the landscape.

In contrast, painting quickly is a relatively new concept for me. It forces you to be bold with your brushstrokes and color while abandoning any fussiness. On the other hand, it is great for recording from memory or as a direct experience.

This watercolor was done in about fifteen minutes. There is a freshness and clarity of colors which I like. In addition to using this approach when painting outside I may use it as a warming up exercise prior to painting.

Painting Wedge

                                                                                       (C) 2024 Dale DiMauro

In watercolor painting you usually follow the bead down the page. That is the edge of the paper is where it is wet or damp is where the pigment travels to. This edge between wet and dry paper is where one can manipulate the pigment and paper with a wide range of techniques and is very expressive.

Since it is difficult to hold my paper at a consistent angle I thought it would be good to explore ways of developing an aid to my painting.

A few weeks ago when the temperature outside was mild I figured it was comfortable enough to work in my garage. I had been developing through trial and error the dimensions and slope to construct this painting 'wedge'.

This lopsided box comes in real handy. I can tape a watercolor sheet to it and create a painting or I can lean a watercolor block on it and go from there. Also, I can lean a full sheet of mounted watercolor paper(on a board) over this structure and I have a nice consistent surface to paint on.

This surface was entirely constructed with materials(ie. wood, screws, glue, paint) I had at home. I am glad and proud of constructing this painting aid and look forward to using it going forward.

Completing A Painting

                                                                                       (C) 2024 Dale DiMauro
 

There are paintings that I have started in the past which I did not complete for a variety of reasons. Sometimes I ran out of time, other times I didn't like the paper I was experimenting with. Or as in plein air I might get caught in a downpour of rain.

Over time I have found I am very comfortable going back and finishing what I started with a fresh perspective. In the meantime my painting approach and palette have evolved quite a bit.

However, I am frugal in many regards and do not want to waste paper. Many times I will end up with watercolors painted on both sides of my watercolor sheet.

This little landscape I added to today, even though it probably was originally started four years ago. More work was done to the sky as I have been experimenting with cloud patterns and coloring close to the horizon.

Brattleboro Outing Club

                                                                                           (C) 2024 Dale DiMauro
 

With the lack of snow locally it has been a difficult year for cross country skiing. Even today I was thinking there must be some place I can get a ski in before the season is truly over. Part of my thinking is that this is the best time of year to be out in nature with the longer days and warmer noon hour. So it definitely has been frustrating.

However, I have been on my cross country skis six times this winter, with the paltry conditions, which is something in of itself. 

I painted this watercolor based on one of my more recent outings. In one of the last accumulations of snow we had, the landscape forms were so well-defined in white or darks that I had to record the scene in paint. There is a stillness to this picture which I love.

MOUTH ATOMIZER

                                                                                  (C) 2024 Dale DiMauro
 

Painting the landscape, for me, is an endless fascination of observing the landscape on my walks, experimenting with different techniques and simplifying my compositions.

I keep practicing with this mouth atomizer which I purchased many years ago. It is way different than merely tapping your paint brush against your hand. With this tool I can put down value rapidly across the paper, yet in a random delivery, devoid of brush marks.

It seems like a cool development in my painting arsenal, yet, I need more experience and judgement in using this approach. I certainly won't use it in every painting I do, but when necessary, it can add a magical touch.

The above watercolors demonstrate my latest application of the mouth atomizer. I have been utilizing this instrument in my landscape painting to gain more substance, texture and shadowing than I have done in the past.

Warmth & Light

                                                                                             (C) 2024 Dale DiMauro
 

So far, this winter seems like a long, slow, slog through the calendar. One plus is the length of light which is beginning to seem magical, late in the day.  For me the lack of snow has been rather dis-orienting. Is it winter or spring? 

The other day I rode my bike on the bike trail and many people were preparing for a snowstorm the next day which we did not receive. However, there was a dusting of snow on the ground this morning. Go figure, so far, that pretty much sums up this winter. 

Yesterday I painted this watercolor. It works for me when the shadows help frame the focal point. I experienced this scene last fall yet it seems like it was ages ago. More to the point, it appears like the lovely fall foliage full of colors, is from a distant past.

J.M.W. TURNER

                                   
Joseph Mallard William Turner(1775-1851) was an english painter, printmaker and watercolorist. He is known for expressive coloring, imaginative landscapes and turbulent, often, violent marine paintings. He is credited with painting 550 oil paintings, 2,000 watercolors and 30,000 works on paper.*

I had been looking for a book on J.M.W. Turner for some time that was well-researched with good quality photographs of his work. Several decades ago I become aware of a growing interest in the work of Turner. Little did I know there was one in my library.

This book: Turner: The Great Watercolours was written by Eric Shanes, I understand for an exhibition at the Royal Academy of Arts in London(2000-2001). 

Since I have just started reading this book in earnest I can't really speak of anything in particular about Turner. However, this book has already inspired me to plunge deeper into his existence and the techniques and approaches that he grappled with.

* The first paragraph is taken from Turner's wikipedia profile.

West River

                                                                                            (C) 2024 Dale DiMauro
 

Painting the landscape is always informative. Whether it is emphasizing a contour in the landscape, tweaking the horizon or simply observing a color outside, it is rewarding to capture the landscape, in some way.

What inspired me in this scene is both the curve of the West River and the intense blue of that body of water. There is also a freshness to the snow conveying a strong contrast in colors which is very appealing.

This is painted on 300lb Arches cold press watercolor paper. Even though it is a thicker paper I find that I still need to wet the backside to keep it from buckling.

Mouth Atomizer

                                                                                      (C) 2024 Dale DiMauro
 

Using a mouth atomizer completely changes your painting. It can add value to your foreground, offer a sense of movement or convey textures among other things.

So, you still may ask, what actually is a mouth atomizer? Basically, it is an L-shaped tube which you blow air into which spritzes out bits of pigment across your painting.

With practice it becomes easier to use. Along the way you will refine your technique to get paint where you want with the effect you might be after.

So far I have only used Paynes gray with this atomizer. Clearly, there are a bunch of other pigments one can experiment with. The above pattern looks like a swarm of insects or an abstract shadow pattern. I am still in the early stages of experimentation but I like playing with this new tool.

Calm and Peaceful

                                                                                   (C) 2024 Dale DiMauro
 

The more I paint the more I see browns and blues everywhere out in the landscape. This winter I have observed more browns than I can recall. I think that is due to a lack of snowfall or at least a minimal base than in years past.

This landscape was completed yesterday. I like the stillness which seems to be reflected in all the landscape elements. Plus, the tree conveys such reverence and character.

Also, I realized this was painted with a limited palette. The pigments used include: ultramarine blue, burnt umber, new gamboge and Payne's gray.

Narrow Paintings

                                                                                            (C) 2024 Dale DiMauro
 

Painting on any good quality watercolor paper feels good. Even if it is on a scrap or remnant of a sheet. Often painting little doodles gets the juices flowing and I learn much along the way.

That's what led to these watercolors. I had started a plein air watercolor on the front but due to a time crunch it remained unfinished. 

As I have mentioned in previous postings I have learned to appreciate the importance of leaving the white of the paper. The white of the paper or the patches left absent, of paint, lead the eye into and around the painting

Every mark left on the paper is important and communicates much towards the final result. These marks can communicate color, texture, movement or seasonal and atmospheric affects.

Brown in the Landscape

                                                                                       (C) 2024 Dale DiMauro
 

One really notices the browns along the river beds in early spring, at least where I live, in southern Vermont. This is before most of the growth has re-emerged and the ground is bare. At this time of year the water in the rivers is all stirred up with the rains and snow melt.

However, finding a rich, lively brown is a challenge in watercolor. Most of the browns I have come up with are dull, weak or flat. This brown has got me excited. It is made by combining sepia and burnt umber. 

An earthy brown says so much about the landscape. In this little sketch it frames the background but is also seen as the soil, the trees and the downed limbs which float in the river and litter the shoreline.

Watercolor Practice

                                                                                                 (C) 2024 Dale DiMauro
 

It feels good to pick up a sheet of watercolor paper and see what I can do with it. Sometimes that is on the backside of an incomplete watercolor I had started. It doesn't matter how thick or what type of surface it is. Whether it is rough or smooth paper I love to experiment with different techniques.

This practice keeps me going forward and reduces my stress at the same time. This is very satisfying particularly with the state of politics in this country and beyond.

Today I went cross country skiing and took mental notes of the colors I saw in the landscape. The snow and shadows clarified what I was seeing. The blues, yellows and browns I saw may end up in a painting soon. If not in a full painting at least in a watercolor study.

Yellow Sky

                                                                                  (C) 2024 Dale DiMauro
 

The landscape carries a ton of associations in our individual memory banks. We have all kinds of memories from childhood which we carry with us throughout our life. A sense of place is rather important to our existence on this planet.

I think that is why I was struck by this combination of new gamboge and permanent rose, as seen in the sky. When the sky has a stunning glow to it whether it is pink, yellow or purple it just captures our imagination.

And then the reflections and shadows across the landscape are simply stunning. Is that water or snow in the foreground? The natural patterns left by the atmospheric conditions are extraordinary.

Watercolor Sketch

                                                                                       (C) 2024 Dale DiMauro
 

Painting with watercolors offers a huge range of subject matter, techniques and opportunities to experiment. People who I come in contact with, say I paint with a wetter brush than most of the people they know. Yet, other artists paint with a drier and more controlled manner. Each person has there own approach to the medium which makes watercolor painting interesting.

I started this watercolor because I wanted to experiment with the combination of new gamboge and Payne's gray. Artists have mentioned to me that this pairing makes a lovely, yet, vibrant green. Some of this green even bled into the sky.

While I am always interested in any new greens I come upon, browns are a fascination unto themselves. As browns, out of the tube are rather unexciting, like most pigments, a rich and varied mixture is some thing to take note of. The browns under the trees came from a pool of neutral colors sitting on my palette from a previous time painting.

Maine Landscape

                                                                                       (C) 2024 Dale DiMauro
 

For some time I have been eager to paint a series of full sheet(22" x 30") watercolors. Now to be clear I have painted this size before. However, I am after fluid watercolors with relatively simple subject matter. That requires painting with a larger palette, bigger pools of pigment and a large brush.

This watercolor is closer to that size. This picture is 14" x 20". I like the start of this landscape. It has bolder brush strokes yet has a simplicity to it.

The elements of the Maine landscape are so universal that they pretty much speak for themselves. Evergreens, coastal water and rock outcroppings define the sense of place like few other landscapes I have experienced.

Local Frog Pond

                                                                                   (C) 2024 Dale DiMauro
 

Back in the early fall I drew out a picture to paint in plein air. However, as I was recovering from an eye infection and rain was moving in, I figured it would be painted at a later time. Meanwhile, it sat on my watercolor block until yesterday.

Basically, this watercolor was painted from memory. But I am okay with that. I learn from every watercolor I do.  It is important to finish watercolors I start even if they are not my best work. The discipline of following through I believe has value.

There was a bit of underpainting done on the tree and foreground which added some textural qualities and richness to the scene. In addition, I like quality and quantity of the shadows.

Retreat Woods

                                                                            (C) 2024 Dale DiMauro
 

This is a watercolor inspired from a couple of winters ago. During the winter I often walk through the local woods and fields. In the past I would have to put on layers of outerwear(gloves, jacket hats etc.), including snowshoes. 

These days you don't usually need all of that stuff. Hopefully, the snow will come back and stay for a while. In addition, there is a whole community of people I see only in the winter who like to play in the white stuff.

In the meantime, this watercolor is a reminder of what were missing. I love the sunlight and shadows cast across the snow and trees during these winter months.