(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.