Fall Color

                                                                                    (C) 2025 Dale DiMauro
 

Fall is that time of year when the leaves turn all those lovely colors, if the rain doesn't wash them all away. It is more important than anything to stop and notice these colors for what they are. There is so much variation of color within one canopy of one tree that it is mind boggling.

To achieve the colors I portrayed here my palette was pushed to levels not usually utilized. I used pigments of cadmium red and brilliant orange pretty much straight out of the tube. These pigments project a warmth throughout the picture which is quite pleasing.

This watercolor was painted on else ware, a 110 lb cold press watercolor paper I bought at my local food coop. To prevent buckling, I ripped this piece of paper out of a spiral-bound book and taped it to a board to keep it taught in the corners.

I like the overall feel and light of this picture. The darker marks in the foreground tree up by the branching were created by quick-snapping my rigger brush which offers the affect of dried out leaves and gives some weight to the tree.

STORMY SKY

                                      (C) 2025 Dale DiMauro

 

                                                                                                      Detail of sky

November weather is definitely challenging. Not many people linger outside for long when the winds pick up and the sun is hidden behind clouds.

Today, nevertheless, was a blustery experience to paint outside. The clouds raced across the sky and the wind dried my paint washes immediately. Having said that, I adapted by applying smaller washes and moving more frequently to different areas of the paper.

I perched on a stone plinth and painted this view of Wantastiquet Mountain from across the Connecticut River. The sky was put down first. I used cerulean, ultramarine blue, and paynes gray combined with a mister to get the pigments to blend into cloud-like forms. I feel that the colors you see were true to what I saw out in nature.

Today, I used only two brushes to paint what I did and I am proud of that. I think this is the best stormy sky I have ever painted. 

At times on your journey in life you take two steps forward and one backwards. Perhaps today was one of those days where I took a step backwards. However, I worked on three other watercolors this weekend so it is of no great loss to me.

P.S. - For some reason I had difficulty cropping the top photograph. 

Late Fall Watercolor Study

                                                                                   (C) 2025 Dale DiMauro

It seems like the most dramatic landscapes are found in autumn when the leaves have fallen. This is the time of year when everything slows down and the bare structures in the land reveal themselves.

The ochres and umbers of the landscape really become much more noticeable. In my travels I keep thinking how important these colors are to my palette. The blues and browns seem to compliment each other as the season of growth fades into our distant memory.

Also, this is the time when bird migrants are scrambling to find whatever food they can.

As a side note I put a wash of cerulean blue for the sky, yet it seems to fade in intensity with the browns dominating this picture. 
 

Brattleboro Common

                                                                                     (C) 2025 Dale DiMauro
 

Yesterday, was the pick of the weekend - weather wise. So I took a walk in the afternoon to find the sun and it was on the Brattleboro Common. I noticed how the fallen leaves from some of the trees opened a vista up the West River beyond the Brattleboro Retreat towards Black Mountain.

At this point I settled down to paint en plein air, until the darkness moved in. Sometimes the hardest decision, is indeed, to find that subject to commit time to.

I worked my way down the watercolor block painting from the sky to the leaf-covered lawn in the foreground. Many decisions were made rapidly - always aware of how wet the paper is in certain areas.

As the light faded and I looked up from my watercolor block I felt good about the decisions I made and in the time I had to utilize my skills.

Generally speaking, whenever I paint new techniques are tried. On this day I consciously tried to paint the tree trunks with irregular footings as I observed clumps of grass and uneven ground one of the characteristics of the scene.

(Brattleboro)Retreat Meadows

                                                                                             (C) 2025 Dale DiMauro
 

The late day light, at this time of year, is stunning. That is if it is a sunny day. But boy is it lovely.

Fortunately, for me, I have spent some time outside painting and have developed an eye for what to look for. I think with experience one builds a mental map of local areas to paint where you are not looking directly into the sun but can benefit from the glow projected on to the landscape. At this time of year it is of great value to be facing East as the setting sun fades into the darkness. The other cue is the birds know where to find the sun to bathe in. In fact, there were birds - I think Canadian geese in the foreground.

From the time I started this watercolor, until I packed up to go, the light changed so much and thus, the landscape was transforming before my eyes. This picture was cut short as I underestimated my painting session due to the time change.

All I could think of when painting this picture is that ice skaters may be here within the month.

On the Prowl

                                                                                                 (C) 2025 Dale DiMauro
 

At times, watercolor takes you where it wants to go. It can be best to follow through on the journey instead of rigidly resisting the movement of the wet pigment and overwork a scene.

I started this painting because I was experimenting by tweaking the classic paint combination of yellow ochre with burnt umber which results in a warm brown. Recently, in my walks through the landscape, at least in the light, I felt some variation of this pairing. As I put down a plant swatch, usually I end up turning it into a landscape, real - or imaginary. This way I can apply a 'swatch' to the landscape right then and there. Also, I end up with a mental/visual recording which I can refer to later.

As that warm colored ridge took shape, it was obvious to me that the left side of the composition was lacking substance - so on the spot - I dropped in the head of a figure. I think the figure adds an element of mystery as you don't know who he is or what he is doing - as most of his body is left out of the scene. Additionally, his presence, emphasizes the high contour. 

This watercolor was painted while my wife was feeding candy to young trick-or-treaters.