Cobalt Blue & Burnt Umber

                                                                                              (C) 2026 Dale DiMauro
 

Sand, water and stone makes a strong composition. There is a simplicity and timeless quality to these elements which is unmistakeable. The tide is generally coming in or going out. This watercolor was based  on a photograph I took along the coast of Maine.

This entire watercolor was painted with just two pigments: cobalt blue and burnt umber.  First, I painted a wash of cobalt blue over the paper. However, since this was a rough Arches watercolor paper some high points on the paper remained white, suggesting some sparkle from the sun.

Then I mixed both pigments to depict the sand color. After this I mixed the darkest value which is the rock-like color.

With experience I have learned to not fight the roughness of the paper if a paper has much texture to it's surface. After all, this is the strength of the painting surface. This picture was painted in one sitting.

I like the overall feel of this picture - it is very rhythmic and calming.

Prussian Blue & Other Thoughts

                                                                                 (C) 2026 Dale DiMauro
 

The watercolor medium has a rather unfair reputation. It has been said that watercolor is difficult to master. So, many artists distance themselves from picking up the practice altogether.

Regardless, it is the most portable, accessible and efficient to use of all the painting processes I can think of. All you need is clear water to clean your brushes.

From my experience the very things that make watercolor difficult to undertake are the very qualities that no other medium provides.

For example, the blending of colors if, well-placed can create lovely runs or can add weight to your subject matter. This is best done through the wet-into-wet technique. Mastering when to use soft and hard edges can suggest painting mist and other atmospheric affects, etc.

This week while studying a Winslow Homer watercolor at the Museum of Fine Arts in Boston, MA, I learned how he could establish three different values with one wash of Prussian blue paint: a wash for the sky, with blotting he would remove paint near the horizon leaving only the stained color & paint pure pigment for the shadows on the water with varying amounts of pressure from his brush work.

Watercolor is a medium I constantly learn from each and every day...

Winter Light

                                                                                 (C) 2026 Dale DiMauro
 

Painting snow in watercolor is a subject in of itself. It is very romantic. However, I love to paint snow scenes particular when fresh snow has recently blanketed the landscape. 

To make the snow radiate in the foreground I pre-washed the foreground where the snow is with a lemon-yellow pigment. In addition, to emphasize the glowing tree trunks I used brilliant orange which gives warmth to the landscape. 

Late last fall I painted a version of this scene without the snow. It had great late afternoon light not unlike this scene. Recently, one cold late Sunday afternoon I caught this dramatic snow scene from the distance and trudged over in my boots and took a quick photograph.

I thought about adding a bird or two to the sunlit branching but thought better of it. I thought it would be a bit cheesy. Overall, I like quality of the light and colors in this scene.

Watercolor Sketch

                                                                                 

                                                                                            (C) 2026 Dale DiMauro

Not all watercolors are finished works of art. This watercolor was painted in the Brattleboro Food Coop's cafe looking towards the Brattleboro Museum & Art Center with the backdrop of Wantastiquet Mountain, made famous by Henry David Thoreau.

I chose to remove all the construction equipment and signage which dominated the middle ground for a more rural look. Plus, I was painting on a small watercolor block which couldn't possibly contain all that detail.

Ironically, you can feel the shadow cast from the clouds overhead yet the sky in this photograph does not convey the patches of blue which I painted in the sky.

I do like the simple washes which depict some of the characteristics of the museum and grounds.

Reflecting on Past Paintings

                                                                                     (C) 2026 Dale DiMauro
 

At times the best paintings are the ones left behind.....

Recently, I was thinning out my office space of the inevitable clutter that begins to accumulate in this capitalism culture in which we live in. I came upon some watercolors which are a 'gem' for one reason or another. Some have clean brush strokes, others have pleasing color combinations while another has pigments that highlight the texture of the paper. I am not speaking in an arrogant matter just mindful in that moment of what I was sorting through.

In this political moment or moments, I am fortunate to be able to express myself in both painting and at the same time using drawing and painting as a healing practice to provide daily therapy. After all, everyone of the three hundred and forty million Americans who live in this country are going to need a lot of healing if our 'democracy' is to emerge from the current dark days to a greater outcome.

Of all the mediums to use for painting in this time, watercolor may be the best at expressing a bold stroke or even the quickest application.  At times a limited palette, simple composition or subject matter speaks the loudest. A painting in watercolor done over months is often no better than one done in ten minutes.

I like the abstract shape of these forms and the simple color scheme. Plus, this was intuitively painted in about ten minutes. 

Across the Field

                                                                           (C) 2025 Dale DiMauro
 

All kinds of surfaces are fair game game to paint on. I have painted on smooth hot-pressed, mild-textured and rough paper. In addition, I have painted on soft press paper and bristol board.

This was painted on a remnant of Arches 300lb watercolor paper that I received communicating a Christmas gift. I have read where this paper is recommended for plein air painting or direct painting. Also, it dries slower than thinner papers allowing the artist more time to work their washes. As a side note, I have begun experimenting with gum arabic which gives you some control over the painting process.

I like the added touch of venetian red on the middle left in contrast to the cooler pigments.