Yellows & Greens

(C) 2017 Dale DiMauro

This little watercolor is one of those warm up studies I do to get me going on larger paintings. There truly is little color in this picture. I used a limited palette of aureolin yellow, cobalt blue, payne's gray, ultramarine and burnt sienna.

This is a scene from a day trip this summer near the Berkshire Mountains in western MA. The absence of color in the sky provides a calm and serene quality to the landscape. I tried emphasizing darks in the foreground to give a sense of depth to the rural scene.

All summer and fall, I have been using these Kolinsky watercolor brushes, made by Rhapsody, for both studio and plein air painting. They hold a lot of water and spring back to a fine point when splayed out. I also drag them across the paper so they are nearly dead flat, creating interesting effects.

Creamery covered bridge

(C) 2017 Dale DiMauro

This past summer I painted many plein air watercolors. I wasn't sure how they would turn out. I learned the process is very different than painting in the studio. As a result, I have accumulated equipment to provide a smoother plein air experience. This equipment includes lightweight easels, a tray that mounts on my easel for my palette and two shoulder bags for transportation and quick access.

In general, I paint outside for an hour or so and complete it at home, if necessary. There is a freedom of expression in plein air achieved through watercolor that I find no other medium offers.

This watercolor was painted in late July. In this picture, I like the combination of red and green which naturally, are complimentary colors. In watercolor you can go back into a wash for example, such as the foliage and darken it or expand the massing.

A plein air revisited

(C) 2017 Dale DiMauro

It was a beautiful day here in southern Vermont, today. So I sought to take advantage of this favorable weather. A few weeks ago I started this plein air watercolor. When I started this, time was limited and the late afternoon sun was fading. When I first painted this, I stood on a causeway constructed of concrete while in the shade.

Well, early this afternoon I went back to this site and did more painting on this picture. However, when I set-up my easel on the same causeway, I was in the full sun. In addition, since last visit, some of the trees are beginning to acquire their fall color.

Regardless of the changes I have no control over, there is more depth added to the scene. From painting outside I have learned that marks here and there are just as effective as broad washes over a chunk of the paper. Many of these marks I add as other areas of the paper are drying. Ultimately, these marks can be interpreted as branching, reflections on the water or suggest direction in a scene.

Summer in the Fall

(C) 2017 Dale DiMauro

Last weekend when it was hot and humid, I got a paddle in before starting this plein air painting. Eager to escape the heat, I grabbed a watercolor sheet from a sample pack purchased years ago from Cheap Joe's, a big art supply store, and headed up to a local pond. When arriving by the water I realized how surreal the day was. The forecasted high for the day was above ninety degrees, which here in Vermont, a week shy of October, is not normal. The docks from the various beaches had been brought in for the winter, yet as I paddled around the perimeter of the water, there were more people on the beaches and in the water than I have ever seen.

When I started to paint this scene, the parking lot and boat landing, which is nearby, were still full of people and automobiles. After putting this aside for a few days, I found that I like the abstract quality of the washes. The subject and painting techniques, at least to me, have a Winslow Homer quality. I feel like my color mixes are attaining a greater richness, more accurate to what I am experiencing out in nature. There is a directness to plein air painting, which is unlike anything done in the studio.  I am eager to get back to this watercolor even if I have to finish it indoors, but I have been busy.

Plein Air Painting

(C) 2017 Dale DiMauro

The plein air painting that I have been doing this summer is evolving. At first it was a challenge to focus on one aspect of a natural scene before me without overcomplicating it. In addition, there are time constraints and the ever changing light when one works outside. Recently, I have adopted an approach where once I set up my equipment to paint, a photograph is taken, so that the watercolor can be completed at home. That way I have a reference particularly as Winter is around the corner.

When working outside I have learned to work from the top of the sheet down with a little angle to the surface. This way I can manipulate the pigment to move in ways that I intend it too. Sometimes this includes pigments blending with each other as in creating the wash for the sky.

Not only have I been refining my painting approach but my outdoor painting equipment has evolved too. When driving in town I take a mental note of desirable places to paint. If there is a picnic table nearby then all I need is my shoulder bag worth of painting supplies. I have acquired various easels which set-up quickly and enable me to stand without holding anything. The above plein air was started on an easel yesterday in Keene, NH. It took me all of ten minutes to install my easel. 

This summer in Maine I purchased a Winsor & Newton watercolor block which this was painted on. This is the first time I have used this paper in a block form. I really like the texture of the paper and am gaining a feel for some of the affects I can achieve with this surface. 

The Great Outdoors

(C) 2017 Dale DiMauro

This is a watercolor started back in the Spring which I have been eager to get back to. It speaks to why people come to Vermont in the first place. To spend time outside away from the commercialism and electronic culture that we have become. It speaks to paying attention to the natural rhythms of life around us at a pace we can comprehend.

There is a modern Winslow Homer quality which inspired me to this subject. The relatively-still water is gently disrupted with the lapping of the water from the paddling. The brilliant blues in the water and the vivid greens on the shore are striking.

Most of all, I am captivated by the composition. Even though the photograph does not show it, the paddler is in the lower right quadrant which conveys a calming affect. You can imagine the paddler gliding through the picture with little actual physical effort.

Clark Art Museum

(C) 2017 Dale DiMauro

The Clark Art Museum is located in Williamstown, MA., a small college town along the western side of the state, amidst the Berkshire Mountains. As you may know, the Clark as it is often referred, is a gem of an institution on its own, but the fact that it is nestled in this bucolic setting is equally impressive. The recent renovation and expansion reflects the importance the landscape has in its layout and development. While in the museum you are made aware of the distant hills through the clever placement of corridors and windows, the courtyard brings you to the base of this verdant landscape. However, it is not until one climbs the trails above the Clark, when one can sees how it fits into the larger landscape.

After my wife and I made our annual Summer tour of the museum I took a stroll on these trails with their long views up and down the valley. It seems to be quite the locale for a plein air painting or two. I took many photographs of these views as time was limited. 

This was painted last week in my kitchen. The rich green in the center was made from a combination of aureolin(yellow) and phthalo blue which is a new experimental pairing.

Eric Sloane

2017 Dale DiMauro

Eric Sloane was a noted regional painter who lived in both Connecticut and New Mexico. He wrote and illustrated over forty books with incredible drawings depicting knowledge of some of our ancestors building methods, craftsmanship and wisdom. Over the years I have acquired many of his books, primarily for the drawings which depict farm life, a way of life fast fading. He is also well known for his oil paintings, primarily of rural life, which number in the thousands. A few years back when my wife and I were at the Smithsonian Institute's Air and Space Museum we saw his mural of the sky, depicted on a great scale, along the entry way.

This watercolor painting I did many years ago is a copy of one of his oil paintings. I was inspired by the late afternoon light draped across the New England landscape with it's compound of farm buildings. 

At this point in time, I used payne's gray as an under painting to convey depth in a picture. The depiction of the eves and shadows across the landscape solely utilize payne's gray. It is not based on a Winter scene but I like how it reads as one.

One of the elements of this watercolor that I most admire is the sky with it's unconscious explosion of washes creating both soft and hard edges. There are small random marks in the sky left from where the paper was not wet, providing a textural quality to the scene. It is hard to capture these in a photograph on this scale. 

Holbein Multi-Drawing Book

(C) 2017 Dale DiMauro

This summer when my wife and I were on vacation in Maine, I came upon this sketchbook while we were staying in Portland. This book handles watercolor washes well for a sketchbook. From my experience, most sketchbook paper buckles too readily and lacks the mark making you can achieve from a quality sheet of watercolor paper, such as one made by Arches, for example. I was beyond ecstatic to find this one.

You may be wondering what I am talking about. Well, Holbein, which puts out this book, has a long tradition of making quality watercolor paints, which originated in Japan many centuries ago. 

The other quality about this book that I truly appreciate is that the coiled binder lets the sheets lay flat as compared to other sketchbooks that close on you, which frustrates me to no end.

I purchased this Holbein Multi-Drawing Book at the Artist & Craftsman Supply store in Portland, Maine. Since then I have ordered others, as they come in various sizes. As I see it, these books are not for finished paintings but drawings with light washes, studies and doodles. I like to try out new color combinations in these books. You can develop great compositional studies in these sketch books, which can lead to great things down the road. 

It must be noted that I have no affiliation with this company other than that I enjoy to use their paper in this format.

South Pond

(C) 2017 Dale DiMauro

Often when paddling in the summer season, I am searching for places to capture in watercolor. South Pond in Southern Vermont, offers much to be desired for the paddler and the artist, simultaneously. Generally speaking, it is a quiet place, with minimal development and a variety of wildlife if you are paying attention. I have come upon cormorants, loons, red-winged black birds and numerous other birds that escape my identification abilities. My most spectacular experience, as I mentioned in a prior post, was when a deer with a full set of antlers swam thrashing across the still surface of the pond. 

Recently, I left South Pond, with my kayak on the roof of my car and this plein air in hand. In town it was one of those sticky, muggy days, which motivates me to seek a cooler setting. After an hour and a half of standing in the shallow water, I was pleased with the direction this picture was going. The light had changed significantly, but I like the greens and browns that were such a part of this small protected cove.

New Watercolor Palette

(C) 2017 Photo Dale DiMauro

This summer I have experimented with different palettes and considered various ways of arranging my paints. Generally speaking, there are metal, plastic and ceramic palettes available. From my experience ceramic is simply too heavy. Plastic is common with many choices available. However, I have not come upon the perfect palette and may not in the future.

Last week I registered for a plein air workshop led by Gary Tucker with the Monadnock Area Artists Association in Walpole, NH. Gary is a watercolor painter from Boston, MA. Reading through his handouts for the workshop I came upon this palette, which he recommends. It seems well conceived with tough plastic, so I figured it was worth trying. It is available on this website: http://www.shysart.com/.

I like this one for plein air because the two covers snap shut creating a tight seal over the paint. This way the pigment cannot run around and make a mess. The paint wells in the middle area are deep and wide for larger brushes. This palette folds down to the size of the two centered sections which makes it convenient for travel. 

Other palettes that I have used are difficult to clean as there are many paint wells with small areas where pigment builds up. For this palette I intend on only using Holbein watercolor paints. I have been informed that Holbein paint does not use ox-gall, which can make paint a bit runny, which can be a challenge when working outside. In addition, other paints may be susceptible to the development of mold in moist conditions, but not this brand's.

Ashuelot Park Plein Air

(C) 2017 Dale DiMauro

Plein air painting has transformed how I paint and view the world I am portraying. With the changing light it is important to not become distracted with all that is going on around me. This concentration can become exhausting if I paint for a long period of time. I generally plein air paint for a little over an hour and at that point it is time for a break. Usually by then the light has changed and I need to step back and take a fresh look at where I am on the picture.

This is a plein air painting which I started in Ashuelot Park, in Keene, NH. Yesterday I did some finishing touches at home. This view is in the vicinity of the waterfall with some buildings deleted. Mount Monadnock is very much in view.

On these outdoor excursions I have been experimenting with a Sennelier watercolor pan set which is different from my Winsor and Newton studio palette. The Sennelier set, made in France, limits the number of pigments I use to fourteen. In contrast, in the studio, I have at my disposal up to thirty five pigments from my Winsor and Newton palette. 

Until I worked on this at home, the tree trunks were so transparent that you could see the mountain through the base of the tree. I had to lift out the paint in this area and go back in with a darker color to correct this problem. Other than that, I love the vivid colors and how the paint gets absorbed into the paper.

The tree shadow gives dimension and roots the trunk into the earth. Unfortunately, the photograph does not do it justice. When painting outside you really don't know what the result will be as the paper is transformed through various wash cycles which brings the whole experience into the present moment.

The Watercolor Board

(C) 2017 Dale DiMauro

It was a gorgeous day here in Vermont. This afternoon I sought to get outside and take advantage of the good weather we have been having. I took a trail walk through the local woods and strapped my kayak on the car for an afternoon paddle.

This was my set-up for plein air painting, in the late afternoon, on a nearby pond. Recently, I purchased a new mount, which holds the paper in place as tight as a drum. This frame stretches the paper which is important in preventing buckling which causes pigment to settle in the low spots whether you want that to happen or not.

I felt like I got off to a good start on this picture except that passersby delayed my process numerous times. At this time of year I really notice the changing light. Regardless, of the results, I feel good about this painting and the utilization of this new mount.

Andrew Wyeth at the Farnsworth Art Museum

2017 Photograph Dale DiMauro

Earlier this Summer my wife and I visited the Farnsworth Art Museum in Rockland, Maine. This year Andrew Wyeth would have turned one hundred, thus, the museum celebrated by assembling a strong exhibit of his paintings. As much as anything on display, I found the exhibit on his drawings fascinating. 

This landscape drawing was done with such strong tonal values that it appears photographic at first glimpse. One can truly see where he pressed down hard on the paper. The shadows along the shore and those cast from the tree trunks give the viewer a sense of the mood of that day.

Many of these drawings or watercolor studies are the size of some of his finished paintings. Not only is the scale significant, but his draftsmanship was superb. For me, some of these more complete drawings are paintings in of themselves. 

To think he drew outside on this scale as a plein air painter would do, is unbelievable. Speaking from experience, to lug around large sheets of paper out in the elements is no easy task. One display panel mentioned that Andrew Wyeth painted one hundred to one hundred fifty watercolors per year which over the course of six or seven decades is a quantity hard to comprehend.

Long lost painting

(C) 2017 Dale DiMauro

This painting was begun towards the end of last winter. I was inspired by the quality of the light across the landscape and the dramatic perspective framed by the fence. Then I put it in a drawer in my flat files to keep it out of the sun as the days were lengthening, and I lost track of it for a while. 

Some of these large watercolors as they accumulate paint begin to bow. Thus, they don't want to lay flat. Due to this characteristic I believe they hang in the top of the draw, which makes them difficult to locate. This may seem bizarre, but I searched these flat files several times in early spring and could not find this painting.

Since coming upon this painting by accident a few weeks ago, I have moved the trunk of the big tree from the middle of the painting to its off-center location. The figure, which is me, is becoming more refined. I have further worked on the fence and strengthened the presence of the shadows. The foreground of the painting has acquired the cool temperature of winter, which makes the sunny areas feel warm. 

Brattleboro Common

(C) 2017 Dale DiMauro

This morning I spent some time plein air painting on the Brattleboro Common. I had some time as my appointment ended early. It was not even mid-day and the sun was above me, which is a time of day I seldom have the chance to capture.

It is always a challenge to paint outside. However, it can be very rewarding. Regardless of the outcome, it is always a memorable experience.

When my hour or so working on this picture was up I was swarmed by twenty or so young children brought outside with their adult supervisors. They climbed up the gazebo, ran around the monument and spread out over the lawn. Some of these children wanted to know what I was up to as I had settled in at a picnic table more or less in the middle of the Common.

One of the supervisors described this picture as a sketch or drawing as a way to entice the children to take in the view that I had chosen. The little building is a tourist information kiosk when the window on the opposite side is open. I tried to match as close as possible the changing colors that were before me.

Watercolor doodle

(C) 2017 Dale DiMauro

When we were in Maine on vacation last month I purchased this small Arches watercolor block (about 4" x 10"). I found it in Northeast Harbor at a science store of all places. I thought it would be a useful size to practice painting figures. Also, it seems desirable to add a cool car or two to some of my watercolors when they are called for. I think of these as little practice sheets.

There are important lessons I have learned in regard to seating figures into the landscape. Figures give motion and direction to a picture. Just that little bit of a skin tone to the face or arm makes it feel human. The lower leg or boot needs to be of a darker value to define the presence of the figure. Washes suggesting grass or meadow around the feet naturalize the image and offer a pleasing composition.

Automobiles need to be anchored into the landscape, too. Tires usually cast shadows, which unite the vehicle with the ground plane. These shadows typically are the same value as the tires. This underbelly value gives the vehicle substance and contrasts well with the color of the frame.

I hope to practice these figure and automobile studies until I am very fluid in their execution. They give a sense of scale and character to a watercolor.

Plein air challenges

(C) 2017 Dale DiMauro

Plein air painting in watercolor is a real challenge. I have mentioned in prior posts how the changing light, a sudden burst of wind or rain, can alter the scene in a moment. Well, late this afternoon I experienced all these qualities in my hour or so working on this piece. As a result the final version is much different than my start.

My first wash involved adding blue for the sky above the distant hill. I misted the top of the paper with my sprayer then dropped in blue and rotated the watercolor block around to prevent the pigment from running down the page. The sky was faint when I blocked in the hill, but as the weather changed, the hill was obscured. There were two guys playing basketball on the right, and I sketched in one of the figures but he scurried away as the clouds moved in.

Regardless of the challenges, I am embracing open air painting. It makes me really concentrate on the task while honing my observation skills. It also frees me to paint unlike any studio piece. I have learned to approach a plein air painting subject differently, with flexibility and a focus on simplicity. 

North East Watercolor Society Exhibition

(C) 2017 Dale DiMauro

Recently, I was informed that this painting titled My Brother was accepted into a major watercolor exhibition. The painting was selected for the 41st Annual International Open Exhibition 2017 by a jury of five signature members of the North East Watercolor Society.

The exhibit will take place in Kent, Ct from October 15th - 29th. There will be an opening reception on Sunday, October 15th from 2-4 pm. In addition, there will be an awards ceremony at this reception. The juror of awards this year is Mel Stabin, AWS, a nationally known watercolor painter.

Naturally, I am excited to report on this bit of news. Now I just have to get this painting framed.

Stickney Brook Falls

(C) 2017 Dale DiMauro

I found yesterday afternoon to be a hot and humid day in Brattleboro, Vermont, so I escaped to these little falls not far from where we live. I love the sound of the falls, the breeze they create, and being able to cool down on a hot day.

It was a challenge to paint this scene. I had two rambunctious girls circling around me while throwing stones. At the same time their energetic dog was shaking water from its body right at my foot, and licking my knee from time to time.

With many plein air paintings, you don't really know what you'll get until you're done. I worked on this a little too much since the light had changed and the sun moved directly into my eyes. The cascading water that zig-zagged down the hill was at times invisible to the eye yet audible as it flowed from one outcropping to the next.

By the end of my painting time, consciously or not, I was exclusively painting in purples and grays or black. After I got home and took a second look with a fresh eye, I was pleased with my result. The rock ledges have a cool, shadowy quality to them.