Cold weather portrait

(C) 2017 Dale DiMauro

With this prolonged extreme cold weather, it is challenging to settle back into a painting routine. Over this time period, I have done more drawing than painting. Last night in Brattleboro, VT, the temperature reached sixteen below, so it has been best to stay inside, as advised.

Earlier this week I walked down town with the biting wind. With a majority of the sidewalks un- passable it was a challenge. Nonetheless, I picked up this little drawing pad, of textured paper, before I left downtown. 

I like the waffle-like texture of the paper and trying to manipulate it's qualities with my pencil. This drawing was inspired by a photograph in STAND an ACLU publication which arrived recently. I drew this last night while watching a detective show.

The Sketchbook dilemma

(C) 2017 Dale DiMauro

Finding a sketchbook, that I like, for the winter months is no easy task. In general, I find the quality of sketchbook paper has become worse over time. In the winter, I prefer large, hardbound, sketchbooks which can take some abuse and seldom fit easily into any shoulder bags.

Many sketchbooks have smooth paper with little or no tooth. These yield a dull drawing with a limited range of affects. On the other hand, there are sketchbooks with a rough tooth providing a grainy and smeared result. With these two versions, unless, I have one on hand, I do not know what I have spent money on until they are in use.

Recently, I posted on a sort of, new age sketchbook manufactured by Canson called the Art Book Universal. They claim the paper will not yellow over time and it can repeatedly take erasure without damage amongst other qualities. I indeed like these sketchbooks. Of note, is that the paper lays flat. However, they are not easy to find locally. In addition, I have found them only in smaller sizes ie (8.5" x 11"). I seek the 11" x 14" and larger sized sketchbook.

There are Strathmore sketchbooks sold at Michaels which I like and use a lot but they are basically softbound. Anyone know of any other options available?

Watercolor sketch

(C) 2017 Dale DiMauro

Happy New Year.
May you take on new challenges
Just as I have tried my hand at the ukulele.

May the Olympics carry on.
May political division diminish.
May progress and change be truly meaningful.
May the earth's wounds heal.
May we see the advent of a new golden age.
May we all contribute to a better and more beautiful world.

To all you readers out there,
Near and far,
Artistically inclined or not,
Athletically motivated or home bound,
And certainly those technologically challenged,

May this be the best year ever.....

Along the Keene, NH, Rail Trail

(C) 2017 Dale DiMauro

This watercolor was started early this afternoon. I like where this picture is headed, however, my start was cut short by time constraints. Lately, I have become clear in my thinking as to how I want to approach the start of a painting. For example, there are occasions when toning the paper is beneficial, such as painting a winter scene. Other times I focus on the landscape and finish the sky later.

I have become more willing and even perhaps, more adept, at dropping in color when a section of the paper is wet. The fall colors were created this way. Fall foliage can appear fresh which I prefer, or can it become overworked, which I detest.

The way the big pine tree on the right frames the scene was the inspiration. In addition, I like the sharp contrast in light across the landscape.

MERRY CHRISTMAS

(C) 2017 Dale DiMauro

Each of the last three days in Brattleboro, Vermont, we have had either snow, sleet or freezing rain. It is pretty much a mess outside. On that note, I thought it would be best to introduce a little summer to this winter, during the holiday season. I noticed the high temperature forecast for thursday at nine degrees with a low of ten below.  

Last night I painted this watercolor from a photograph I took last summer. It is of a favorite local swimming and paddling spot.

Paint was lifted at the end to create the tree trunk reflections in the water. I like the little triangle shaped lush greenery on the right. There is lot of temperature felt in this picture.

Winter in Vermont

(C) 2017 Dale DiMauro

Yesterday, I set up my easel by the window, in our house and painted this outdoor scene. I approached this as if it was a plein air painting. Fortunately, the sun broke through in the afternoon creating all these beautiful shadow patterns across the land. 

In the morning, I was eager to experiment, with an underwash, before painting this scene or even laying it out. The warmth in the foreground, which is more noticeable in the painting, than in this photograph, is a result of putting an initial, wet wash of yellow ochre across the whole sheet. 

Usually, I start painting from a white surface but in this case it was already toned. This way I could exaggerate the warm qualities the sun was providing, in contrast to the cool blues and shadows, which characterize this landscape.

Is this an english landscape painting?

(C) 2017 Dale DiMauro

Is this an english landscape painting? No, but to me it has some qualities found in the british watercolor tradition. British artists often paint without the high contrast in color or light. In fact, they may not paint with much color at all. The ground plane they depict is often gray or a muted green, which when you consider their climate, is quite fitting.

This painting was inspired by the lush foliage and greens at the foot of the Harris Hill Ski Jump in Brattleboro, VT. I noticed cool blues in the shadows of the maple trees, which I had not noticed before, on a hike through their trails.

Recently, I have been dropping the pigment, burnt sienna, into my washes of green for the landscape. I like these pockets of warmth and variety, which seem to reveal more substance from the land. 

Pen & Ink Drawings

(C) 2017 Dale DiMauro

With this sudden burst of arctic air and the advent of winter, here in Vermont, I went about organizing my studio for the cold months ahead. I came upon this little sketchbook from several years ago, which has many pen and ink drawings of ideas for local gardens. Many ideas in this journal are for ways to reduce the quantity of lawn and offer a greater source and better variety of plants to consider for plantings.

While revisiting this journal for a few moments, I felt a little warmth of spring. However, I do like the organic, natural quality of the drawings. 

There is a special quality to the timeless use of stone, when crafted with pride, native plantings and trees allowed to reach their mature state, full of character.

Newly constructed mini-flat file

(C) 2017 Dale DiMauro

As it was getting colder and the days on the calendar were advancing, I was pushing to build this mini-flat file. A good chunk of the wood I used, which is primarily oak, was sitting around in the garage from last year. Any additional lumber I purchased from the local Home Depot, as they currently supply quite a selection of half inch stock.

Counter space, in my studio, is at a premium. Thus, this flat file was constructed to hold paint brushes and store small watercolor paper scraps. My studio is south facing which makes me leery when it comes to leaving watercolor paintings out in the sun.

For me, building things out of wood is very rewarding. I enjoy the process of figuring out how best to construct something. Finally, shaping the various pieces of wood and joining them into a finished product is very satisfying.

More progress................

(C) 2017 Dale DiMauro

For some time, I have been eager to paint an urban scene. The setting, believe it or not, is downtown Brattleboro, Vermont, right after a parade passed through. I took the artistic license and omitted other people from the scene. The white shirt brings out the dark complexion and vice versa, which on watercolor paper is stunning. In addition, I find the high-top shoes and the man's posture captivating.

For me, this is the point in a painting, at least, when the scale is significant, where the progress is exciting. Besides the figure, there is something compelling, about the background, with all the various surfaces in their differing shapes, textures and coloration.

The textured wall above the sidewalk, has lunar black, a color I have been experimenting with, which I wrote about in a previous post.

Public doodle

(C) 2017 Dale DiMauro

With the Christmas season in full swing, I attended our local Community Messiah Sing. In addition, to getting into the Christmas spirit, it was an opportunity to sketch your neighbor or neighbors' profile between songs. 

Capturing an individual in a natural pose can be a difficult task even if it is as simple as a two minute sketch. People constantly fidget about, not, unlike a bird. For example, people incessantly adjust their hair or glasses and run their hand over their face. 

At this scale, I am trying to capture the essence of someone without getting technical. Sketching these doodles makes me want to do more and develop others into larger drawings.

Late Fall in Brattleboro, VT

(C) 2017 Dale DiMauro

This is a watercolor I have been playing around with, here and there, over the last couple of weeks. I was struck by the russet fall colors this late in the season, in combination, with the long shadows. At this time of year the light is changing so rapidly I had to take a photograph before the landscape was all in shadow. I would have preferred to work in plein air except the temperature was dropping rapidly, too.

I came back to this after several days when it dawned on me I have a little used pigment on my palette which is needed to complete this picture. That color is called brown madder, which is a red. I applied it on some of the trees on the forest edge which added a richness it was lacking.

This photograph came out more on the orange side than the actual picture conveys.

Canaletto & the Art of Venice

Photograph taken from Canaletto(book)Author J.G. Link, Phaidon Press Limited, 1999

Yesterday, I found myself at the historic Latchis theater in downtown Brattleboro, VT. I walked down and saw the film titled: Canaletto & the Art of Venice. 

Canaletto(Giovanni Antonio Canal) was not known as a watercolor painter. He did carry out studies in pen, ink and wash, though. However, he was an extraordinary view painter with a skill unlike anyone else in his time. His advanced technical skills and knack for conveying atmospheric qualities make his paintings powerful. He was born in Venice, Italy, on October 28, 1697 and died in Venice, Italy, on April 19, 1768.

He painted urban scenes in Venice, along the canals, which are simply stunning. One observes that these landscapes are devoid of trees except for a rare specimen tree, badly misshapen by the elements and human existence. These paintings were primarily sold to tourists from England as the locals lived this landscape in their everyday lives and most likely could not afford them.

Whether he utilized a camera obscura or not as an aid in laying out the frame work for these paintings does not reduce the value of his work. In preparation for completing these large oil paintings, he filled his sketchbooks with impressive architectural drawings as studies, which some may have been done from the brow of a boat.

Unfortunately, with all his skill, labor and productivity he passed on poorly compensated.

Lunar black is .....the new orange....

(C) 2017 Dale DiMauro

In watercolor painting it is common not to use black as a pigment. Most artists often mix a combination of pigments which may include ultramarine, payne's gray and cadmium red among others, to arrive at a dark whether it on the warm or cool side. In the past I have used ivory black in the rarest of times primarily because the color is often flat and unexciting. In addition, neutral tint is a pleasing dark, but not a true black, right out of the tube.

Recently, I have been experimenting with lunar black. I find this black does not stain the paper, making it possible to lift color, is transparent and combines well with other pigments. As in this quick watercolor sketch, up by the figures, I combined cadmium red with lunar black arriving upon a rich, vibrant color.

After completing this sketch, I was struck by the quality of the light backlighting the figures. With the shadows projecting on the ground you can nearly feel the time of day and sun across their bodies.

Urban Landscape

(C) 2017 Dale DiMauro

Recently, I started this watercolor of an urban setting. It has all the qualities I usually do not paint. It has multiple walls and pavement. In fact, all the surfaces except the individual are hard. Clearly, there are no plants to be found here.

With that said, there is much appeal for me, in working on an urban landscape. The patterns, colors and textures of the various wall surfaces are endlessly fascinating. The shadows projected across the sidewalk and from the windowsill are full of life. They add dimension to the landscape.

However, the composition is truly about the individual. Once you put a figure in a painting the critical eye goes right to that area. Trying to capture the posture and how that person relates to the surrounding is an exciting moment. Just developing the form of the white shirt against the brick and skin tone is inspiring.

Sketchbook drawing

(C) 2017 Dale DiMauro

When possible I prefer to carry a sketchbook with me wherever I go. Even a simple sketch during lunch on a busy day keeps the mind thinking about potential compositions or the evolution of an idea. At the same time the hand is kept sharp through recording observations and experimenting with different media. Lately, for example, I keep thinking about doing more pen and ink studies.

In the late summer I picked up this sketch book by Canson. I am always experimenting with different papers. Some of my curiosity is simply based on the feel or texture of the paper.  Also, I am intrigued by how technology is changing both the preservation of works on paper and the paper available to use.

This new sketchbook, on the end cap, states that the paper will not turn yellow over time. How are they able to do this? In addition, more and more sketchbooks these days are made where the paper lays flat which was not the case in the recent past, particularly among bound books. Books which do not lay flat drive me nuts. Now that is an advancement that I truly can appreciate.

Eldridge Hardie

(C) 2017 Photograph Dale DiMauro

Several years ago, I purchased this used book, over the internet, titled: The Paintings of Eldridge Hardy: Art of a Life in Sport. There were not many available at the time but I am glad for acquiring it. It has become one of my favorite art books and I keep it at arm's length. 

What I admire about Eldridge Hardies' paintings are the small watercolors such as the one pictured above. There is usually a figure out in the landscape, fishing or hunting, perhaps with a dog. He captures the postures of the figures with simple elegance. His use of a simple watercolor palette enhances the composition. The paintings convey a directness of technique while utilizing the white of the paper to great effect. Often the sky will have a wash of blue with areas left unpainted suggesting clouds.

When I have time to paint outdoors and the weather is conducive to plein air painting I try to emulate the qualities that Eldridge captures in my own work.

Faces in the Crowd

(C) 2017 Drawing Dale DiMauro

When the World Series was on a few weeks ago I started drawing this portrait from a magazine photograph. The magazine has since been recycled so I do not know who took the photograph as to give credit where it is due. Nevertheless, the games ended up becoming such a lengthy affair that I completed this drawing in one sitting.

If I get the facial features relatively accurate in proportion, I feel like some quality about that individual has been captured which are not tangible. More specifically, an element of someone's spirit comes forth. To capture that quality or at least attempt to, with a single pencil and paper for me is exciting.

In drawing you can get straight to the point as it expresses the structural qualities of the face. I consider drawing my dry media as there is no clean-up required.

Along the Housatonic River

(C) 2017 Photograph Dale DiMauro

Yesterday, yet again, I traveled to Kent, Connecticut. This time to retrieve my painting at the conclusion of the North East Watercolor Society's 41st Annual International Open Exhibition.

I was struck by how beautiful the Housatonic River Valley is at this time of year. On route seven, which meanders along the river, vistas of rolling fields, distant hills, and even the Berkshires come into and out of view. Upon arriving into Kent, the sun had begun to blanket the fall landscape with a combination of ochre, sienna and tawny colors. Even the cross roads had stately specimens in full color, whether an oak or maple. 

Out in the landscape I felt as if I was a small figure moving across the canvas in an Eric Sloane painting, who was a local resident and well known artist.

The fly fisherman I posted on October 18th, was once again alive in the center of the river with waist high waders as I drove past. I truly wanted to take a photograph of this iconic scene but there was no place to safely pull over.

Keene reservoir & park

(C) 2017 Dale DiMauro

Some how I had a mix up this afternoon. I drove to Keene, NH for a one o'clock appointment but the people I expected to meet were not there. After eating lunch I decided to start a plein air painting to overcome my disappointing afternoon.  

At the end of summer I had discovered this park wrapped around a reservoir off a steep hill. I was able to spread my stuff out on a park bench and work on capturing the late fall color. The photograph does not do it justice, as I felt the picture got off to a great start. Just before leaving I took a photograph so it can be finished at home. 

Originally, I was taken by the stately tree, fall foliage and slope of the land down toward the water. What fascinates me are the marks created where there is a lack of paint.