Drawing Human Anatomy

This book, Drawing Human Anatomy, by Giovanni Civardi has drawn my attention for some time. At one point I borrowed an earlier publication of this book and could not get enough of his drawings on anatomy. Civardi is well known in the illustration field with numerous other books out on anatomy, portraiture and drawing in general.

What makes this book great is that it is not weighed down with a ton of medical jargon yet has inspiring drawings. Unlike most books on anatomy, he advises the reader on tips for life drawing and art materials one might want to consider.

As in any kind of anatomy drawing it takes considerable effort to get the proportions and scale right before tweaking these parameters to express an individual's characteristics. However, if you can master the human figure you can pretty much draw or paint anything you want.

Plein Air Painting

(C) 2019 Dale DiMauro

First plein air watercolor of the year. I had an hour outside to lay down the initial washes and later on, did finishing touches inside. 

Since it was my first outdoor painting in a while, I wanted to keep the composition simple and see how it went. I was concerned the paper wasn't going to dry in a timely manner. The wind started to pick up as I set-up my equipment.

There is some quality about the light in the foreground with the tree trunks and dry brush marks that I repeatedly come back to.

Drawing Automobiles

(C) 2019 Dale DiMauro

In a recent post I mentioned I was trying to get better at depicting the human figure. Conveying the correct proportions is critical along with getting the essence of the human posture. 

Also, I am trying to get better at depicting automobiles. Sometimes it is important to exaggerate the characteristics of different automobiles and pick-up trucks to better understand their differences. I have a ways to go, but the fountain pen has helped me become more fluid with my vehicle drawings.

Down the road I hope to be able to portray a vehicle in my watercolors when it seems appropriate, without too much trouble. Using a sketchbook is vital in developing these skills without the pressure of failing.

Field of Dreams

(C) 2019 Dale DiMauro

After completing my taxes and some yard work it is exciting to get back to painting. Every time I paint I seem to learn something. Sometimes it is simply learning new color combinations or as in this instance, seeing things a little clearer.

I started this watercolor last fall but was unimpressed with the foreground. The ruts in the field I believe are an important part of the composition. They seem like graphic marks which draw you into the landscape. They create a sense of depth and richness in combination with the umbers and ochres. As a result this landscape has become much warmer in tone, which I appreciate. 

It is important to paint freely at times with no expectations. You can learn new techniques or simply leave certain areas alone. Inspiration can take you places you can not anticipate.

Tree of Life

(C) 2019 Dale DiMauro

Painting trees in watercolor I find to be a fun exercise, even a spiritual process. There is some magic if you can capture the presence of a large tree with all its character, to some degree, on paper. Each species of tree is quite individualistic, yet familiar in some way. Of course, tropical trees are a whole separate matter, I suppose.

Most trees I come across in nature or in our cultural landscape are misshapen with irregular silhouettes or devoid of large chunks of limbs, which can add character. Also, trees often cast dramatic shadows across the earth, which gives them a greater sense of presence. It is good to capture some of these qualities. 

When I prepare to paint a tree, I am not seeking to paint a perfectly shaped tree. However, I am continually trying to improve on the trees I paint. I think it is important to paint as fluid a trunk and branching as you can. It is also important to anchor your tree to the earth.

This tree I just made up, or perhaps you could say I painted it from a conglomeration of memory.  

Landscape Painting

(C) 2019 Dale DiMauro

Most of my life I have drawn or doodled landscapes. Often in pen or pencil, but with the addition of watercolor, there is an emotional or atmospheric component. Some of these are imaginary while others are derived from a physical place. 

This one started out imaginary but evolved into a coastal Maine reference. Sometimes the marks on a paper can influence one's direction. Paintings in watercolor can exploit the quality of suggestion. That is, the texture of the paper or fragmented and incoherent washes can suggest an illusive quality. 

In this landscape, the zig-zagging blue wash made me think of coastal Maine. This led me to add the dense evergreen patch which I associate with coastal Maine. I even added the cast shadow in the foreground, from some of these evergreens. Strong associations come from the smell of the ocean and the quality of the light.

Keene, NH: Robin Hood Park

(C) 2019 Dale DiMauro

In Brattleboro, VT, where I live, the temperatures are rising, the snow is shrinking and the length of day continues to increase. It is the first time I can walk around my house in the last six months without slipping on ice. My lawn is actually beginning to re-emerge. I wouldn't be surprised if it requires mowing in the next two weeks.

It is also the time of year to begin plein air painting, once again. Along the way we will likely confront some sort of storms before Spring bursts forth. Regardless, it will be an exciting time to record the ever-changing light and colors of the season. What's exciting about painting outside is you have to be adaptable and reduce your expectations to the moment you are confronting.

Andrew Loomis: Drawing the Head & Hands

For those artists out there who seek solid drawing skills in capturing the human form Andrew Loomis is and has been the master. This is the third book by Loomis I have acquired. His drawings are inspiring while displaying an economy of line and precision. 

This book, Drawing the Head & Hands, by Andrew Loomis was originally published in 1943. Unlike many books it has not lost resonance over the years. 

From my experience there are certain ages which are particularly challenging to capture. Loomis cites children between eight and twelve as more difficult than very young children or adults to draw. He identifies characteristics throughout the aging process for both genders to pay attention to when drawing individuals.

After perusing the current books available on figure drawing it feels good to return to Andrew Loomis books, which pre-date our dependence on the all-consuming world wide web.

Little Compositional Sketches

(C) 2019 Dale DiMauro

Developing a composition is fascinating in my mind's eye. This photograph I took on a hike inspired the small sketch above on the left. There is something captivating about the light and shadows as it rolls across the contours of the land at this time of year. 

However, the photograph is way too busy. As a result the viewer does not know what to focus on. By eliminating many of the unnecessary smaller trees and branches while shifting the large tree trunk off center a bit you create some depth in the picture. Ultimately, this draws the viewer into the landscape.

One off-center tree creates a natural arch to frame the scene. Or not. The guardrail has been eliminated because it divides the picture in half. Finally, one can now describe that big tree trunk with some details such as the pattern of the bark or the characteristics of it's branching.

These are some of the thoughts that race across my mind as excitement builds toward turning these ideas into a potential painting.

Hahnemuhle Watercolor Book

(C) 2019 Dale DiMauro

Last month I purchased this watercolor sketchbook. It is manufactured by a company in Germany called Hahnemuhle. It is my understanding that this paper is durable and tends not to buckle. In addition, I like the idea of being able to paint on the go. 

This is my first painting using this paper. It may not be my finest painting but I found the experience intriguing. 

Up to this point I have favored cold pressed paper which has a bit of a tooth to it's surface. I most likely will continue using cold pressed paper but the Hahnemuhle behaves from my experience, similar to a hot pressed paper. Hot pressed paper leaves watermarks where water sits on the surface when it dries. While painting, some of those marks left around the face I found quite lovely. In addition, this paper seemed to take multiple washes quite readily.

In conclusion, I have had a hard time finding quality watercolor books to paint in. Most of the ones available, when found, are way too small for my liking. Hopefully, this book will take me on a journey through experimentation and development over the next thirty pages.

Manganese Blue

(C) 2019 Dale DiMauro

This watercolor began to take shape this morning. It is inspired by the warm, extended length of day we have been experiencing lately. 

For some time now I have been toning my paper or parts of it before digging in. The bottom of the sheet was painted yellow to exaggerate the blue shadows. There is a lot of manganese blue in this picture, which gives the shadows on the snow an electric energy.

Recently, there have been many opportunities to paint trees. Along the way I have been concentrating on painting more fluid branching.

When the watercolor sheet begins to buckle I have resorted to wetting the back side of the paper under the faucet at the kitchen sink. This seems to be a true and tested approach to leveling out the paper regardless of the weight of the sheet.

Red & Green

(C) 2019 Dale DiMauro

This week it was important to paint a summer scene as temperatures hovered below average with a couple of winter storms, to boot. Part of me was seeking a different subject matter to paint. It was also an opportunity to modify the landscape to my liking.

The pencil sketches on top show the evolution of the composition. I wanted the building to frame the larger landscape in the background. For me, the road rolling across the landscape like a ribbon is an exciting part of the picture. 

The painting below is underway. It was important for me to explore using complementary colors in the focal point. That is the red and green you see in the foreground.

There is a warmth in the painting which I find comforting. Pure watercolor with clean brushstrokes and solid color.

Ed Hopper windows

(C) 2019 Dale DiMauro

Recently, I have returned to painting New England houses and snow scenes. This is a detail from a watercolor in progress. 

There have been numerous complements on the windows painted. There is an Ed Hopper quality to the natural light projecting across the interior walls. In addition, the austere quality of the window treatment and sparse decorations make for a striking presentation. Perhaps, it makes one question what is going on with this room in question.

It further emphasizes the importance of keeping the painting simple with bold washes where possible. In fact, after the New Year, I promised myself I would paint with the largest brush I could use for any given task. Perhaps, this way I would noodle around less and avoid going back into an existing wash.

In the process of initiating these recent paintings, I have come to realize how broader my thinking has evolved when it comes to color mixing. By habit I write down in a journal any color combination I read about or come upon which peaks my interest. As a result, I am forever testing out new and exciting color combinations. These windows, I believe, have richer colors than I would have come up with in the past.

Brattleboro Outing Club

(C) 2019 Dale DiMauro

Last Friday I cross-country skied at the Brattleboro Outing Club. I longed for the conditions experienced. The sun was glorious and the temperature was mild, requiring light layers. I didn't experience any of the hard ice that dominated much of this winter. The increased length of day made it such a wonderful time, too.

This watercolor is a sort of memento of the outing club experience. There is appeal in the yellow siding of the buildings in contrast to the cool blue shadows cast across the open space. 

I am still finding my way with this thick Arches watercolor paper(300 lb). Recently, I have experimented with hot press in addition to the rough and cold press versions. This picture is painted on the cold press paper. The 140 lb Arches paper in the block or individual sheet form I am very accustom to. 

Tree on the Common

(C) 2019 Dale DiMauro

Painting trees is exciting, rewarding and at times, frustrating. Lately, I have become obsessed with these specimen trees I see exposed to the wintry elements. They have such character with their graceful limbs, speckled trunks and strong shadows. Recently, I have seen numerous birds congregate up in their crowns while chewing on seeds. On windy days I am concerned they will blow down on neighboring power lines.

It is good practice I believe, to force yourself, to paint a watercolor in a limited window. I finished this painting an hour ago and started it the prior hour. From my experience, these time constraints parallel some of the characteristics of plein air painting. I was forced to keep the composition simple along with the chosen palette and forced to paint directly.

Finally, it was frustrating cropping the photograph with the blogger software for some reason. I failed to crop the first photograph but uploaded a second and it seemed to be misplaced in the folder.   

Adding Vehicles into Watercolors

(C) 2019 Dale DiMauro

Many artists include vehicles in their paintings. In particular, I like the work of Joseph Zbukvic. His watercolors, which feature vehicles, have an integrated quality to the overall composition.

Recently, I have been struggling in selecting vehicles to consider for painting. Some of the challenges are based on weather I do a side view or back orientation. Also, one can paint a vehicle in perspective, which offers more depth, with added detail. At this point, if I add a vehicle I intend it not to be the sole focal point.

This watercolor drawing is an attempt to get something down quickly, without too much fussing around. In this case, there was not much consideration regarding composition. However, I do like the shadows and atmospheric qualities in this picture.

Sketchbook drawing

(C) 2019 Dale DiMauro

It is wonderful to carry around a sketchbook and record what inspires you or draw imaginary landscapes. You can look back through the pages and see the progress an artist makes over a period of time. As individuals we develop the ability to see the world in a different light.

In the past I have made progress capturing the human head. This year my emphasis is on the whole human body. Depicting the whole human body with correct proportions while it moves requires a lot of practice. Many artists stay away from the human figure but I embrace it.

Lately I have been drawing on a daily basis, both in ink and in pencil. There is something amazing about using a fountain pen. With some practice you develop a fluidity which I believe the human body expresses. While a pen communicates through a series of lines a pencil can capture the gradations of our body mass and facial expressions.

This is exciting stuff. If you have not used a sketchbook you might consider purchasing one. Using a sketchbook forces you to notice the world around you and concentrate on a specific subject.

Ruth Bader Ginsburg: A Life

(C) 2019 Dale DiMauro watercolor

Earlier this winter, I read a biography of Ruth Bader Ginsburg. This book, Ruth Bader Ginsburg: A Life by Jane Sherron De Hart, is some five hundred and fifty pages long. It had been classified a new acquisition by my local public library. As a result, I had to get reading because the library loan was limited.

Originally, I was curious because Ginsburg has become a legend in the public's eye and well-respected in the legal field. It is well documented that Ginsburg was a minority in a men's field. Her thorough research and precise writing in legal briefs has yielded significant advances towards reducing discrimination. The book highlights Ginsburg's remarkable achievements in the field of law. She has inspired many and become a sort of superhero, the Notorious RBG. 

Recently, in my sketchbook I have been applying watercolor washes over my pencil drawings of individuals. It seems to give life and dimension to the person. This watercolor drawing is derived from the photograph of RBG, as she is known, on the back of the book. I hope it does some justice to the Supreme Court justice. 

Brattleboro Common

(C) 2019 Dale DiMauro

The Brattleboro Common is such an important park in the downtown area as there is minimal open space for the public to access. In the Winter, I find the experience of walking through the Common with the deciduous leaves down, in the sun, more appealing than in the Summer.

This watercolor started out as a study of the two trees in the foreground. It wasn't necessarily going to be a completed painting but I liked the direction it was going. Initially, the feel of fresh snow and the crisp shadows on the snow were a source of inspiration..

Clearly, elements were deleted from the site to simplify the composition. The gazebo looks a bit like a folly but I like it nonetheless. I seldom use phthalo blue, but that is the only pigment used for the sky.

Plein Air Painting

(C) 2019 Dale DiMauro

As the length of day has been increasing I am becoming more and more eager to paint outside. This may seem like an odd desire since it only February. However, at least in my mind, I am mapping out areas in my town desirable to paint. 

Over time I have learned to appreciate the simplicity and directness of plein air painting. On the one hand, the light changes quickly so an artist cannot get too boggled down in details. On the other hand, it is quite social as people feel entitled to see what your working on. Often people passing by offer there unsolicited opinion.

While painting outside I have become aware of how rapidly plants and foliage change daily. The leaves on the trees unfurl in a light hue which becomes much darker as the Summer season evolves. 

With such an early Winter and long one indeed, I am eager for signs of Spring. I suppose hope does Spring eternal.