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| (C) 2019 Dale DiMauro |
As a warm-up activity I paint a little watercolor. These are usually done on odd-sized leftover watercolor paper or on the back of less than desirable paintings.
As a result of the process of plein air painting these watercolors have become rather direct and natural or free flowing in execution. This is one such watercolor.
Recently, the sky has taken on greater significance for me in my paintings. I have been experimenting with different techniques, colorings and ways of depicting the sky. Since my first wash usually includes the sky I have gained appreciation for the mood or drama cast over the land.
Here I painted the sky first and created an imaginary landscape based on the markings left from applying the first wash.
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| (C) 2019 Dale DiMauro |
For many artists a white, unblemished sheet of paper is intimidating. If the mood of your picture is heavy or serious or the image is going to be relatively dark it is a good idea to pre-tone your paper. Personally, I find it very satisfying to work on toned paper.
Even when painting outside I often tone my paper. Since I work from the sky down, often reflections cast on the water are similar in color to the sky. In addition, the more pigment marks you leave on your paper often makes for a richer and more varied painting.
This landscape was started on a scrap of paper while waiting for a yummy lunch to be served. In hindsight, I really like the yellow sky on the right of the watercolor. It truly casts an eerie quality to the picture.
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| (C) 2019 Dale DiMauro |
Could this be the Connecticut River? This watercolor started with a lovely wash of burnt sienna and ultramarine. These two pigments created this lavender-like combination seen in the low horizon. From that point the subject and approach evolved into this little landscape.
The shadow projected onto the water was an important wash in developing this painting. It was such a clean, cohesive wash that it gave life and depth to the scene.
I am amazed at the range of values and coloring which one can come up with in combining burnt sienna and ultramarine. Not only can one come up with a lavender-like color but there are a whole range of gray's at the watercolorists disposal.
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| (C) 2019 Dale DiMauro |
As the days have gotten shorter and Winter moves in I decided to organize some of the stuff in my flat files. Above, is the top drawer with for the most part, recent watercolors. I have it organized it so the watercolors I am working on are easily accessible but not in the way or left in the sun.
One flat file drawer just has pencil portraits. In fact, I counted over two hundred pencil drawings of faces and heads. To sort through all these pencil studies I have to admit was impressive in it's totality.
Most of these drawings or watercolors are finished or nearly done. I have discovered that I don't have a problem going back and putting in some finishing touches even though some time has passed and I may look at the work differently.
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| (C) 2019 Dale DiMauro |
One evening over the weekend, I worked on this little watercolor inspired from the Maine coast. Originally, I was taken by the sweet color of the shoreline rocks. That color against the blue of the water drew my attention.
In the October 2019 issue of Watercolor Artist magazine I read the colors noted watercolorist Charles Reid had used to paint rock formations. He is said to have used a combination which includes alizarin crimson, cerulean or cobalt and raw sienna or yellow ochre.
With this in mind, I figured it was an opportunity to try these pigment and burnt sienna in this watercolor. Lately, in addition, I have been introducing more greens into my blues for water.
Experimenting and learning new pigment combinations for me is endlessly fascinating. I look back at earlier paintings and notice quite clearly how my palette has evolved.
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| (C) 2019 Dale DiMauro |
The colors this fall have been great. With shorter and shorter days upon us and the recent string of dreary gray days, the colors of the leaves have been a true blessing. While driving or walking I have studied the shape and character of some trees I would not usually notice.
It is not just visual. Playing tennis and walking along the road I have been pelted with falling acorns. They say a big acorn year means an increase in the mouse population next season and as a result, a high tick count will be looming.
Nevertheless, I find the rich colors intoxicating this year. In fact, my property has some trees just beginning to peak as you read this.
I can't wait for sunny days again so I can do more plein air painting before the leaves all come down.
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| (C) 2019 Dale DiMauro |
On my travels in southern Vermont and New Hampshire the fall foliage has been lovely this year. I have really noticed the yellows and ochres as most pleasing to the eye.
This watercolor was started very freely. I did not layout or transfer any aspect of this composition. In fact, the composition is still evolving as I paint it. This morning I decided that the mountain landscape on the left I will carry over to the right of the house so that the character of the land is fitting for this old New England house.
I don't know anyone personally, who successfully paints peak fall foliage in watercolor without becoming too gaudy. Not that there aren't great watercolorists out there who can't paint fall foliage but it is a challenge to keep a freshness to the colors without overdoing it.
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| (C) 2019 Dale DiMauro |
This abstract landscape is the result of playing around on my practice sheet. A forested mountain began to emerge so it seemed fitting to have a body of water at the foot of it. It even has some reflective qualities.
This could be Wantastiquet Mountain on the other side of the Connecticut River in New Hampshire. Or it could be a meditative garden in the Japanese landscape tradition.
I have learned through drawing and observation that the foot of a body of mass is darker and therefore adds more substance or believability to a picture. In that regard, for sometime I drop in pigment as areas begin to dry. The dark green was dropped in to give the base of the mountain some added substance. It adds an element of scale to the overall setting, too.
I have learned to appreciate the atmospheric qualities watercolor can provide. Other forms of media (ie. oil, pastel etc.) do not lend themselves to suggestion as well as watercolor in my experience. What is not seen is as important as what it visible.
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| (C) 2019 Dale DiMauro |
Often I paint a simple little preliminary watercolor sketch before settling on a composition. It gets me thinking about a potential painting. Sometimes I paint them because time is limited while in other instances it is important to just get something down which I can come back to.
Both of these watercolors were down in about twenty minutes. It gives me a chance to consider pigments I might use. Also, I try out different techniques.
In the top watercolor I wanted to capture the quality of the glow of foliage against the dark vertical trunks. I want to keep it simple yet draw the eye deeper into the forest.
This is such a precious time of year as all that deciduous foliage is going to disappear quickly leaving the stark reminder that Winter is around the corner. I do like the quality of light in the watercolor, though.
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| (C) 2019 Dale DiMauro |
With work a little slow and the weather iffy I decided to build a brush holder for when I am working on a watercolor at home. I built this little box out of oak, purchased from Home Depot, in my garage.
I cut in half a basic sponge which my brushes sit on and this enables them to dry in the open air. I have found that I do not like getting my table in my studio wet and sometimes my brushes roll off the table. Whether painting inside or out I try to limit myself to using four or five brushes as it is less to keep track of.
In addition, I find this system keeps the tips of my brushes in good shape. If I am interrupted by a phone call or someone comes to the door I can easily rinse out my brush and set it on the holder in no time and resume painting when time permits.
As they say, to each their own. At least I find this works for me. You might want to consider something like this in the future.
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| (C) 2019 Dale DiMauro |
Recently, I have rediscovered permanent alizarin crimson. As a result it has found it's way back onto my palette. I particularly like how it combines with cerulean blue to create a warm violet sky low in the horizon.
To me this landscape study has an oil painting quality. The top edge of the foliage and the demarcations of the birch tree trunks appears as if a palette knife may have been used.
Coming up with greens by combining blues and yellows is a wide open field. I have been combining cadmium yellow with cerulean blue which creates this great late Summer foliage. I feel some humidity in the air in mixing this pairing.
These color combinations I learned were favorites of Charles Reid a noted watercolorist and instructor who painted for decades.
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| (C) 2019 Dale DiMauro |
Some Vermonters are real independent minded folks. Others are distracted by their devices.
The times we live in shape our values and the landscape expresses something about our character.
I hope I captured this individual's strong presence and unique posture. Or at least to some degree.
This was a rapidly developing watercolor with an equally evolving composition. It was all about the figure even though he was painted last. There is an english quality with the way the vegetation was painted and the heavy use of browns and greens.
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| (C) 2019 Dale DiMauro |
When I am not sure what to paint, a thumbnail sketch gets the creative juices flowing. It can be done in pencil or watercolor or both as in this example. It makes you think about the composition and even the colors you may consider in your final painting.
One of the best aspects of doing a thumbnail sketch is that you are not tied to any specific outcome. Thus, the drawing and painting is recorded freely with direct brush strokes. It is basically an emotional release. At some later point you can come back and modify your composition when you feel it will strengthen the outcome of your painting.
On the other hand if you are pressed for time it is good to get some painting in on days when you feel stressed out. Just to return to this recored image calms the body. After traveling or when you have more free time you can return to developing this as a painting.
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(C) 2019 Dale DiMauro
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Recently, I started a self-portrait from a photograph taken by my wife while on vacation in Maine. It is at an exciting stage. The picture can go in a number of different directions. However, it is a strong composition, nevertheless.
I was eager to try Fabriano Artistico 300 pound soft press which I am not experienced with. In fact, it is my first real painting on this surface. I do like how the paper absorbs the pigment.
At this point I could have a solo show of self-portraits. Regardless, it is always a challenge. It is hard to look at yourself without some sort of bias.
This Friday, October 4, 2019 through January 12, 2020 there is a major exhibit of N.C. Wyeth's paintings at the Portland Museum of Art, in Portland, Maine. I have read where Wyeth's work has not been displayed on this scale in over fifty years. This reflects a renewed interest by the general public in his art. This traveling show originated at the Brandywine Museum of Art in Chadd's Ford, Pennsylvania.
N.C. Wyeth is known for his illustrative work. These include the Scribner's Illustrated Classics such as The Last of the Mohicans dating from the early nineteen hundreds. He painted on a large scale, in murals, rugged individuals as well as lovely landscape paintings of Chadd's Ford, PA and along the coast of Maine where he lived.
Personally, I admired how he captured the postures of the individual's he depicted. Whether they were riding a horse or working the family farm.
When I was at the Clark Art Museum during the Summer, I purchased the catalog N.C. Wyeth: New Perspectives(published by the Brandywine River Museum of Art and the Portland Museum of Art in association with Yale University Press, New Haven and London).
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| (C) 2019 Dale DiMauro |
My wife and I stayed one night during our Summer vacation in a lovely inn with a stunning view of the Atlantic Ocean. A short drive to where the beach was led us to these lovely wetlands. As it was late in the day, the green heads were out. Green heads are these aggressive, biting insects. I was reassured in a few days they would all be gone.
Since coming down with flu-like symptoms on Monday I was surprised I had any energy to paint this watercolor. It reminds me of some of those lovely British watercolors you might see in the 20th century featuring browns and greens in the landscape. These watercolors are characterized by the use of muted colors, flat light and soft edges.
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| (C) 2019 Dale DiMauro |
Recently, I started painting on Fabriano Artistico paper. In particular, I like their soft press paper which is between a hot and cold press in texture. It does not seem to look all that special in your hand but when you drag the brush across the paper you can get this rich gradation of color. I do not have much experience with this paper but I continue to experiment with it so there is much to be learned.
This is a similar scene from a recent post. Since I have started a self-portrait on a larger scale I want to get more comfortable with this newer paper. So here I was seeing what I could do with this paper. Not bad as far as I am concerned.
As a side note, blue is the color I use the most and therefore have to replace more frequently than any other. Some form of blue was mixed or applied in all the colorings in this picture.
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| (C) 2019 Dale DiMauro |
With this phenomenal sunny weather we our experiencing, I am trying to get out as much as I can to plein air paint. The tinge of color on the foliage tells me the leaves will be falling soon. In fact, in some places it is already on the ground.
In my mind I try to envision where the sun will be, in determining where I want to paint. Earlier this week I chose an early morning site where I could face west across the Connecticut River. If it had rising mist all the better. Nevertheless, a lovely location.
I started out focusing on the river as the subject until I noticed the sun warming the log in front of all this vibrant growth. The overall light conveyed across the scene I find quite welcoming. I spent a little over an hour on this piece. At that point I did not want to overwork the painting.
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| (C) 2019 Dale DiMauro |
It's always fun to play with paint. Any little piece of watercolor paper at hand is all you need. I learn something each time I play with paint, paper and brushes.
This imaginary landscape is the result of having some unplanned time in my schedule prior to an appointment. It's amazing what happens when you let colors blend into each on the paper with a little manipulation. Over time I have learned to appreciate using warm and cool pigments and how affective their placement can be.
At times when painting I feel like I am in a 'zone'. This is when a picture moves along freely without any hesitations. You can just feel the painting come together after visualizing where you want to go with it. This is an exciting time because it feels like a growth spurt. Since it is recorded on paper you can go back and see where you were at that time and learn from it.
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| (C) 2019 Dale DiMauro |
These days I usually pre-stain my watercolor sheet. Not always, but more frequently then in the past. This way I can get beyond the white of the paper. Of course, it all depends on your subject matter.
This is the perfect example. I wanted subdued colors so the grass and green of the trees would stand out. This sky has a touch of pink which is pretty much the complimentary color to green. The cool gray of the drive helps to frame the greenery.
Trees can be hard to paint if you don't have a clear vision of what you want. For me it is important to have the tree in the foreground lighter than the tree in the background. It is also important to depict the foreground tree with greater height and a thicker trunk to suggest that it is closer to the viewer. Also, expressing the foliage distinct from the other tree in your technique can be helpful. Many artists use some sort of masking fluid during the painting of trees but I shy away from this approach.
I'll post the final version of this watercolor when I finish it. I do appreciate the large specimen trees you sometimes find along old residential neighborhoods. It seems like they are becoming harder to find these days. Trees take a commitment to be allowed to grow to a mature height without too much interference.
