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| (C) 2019 Dale DiMauro |
Merry Christmas and Happy Holidays to one and all. I wish a day of warmth with great food and family.
Perhaps you opened art supplies today. It is a good time to take the inspiration all around us and put it to use.
This watercolor reminds of this time of year. The low light and landscape of snow is upon us.
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| (C) 2019 Dale DiMauro |
This week, at least in Vermont, we experienced our first true cold snap. The temperature dropped, any snow underfoot became crunchy and it required layers of clothing and time to exit the house.
Earlier in December I decided it was best to attempt one plein painting per week throughout the Winter. I made a list of potential locales suitable for plein air painting. All of these are from the comforts of the indoors. In reality I could paint interiors or landscapes when situated looking through a large window. Possible sites include any of the local libraries, my own house, or a local cafe etc.
This watercolor I did the other day during the cold snap from a window in our house. No reference photographs were taken or used. Naturally, with plein air painting it had to evolve rapidly or the daylight would leave you behind.
Library book sales are a win-win for everybody involved. Books are sold at a huge discount and it raises money for your local library. In addition, unlike Amazon purchases, you have no shipping charges or packaging involved.
Painting on Location, by David Curtis & Robin Capon, I purchased from my local library last week for three dollars. This is in essence, a brand-new book, with no markings, which originally sold at retail for $26.99.
David Curtis, one of the authors, is one of my favorite landscape painters. He paints equally well in watercolor and in oil. I previewed this book, by chance, the day before the library sale and said there is no way I am not making this purchase. In retrospect, I have no regrets. May you hit the jackpot too.
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| (C) 2019 Dale DiMauro |
The watercolor paper artists prefer is such a personal choice. Some watercolor papers I prefer include Arches, Fabriano and Saunders, amongst others. Usually, I am quite willing to experiment with various papers and differing weights.
I have been eager to try this relatively new Canson Heritage watercolor paper. So here it is. I cut it down to a smaller size to play with.
This paper has an interesting surface pattern which differs greatly from the reverse side.
With more practice I will gain better judgement. However, I do like how it retains the colors of the pigments. Also, I have been told that it is a good paper for lifting pigment.
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| (C) 2019 Dale DiMauro |
It pays to kayak on the Ashuelot River, in Keene, New Hampshire. These paintings were inspired from a paddle last Spring.
These watercolor sketches help me refine my compositions before I commit to a larger painting. It is valuable for me, at least, to experiment with different backgrounds. As you can see, sometimes I pre-tone the paper before starting. The watercolor on top was originally started with cobalt blue while the painting on the bottom was initiated with yellow.
The reflections and movement of the water are endlessly fascinating. Also, it occurred to me that I had not yet painted brown water. Not all rivers have blue water so it was a really different approach.
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| (C) 2019 Dale DiMauro |
Painting the urban landscape is way different from depicting the rural countryside. At least that is my take, recently, after painting many scenes of the countryside full of vegetation. In street scenes you need to get the perspective right along with many decisions about how to portray the windows, doors and reflections etc.
This is not a negative, but the process is a bit more involved, as there are areas where you definitely have strong contrasts such as the sky against the building. How these areas are articulated are important as there are many linear aspects to the built landscape.
This weekend I was sorting through some watercolors and came upon this painting which I had worked on several years ago. Reflecting back on this painting I like the colors and warmth of the light.
For some reason it reminds of an Ed Hopper painting. I think it has to do with the qualities of an urban scene devoid of people.
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| (C) 2019 Dale DiMauro |
At the start of the week, here in Brattleboro, VT, we had one to two feet of snow. As a result, I am already tired of shoveling snow. It even motivated me to search for a battery-powered snow blower. It may sound silly, but this snowstorm really changed the landscape.
However, there is a romantic quality when suddenly living with drifts of fresh snow. With this new blanket of snow, the afternoon natural light is special. That is, if you can catch it when the sun is out.
After a summer season of fitting in painting sessions around work, it is a welcome time to slow down and paint larger pieces. This detail, of a larger watercolor, is the beginning of one such piece.
Drawing: The Head & Figure, by Jack Hamm, is one of my favorite art books. It demonstrates countless techniques for drawing every part of the human body. Not only does it have great visuals but the text is spot on with accurate descriptions.
More than anything else I return to this book time and again to practice drawing the human figure. It has drawings in pen and pencil, which I appreciate, as I use both media.
It has been in print for generations yet only cost me $12.95. I kick myself for not getting it earlier even though I have had it for years. I find it that valuable as so many anatomy books lack the thoroughness of this one.
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| (C) 2019 Dale DiMauro |
When I get interrupted while painting I often revert to experimentation. If the door bell rings or someone lingers at the front door I lose my focus.
I take this as an opportunity to experiment. I let the pigments run into each other and mix on my palette. Some marks left on a practice sheet, from a previous painting session, at times, inspire me to develop small landscapes. At this point, drawing becomes crucial as a means to clarify or evolve my image. However, the greatest benefit of experimenting, I find, is becoming re-engaged in the painting process.
This landscape makes me look forward and back at the same time. I am always looking for new ways to depict the landscape while reflecting on the season which has just passed. These landscapes, for me, have deep meaning. Ultimately, I am searching for ways to express that meaning in the simplest yet most powerful way I can.
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| Photograph Dale DiMauro |
Capturing the human figure with correct proportions is a challenge like no other. Naturally, the human figure comes in all kinds of sizes and shapes. However, the human eye can tell when something is not quite right.
Hopefully, this little fellow will help me along the way.
This mannequin I purchased last week in Keene, New Hampshire. It is great because (s)he holds it's position unlike other mannequins. The hands and feet have magnets so you can position the figure standing upright or upside down. In addition, with an artificial light in use, you can see shadows across the figure, too.
This may be an odd post but this mannequin has been on my mind lately.
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| (C) 2019 Dale DiMauro |
The Ashuelot River is a great place to paddle. Also, I have discovered it's an excellent place to plein air paint. However, this was painted in the comforts of my home.
I was experimenting with pigments, without any real plan and it developed into a watercolor. The greens and cool water inspired me to paint this particular landscape. I had taken some photographs along the river, earlier in the Summer, perched in my kayak.
This scene with it's strong light and shadows lends itself as a strong composition for landscape painting. The lush growth of vegetation along the river and reflected in the water in combination with the expanse of slow moving water is striking.
Lately, I have been thinking about how divorced we are from nature. In this digital age and global economy it seems we have lost appreciation for the local landscape. I think many of these local scenes, which some are very ordinary, resonate with deeper meaning, often taken for granted.
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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.
