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| (C) 2020 Dale DiMauro |
Sometimes you have to paint a landscape several times. Even from a different vantage point. Or perhaps on a larger scale.
This watercolor is the evolution of all those considerations. That is the Green Mountains in the distance, even though they appear blue.
Late summer in Vermont is truly a special time of year to see the landscape for what it is. The colors can be vivid and the fields acquire a russet coloration. I have noticed the foliage has become blue-green and the shadows are often edged with this undulating quality.
Unconscious or not my landscapes seem to express a deeper saturation of color. In addition, I keep playing with how to depict the woodland edge. The initial washes freely stain the paper and thus, set the table for the rest of the painting.
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| (C) 2020 Dale DiMauro |
For all those people out there who think we don't have much color up in the North I beg to differ. It certainly is different than the landscape along the equator. However, as the days gain length the light particularly, late in the day acquires that special glow.
At this time of year I like how the sun and shadows roll over the snow revealing the undulating contours of the land. In addition, the colors projected on the ground reveal a lot of temperature - whether it is cold temperatures or receding snow.
I painted this watercolor in the afternoon as the warmth of the sun was such a delight. There is a freshness to the snow and brilliance of light which I could not resist.
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| (C) 2020 Dale DiMauro |
There are many rail trails throughout New England which have been converted to recreational corridors for our benefit. These are great places to walk, ride your bike or even cross country ski.
This is a view from the Northampton(MA) rail trail from last summer. It was painted earlier this evening. I took some artistic license in eliminating some of the brush in the middle distance even though the view is basically unaltered.
Recently, I have been paying attention to the shadows cast from objects outside and how I go about depicting them. Depending on the time of year, the temperature of the shadow can be quite telling. The edge of the shadow is critical in suggesting what may not be scene. In certain situations it is beneficial to go back in and detail some aspects within the shadow.
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| (C) 2020 Dale DiMauro |
This warmer weather has made me think of spring in advance of the calendar. So much snow has melted on our property that I considered doing some yard work earlier in the day. Regardless, it's always a great time to get some greens in your life.
Instead of painting an inspired winter scene of fresh drifting snow I keep thinking about painting a lush landscape. A fresh perspective I do find invigorating. A tweaking of a contour here and there or a new earthy color combination can transform the landscape.
Well.. I 'll see where this one takes me.
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| (C) 2020 Dale DiMauro |
This is a plein air painting I started last fall. I have it sitting on my summer easel in my living room. I was pressed for time that day and had to get back into town. Unfortunately, I forgot my camera that day.
There are qualities I like about this painting even in it's unfinished state. I like the perspective down and across the pond. Also, I like the quality of the washes and their natural tones. Last, the edge of the vegetation whether it's stringy or jagged says a lot about the plants in their natural environment. I appreciate it when plants are not hacked back like we often see in developed areas.
Sometimes I go ahead and finish a plein air watercolor from memory. In this instance, with no photograph as a reference, I hesitate to finish it. I suppose when the weather gets better in the spring I could finish it on site. However, for now it is on hold.
What would you do?
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| (C) 2020 Dale DiMauro |
Sometimes it is good to paint a value study. Instead of using payne's gray, I used ultramarine with burnt umber which gives the painting a warm gray quality. You can always add color later on. Or at least that is my approach, at times, when trying to capture a persons posture.
This watercolor was painted in five minutes but it lives on in my mind. I can readily change the scale of the person, put in a background or add more darks if I want. However, the essence of the figure is down on paper. I can even feel a bit of this person's presence.
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| (C) 2020 Dale DiMauro |
Landscape painting is a rewarding experience. Capturing the natural light or implying it gives life to a watercolor. Observing the landscape makes you see things for what they are. Over time you develop an eye for how to tweak the landscape to meet your vision.
When we add color, the landscape takes on greater meaning. We associate certain colors with certain seasons and elements in the landscape. For example, I have begun to notice a certain russet color in the late summer fields throughout New England.
Each time I start a landscape I approach it a little differently. This time I painted on Fabriano Artistico watercolor paper, which I have taken a liking too. This paper has an interesting weave like no other watercolor paper, from milling, but I like how it handles water and pigment.
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| (C) 2020 Dale DiMauro |
As the New Year begins it is time to reflect on the past year and embrace 2020. This is a collection of small watercolors I painted in the last year or so. There are many other paintings of various sizes that I painted outside in the elements or in the comforts of my studio.
With time and effort there is progress, as it has been said, by many who have preceded me. However, I do notice significant strides in both my drawing ability and painting skills. In particular, I have become more knowledgeable in my way around the palette. I do draw the head or human figure nearly every day in one of my various sketchbooks in pen, pencil and watercolor or in mixed media.
My goals for this year include greater progress towards mastering the human form while painting bigger and bolder watercolors.
Recently, I came to the realization that there are over 535 posts on this blog. For some reason I can't get beyond that. I allow myself to be self-absorbed for this one post and then move on.
I hope this post does not bore you, the reader, but perhaps inspires you to greater heights.
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| (C) 2019 Dale DiMauro |
Last night, I painted these watercolors of the same vantage point. That is, looking West from Brattleboro, VT in late summer and early spring. These were painted on the same sheet of Saunders watercolor paper. However, the internet went down preventing me from posting them.
Two watercolor pigments dominate my consciousness lately, permanent alizarin crimson and burnt sienna. They were used in both paintings. I have been using alizarin crimson in my blending of the lower sky while burnt sienna is useful in landscape painting by adding a red-brown into the fields.
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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.
