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| (C) 2019 Dale DiMauro |
Warms against cools and vice versa in watercolor can make a picture sing. Particularly, when there are soft edges that bleed together. I have learned the hard way that there are times when it is best to leave a wash alone. This is one such example.
This is one of those little landscapes I create when I have limited time. Continuity is important in painting as in others aspects of life.
There is an intuitive element about these that I find mesmerizing. To turn the paper on edge and draw the wash across the paper creates excitement and changes your perspective. In addition, the absence of color makes other areas with pigment stronger. Often less is more.
Experimenting with color and pigments is quite addictive. If there is any time of year to broaden your horizons this is it. As Spring continues to unfurl new colors and forms everyday we see the world with a fresh eye.
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| (C) 2019 Dale DiMauro |
In the last few years, when painting a landscape, I have appreciated the early stages of the process. There is an abstract quality to watercolor; when if you seize the moment, you can exaggerate the atmosphere, color or drawing to your preferences. By this I mean you can take the painting in a totally different direction. For a study I find this to be desirable as the light on the landscape is always changing anyway.
When painting outside, I find myself trying to capture or record what the eye sees before it changes. At the same time I believe the use of my palette is evolving with new color combinations as a result of what I am seeing.
This watercolor is inspired by a visit to the Audubon Society in Portland, Maine. During the summer, they have these lovely trails through the woods with shoreline vistas and, equally important, mowed paths cut through their meadows. If you pay attention while on a stroll, you will notice much bird activity.
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| (C) 2019 Dale DiMauro |
This painting was started last fall, at a watercolor workshop, led by Robert O'Brien in Vermont. Most of it was painted in that one sitting. It has an overall pleasing feel to it. Or at least that is my take on the subject.
This painting is done on the thicker 300lb Arches watercolor paper in contrast to the thinner 140lb paper, which I often use.
Part of the appeal for me is the expression of the sky. Usually the first wash I do, is in fact, the sky. I left it at the time, seemingly incomplete even though the dry brush affect intrigued me.
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| (C) 2019 Dale DiMauro |
Recently, I acquired this bound watercolor book consisting of Arches watercolor paper on the internet. I have learned it is difficult to find a sketchbook with high quality watercolor paper. So I am giving this a try.
I must say this is a well crafted book with a quality binding. Most of the pages consist of the cold press variety which has some tooth to the page. However, the end pages consist of the smoother hot press.
When time is limited such as in the Summer it is important to be able to paint on the go. Even though it is the same paper as found in the popular block form I find it will take some adjusting to this different format. This is the first painting I started in this book, so we'll see.
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| (C) 2019 Dale DiMauro |
This painting I posted recently in a less advanced stage. I had not painted to date a great mature tree in silhouette. I feel like I made a good attempt at capturing the presence of this specimen with it's twisting limbs and gnarly bark.
Above all I love the landscape. The feel of fresh snow and mystery of what's over the rise in land adds more to the picture.
Gerard Doucette, my critic and art advisor, helped to articulate the snow line so that it was not such a hard edge and give dimension. Also, he suggested an approach to correcting the upper left limb which had become flat and out of proportion. We basically lifted paint from the meaty part of the limb extending it towards the sky to counterbalance with the other major branching.
It is always rewarding to receive constructive criticism and gain insight from other people. Such comments give a final direction to the painting. This way when I am at a similar fork in the road on a future painting I may draw upon a greater well of experience.
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| (C) 2019 Dale DiMauro |
It has been a rough transition from Winter to Spring here in southern Vermont. Many rainy or cloudy periods have been followed by an occasional sunny day. I heard a forecast earlier this evening which included the chance for snow in the higher elevations up north.
My wife and I did the annual Mountain Day hike, on Mt. Wantastiquet on Saturday which was a glorious day.
This watercolor was inspired by last Summer's visit to the Clark Art Museum in Williamstown, MA. The museum has these lovely walking trails through their rural campus with diverse vantage points.
Green seems to be the color of Spring in all it's gradations.
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| (C) 2019 Dale DiMauro |
J
ohn Pike(1911-1979) was a well known watercolor painter and instructor from Woodstock, New York. He often painted Winter scenes with a warm glow to them. He was credited with writing John Pike Paints Watercolors, first published in 1978. Recently, I read where he had fifty-four one-man shows.
This watercolor I started a few evenings ago reminds me of his work. In no way was this picture inspired or referenced from his work. Regardless, he painted some great watercolors and received many prestigious rewards.
In the late Winter I developed a desire to paint a great specimen tree in silhouette. There is something about a tree with all it's character and commanding presence dominating the edge of a field or high point.
In some ways this simply is a study of the growth pattern of a tree. Capturing the hierarchy of the branching with fluidity is no easy task. It certainly is worth pushing the skill level to greater heights.
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| (C) 2019 Dale DiMauro |
Painting the landscape is one thing. However, painting the sky is another thing unto itself. It can be really challenging. Regardless, I like it when there is an element of depth or variation in the patterns of a sky.
When I start a watercolor the first thing I do is put a wash down for the sky and then proceed to other areas of a painting. I have been told, or read that the landscape in general is darker in value than the sky. If the landscape is weak in value then your picture has no real foundation to build upon.
This picture is inspired from a late afternoon paddle on a nearby pond in Vermont. I looked up from paddling and experienced the vastness of the sky, which was so inspiring yet, truly overwhelming.
As a result I felt the need to challenge myself to take on more adventurous studies of the sky. If there is any medium capable of expressing the atmospheric qualities of the sky it seems like watercolor would be most suitable.
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| (C) 2019 Dale DiMauro |
After some finishing touches with a big assist from artist and art restorer Gerard Doucette, this is the finished watercolor study. My wife thinks the child is of Asian ethnicity which, perhaps gives the piece a contemporary feel.
Aside from the child I like the warm yellow sky. This reminds me of hot, humid Summer days when a breeze is hard to find. The sky also reminds me of Cape Cod for some reason. Perhaps childhood memories playing along the beach in the sand and changing tides.
As a final note it is a good practice to not overwork a picture. Or at least that is what I think to myself when all is said and done.
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| (C) 2019 Dale DiMauro |
Winslow Homer(1836-1910), the illustrator known for depicting civil war scenes and capturing the turbulent Maine coast in oil, many consider to be the greatest of American artists.
While the tradition of painting in watercolor had yet to become firmly established in America, Homer sought to earn a reputation in the medium dependent on supplies originating from England. His pioneering efforts opened up new opportunities for future watercolorists.
As his subject matter evolved over his career, many reflect back on his earlier period of watercolors of local children out in the rural landscape, during the mid-1870's, with great affection. I include myself in this demographic.
This watercolor study was not intended to have any reference to Winslow Homer. However, the subject matter and the unadorned quality of the figure triggered in my mind a connection to Homer's era. On reflection, I'd be blessed to join his company.
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| (C) 2019 Dale DiMauro |
In the past I have explored combining ink with watercolor. This combination I find appealing. You have the freedom and atmospheric qualities of the washes over the structure the pen provides.
Lately, I have been drawing with my fountain pen on a daily basis. Primarily to improve upon capturing the proportions of the human figure. This has got me to thinking about painting with pen and ink again.
This watercolor I did a while back of an imaginary landscape. The water on the land is the guiding principal of the culture in all its forms. Whether water meanders across the valleys, gathers into pools, nourishes the crops or refreshes in the form of fountains etc.
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| (C) 2019 Dale DiMauro |
Sometimes returning to a painting you started changes your perspective on things. This watercolor is one such case.
Last fall I wanted to paint a landscape. Not just any landscape but a real painting that drew you into the picture. I wanted to capture the sky and landscape with a feeling of depth, color and light which we don't see every day. To do this, I had this odd-sized sheet of Saunders Waterford, watercolor paper with a vertical-orientation kicking around. So it was to be done on this paper.
I started this picture but the early winter snow discouraged me from finishing it. This photograph is a detail from the overall watercolor.
Recently, I painted some more washes which gave the foreground richer colors and greater depth. As a result I became re-energized.
Prior to starting any painting I consider how to approach the subject. Sometimes I tone the paper with some-sort of pigment. Other times I leave other areas to be painted last. However, in this case, I realized the absence of color just below the woods would suggest the sun-bleached field. As it has been said by countless other people long before me: less is more.
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.
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| (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.
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| (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.
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| (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.
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| (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.
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| (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.
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| (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.
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.
