My Favorite Plein Air Painting

(C) 2020 Dale DiMauro

By now I have painted countless plein air paintings. However, this one stands out as my favorite. I like the composition with the backlit light, the colors and figure. A landscape painting captured in a vertical orientation.

I mention this because it sits as the top sheet on one of my watercolor blocks. It makes me pause every time I see it.

The other quality about this watercolor is that it depicts a scene from a local park. With the prevalence of COVID-19 many parks are off limits or their use is heavily restricted. During times like these, a pleasant picture can be reassuring.

Watercolor Doodle

(C) 2020 Dale DiMauro

Many artists use practice sheets which basically are any piece of scrap paper they have on hand to test whether a color they have mixed is what they want to use. These sheets are often used to work out any problems you may have with correcting your drawing before committing to a large sheet of watercolor paper.

This image has been developed on a test sheet of watercolor paper I have been using. I tend to use both sides of test sheets so as not to waste any paper. There often are marks on the paper over different time periods which are unrelated.

This little watercolor was developed as a warm-up exercise before starting on a painting. I like the clean washes and how they read on the paper. Particularly, as minimal color has been used.

Wooden Boxes for Art Books

(C) 2020 Dale DiMauro

When the stay-at-home order first kicked in, back in late March, I wasn't sure what to do with my time. Like everyone else I didn't know how long this house arrest would last, either. However, it had become warm enough to work in my garage comfortably.

So I decided it was best to use any pine boards that I had on hand to create storage space for any books which I had not found a home for. In the end I built six boxes for books with materials I had on hand in my garage. 

The boxes stack well vertically in whatever configuration is needed without being tied to the dimensions of a typical bookshelf. 

Make no mistake this was a lot of work. But it was very satisfying. My creative skills along with craftsmanship traits were brought to use. The boxes have two coats of polyurethane to protect them from aging poorly. Also, it was an excuse to use my router to give all the edges a professional look.

Tonight's Watercolor

(C) 2020 Dale DiMauro

This watercolor is inspired by an experience along one of the many finger-shaped landscape inlets along mid-coast Maine. The landscape is characterized with dramatic views of the sea, often from a rocky or sandy shoreline, full of uninterrupted evergreen masses. In addition, the ocean smells draw you in.

The horizontal format of this watercolor block is great for painting landscapes. Most of the time I prefer Arches watercolor blocks with a cold press surface.

Landscape painting can be really exciting as it is not so technical as say figure painting. As long as the perspective is fairly accurate I find I can experiment with different brush techniques. Since the paper has a tooth to it, you can drag the brush across the paper at a steep angle and achieve lovely speckled affects.

Living Memorial Park

(C) 2020 Dale DiMauro

Yesterday afternoon I stopped painting abruptly. The shade had moved in while it also had become quite windy out. On top of that groups of frisbee golf enthusiasts had descended upon me. With this come comments and people peering over your shoulder. None of this rattles me even though it is a distraction.

However, this plein air painting had already grown on me. When arriving home prior to dinner I had ideas about how I wanted to finish this watercolor. So today I set about lifting paint to imply where the multiple tree trunks are, along with the telephone pole just to the right. I gave the main tree an additional wash of green to make it pop from the background, suggested power lines and dropped in the ochre wash, to the right of the field. The cool shadows with their enhanced definition were added today. 

I believe this picture has relatively accurate colorings as I experienced out in the natural light. In particular, I like the added touch of the seed heads on top of the field grasses in the foreground. 

Finally, it is hard to leave the sky alone without any more tinkering around. I resisted the urge to alter the white puffy cloud.

New Tools to Play With

(C) 2020 Dale DiMauro

In life it is usually exciting to try new things and new materials. Well, playing with new brushes, pigments and paper for me is always a highlight.

Since winter I have been experimenting with different-sized Isabey mop brushes. They can lay down a juicy wash yet retain a great point for fine work. Due to these characteristics I only bring three brushes with me when I plein air paint. Yet, I still can't believe how versatile these brushes are.

Like brushes, paper is such a personal preference. For me Arches and Saunders watercolor paper are the cream of the crop. They are such reliable surfaces to work with. However, I began to use Fabriano a couple months ago. I have been experimenting with their soft press which is between a smooth and rough surface. Recently, I purchased a hot press watercolor block from Arches, which has a smooth surface. I have not yet used this block but am eager to see what I can do with this paper.

There are so many pigments on the market that it is mind-boggling. I have been frequently combining cobalt blue and permanent alizarin crimson in making my skies for quite a while.

This is more information than the average reader may want to take in, but it's fun for me, and I like to share. 

Referencing John Constable

(C) 2020 Dale DiMauro

John Constable(1776-1837) was a noted English landscape painter who worked in the romantic tradition. He was credited with increasing the value of landscape painting.

This photograph was taken in Living Memorial Park in Brattleboro, VT, a view I often see from the  tennis courts which I have played on a bit, lately. This view makes me think of John Constable's The Wheat Field (1816) on exhibit at the Clark Art Institute, in Williamstown, MA, which my wife and I see every year when we visit the museum. Since the museum is currently closed due to COVID-19 this year may not happen for us.

Nevertheless, the qualities I experience at the park which remind me of Constable are the light, particularly in the sky, and the warm colors of the field. Other qualities in common include a distant tree line free of structures. In addition, a worn path leads the viewer into the painting. 

I realize these are rural characteristics but the parallels seemed striking. A little art history is good to keep things in perspective, yet expand our thinking. 

Living Memorial Park

(C) 2020 Dale DiMauro

Because COVID-19 has basically caused house arrest since late March, I have spent more time visiting Living Memorial Park in Brattleboro, Vermont than I ever have. By now I have played doubles tennis numerous times on their courts, by the ice rink. Prior to that I was limited to using the hitting wall which is mounted in the same area, as the nets at the tennis courts were not up.

Every time I play tennis at the park, which is usually late in the day, I look over at the fields and distant hills with its picturesque scene. The late afternoon light and the cloud patterns give life to this verdant landscape. However, it's always changing in some way. The greenery continues to grow and fill in, and the light and atmospheric conditions continue to evolve.

As a result of this experience, I kept promising myself I would paint this landscape. Finally, this evening I painted this watercolor basically from memory. Often I take a photograph as a reference, but I haven't had time to print out any pictures. I am also aware that in some way it won't be the exact same scene, which does make things interesting.

Ashuelot River

(C) 2020 Dale DiMauro

While playing tennis late this afternoon I regretted not having my camera with me. I was playing in a local park, while the sky was overcast amplifying all this green growth on the sloping field. The distant hills were a blue-green. With clarity I could envision how I would go about creating this composition and paint it.

This experience emphasizes that often we don't have to look far for subject matter. A shift in perspective can make us see things more clearly.

I had posted this watercolor at an earlier stage but keep coming back to this scene in my mind. The Ashuelot River is one of my favorite paddling areas with it's sandy banks, lush foliage and placid water. In addition, the exposed tree roots capture my imagination. Often there are downed limbs sticking above the water.

The white in the middle of the painting is yet to be painted drift wood.

Landscape Study

(C) 2020 Dale DiMauro

These are the kind of watercolors I learn the most from. Playing with colored pigments and dragging the brush across the texture of the paper gives the artist many ways to develop their skills. Often you don't need to have much pigment as you can achieve a lot with a little. By adding water you have a greater range of value to play with. 

Often I will begin experimenting with a new pigment in these studies and before long I will have figured out how I would like to include them in my painting. For example, in the last year I have rediscovered permanent alizarin crimson. When combined with cobalt blue it makes a lovely varied sky. Not a true blue postcard type sky but an atmospheric wash in which to set the landscape under.

I have to say I like writing these posts about my painting process because it makes me think about what I am doing or how I operate. Hopefully, these ramblings will give you some inspiration in your own creative pursuits.

Landscape of Greens

(C) 2020 Dale DiMauro

This spring I have become much more attuned to the bird activity around my yard and neighborhood. At times some birds or groups of birds are downright loud. Simultaneously, there are days when the automobile traffic is either absent or going at a much less hurried pace. Time can almost seem frozen.

This watercolor seems to sum up how I feel at this time of year. The rapid growth we see all around us is amazing. Everyday the landscape changes. I have observed the greens change from a yellow-green to a heavier version by summer's end.

Plein Air Painting

(C) 2020 Dale DiMauro

We have had quite a string of beautiful days lately. This weather has inspired me to get outside and paint. 

This plein air I started this afternoon near a local quarry. As I was pressed for time, I expect to finish it at home in the studio. I had a tennis date that was equally exciting.

I think in an abstract way this watercolor captures some of the dappled light cast from the canopy of the local forest. Also, I was struck by the greens and browns which I was seeing. They give this scene an earthy quality.

Spring Has Finally Arrived in Vermont

(C) 2020 Photograph Dale DiMauro

This weekend in Brattleboro, Vermont, the weather has been as beautiful as it gets. This past winter began with snow before Thanksgiving and thus a long winter with mild temperatures. It seemed like winter might end early. However, cooler than expected temperatures persisted right up through last week. Overlapping this seasonal change, of course, has been the stay at home order making winter seem even longer.

So I couldn't resist posting this photograph I took on a walk over the weekend. Deciduous trees continue to unfurl their leaves rapidly. Finally, my wife and I were able to open our windows.

Allergies which have bothered my eyes for nearly a month are finally improving. This week will be the time to resume painting outside and in with greater consistency and clarity.

A World Above Us

(C) 2020 Dale DiMauro

Painting clouds in watercolor can be a challenge. On one hand I don't really want to draw much attention to the sky. Yet on the other hand, the sky sets the tone for the landscape.

For the last year or so I have been working on achieving greater variation in the skies that I paint. Sometimes a subtle variation in value or color can go a long way. In most cases it is fun to play up the abstract shapes of a cloud pattern. Regardless, of the weather depicted, I try not to include many hard edges in my sky. 

In this painting I used a combination of permanent alizarin crimson with cobalt blue in the lighter areas. At the base of the cloud I tend to concentrate more ultramarine blue to enhance the perspective.

One last point to consider. By habit I paint my sky first and then move on to the landscape. You certainly can paint your sky last. However, it is important to establish some atmospheric  qualities before one is too far along in your painting. Watercolor, is after all, a unique medium, for capturing atmospheric conditions.

Out in the Elements

(C) 2020 Dale DiMauro

Recently, I was painting outside when all of a sudden it started pouring rain. As a result, I was able to find cover under the canopy of a hemlock tree. 

However, this changed the trajectory of my painting. The landscape in the background became much simplified and the foreground was abruptly halted.

For some reason I like this little watercolor. This experience lives on in my memory. The blue in the sky makes me think of the cloudburst breaking up in the distance. Also, the band of gray in the middle reminds me of all this fog which was lifting off the surface of the water.

This experience out in nature broadened my perspective which I have come to appreciate. In addition, painting outdoors makes you realize your work is not some precious little thing. The artistic process can develop in a number of ways which you have no control of, if you are open to it.

The End of Winter(Season)

(C) 2020 Dale DiMauro

Today was an exciting day. I was able to paint some this morning. For nearly ten days I have had allergies bothering my eyes to the point where it was hard to read, write or even paint. 

During this period a new watercolor brush arrived which I could not use due to the pollen from maple trees. I have been told invisible pollen such as from a maple tree can be the most bothersome. In contrast, visible pollen from say a birch, is not so troublesome, even though the cotton-like balls which blow around are irritating to look at.

This watercolor was inspired by a visit to Living Memorial Park, in Brattleboro, just before the state of Vermont was shutdown, towards the end of March, due to COVID-19. As the days continue to increase in length while certain deciduous trees are yet to leaf out, we can experience this special quality of light projecting on the landscape.

Spring Rains

(C) 2020 Dale DiMauro

This past week I took the same walk on two successive days with very different results. The results I am talking about are atmospheric. 

The first walk was last Thursday on a cloudy, gray day. As flat as the light was the glow of yellow/orange coming off the the reeds in our local river was stunning. It cast a lovely warm shadow nearly thirty feet across the water. Unfortunately, I didn't have my camera with me.

So I settled for returning on Friday. It too ended up being a gray day with clouds. However, it turned into a rainy walk. I became struck by how green and brown the landscape is at this time of year. This time I had my camera but I was not met with a warm glow radiating across the river. 

This past week I have not painted as much as the pollen has been bothering my eyes. Hopefully, with drier weather I can get back to painting. 

Quick Sketches

(C) 2020 Dale DiMauro

Quick sketches are a recording of an artist's thoughts, compositionally. Is this a picture I want to develop further? Can I make it a stronger statement? Is the inspiration such that I cannot put it aside?

This pencil drawing is based on a waterfall and stream I experienced on a trip to Maryland several years ago. On one hand the sound and movement of the water was captivating, yet the spring burst of green growth and brown ledges drew me in. Often a new setting makes us aware of the differences from what we experience in our everyday lives.

The fun part is when you begin to simplify the composition or consider alternatives. In this sketch I eliminated the scrawny tree growth above the waterfall which made the falls have a greater impact. Also, I have considered tweaking the edges of the stream so that the viewer is in the path of the water.

As a result, I think when you draw from life you begin to see more clearly. Thus, perhaps, you develop better judgement.

Browns & Greens

(C) 2020 Dale DiMauro

This watercolor has progressed from the last posting. It is amazing how a wash can change your perception of things or clarify what you are seeing. The yellow-greens found in nature, in the spring, are something to keep an eye on. Just looking at these colors makes me feel the moisture in the air.

I don't know where I learned about the pigment combination of quinacridone gold with manganese blue. However, I have been experimenting with this pairing quite a bit, lately. It produces a lively green foliage color.

The other color combination which I have taken a liking to is ultramarine blue and burnt umber. It gives the artist a warm dark on the brown side which I used on the surface of the pond. These two color matchings seem like real Vermont colors.

I must say I like the shoreline in this watercolor. It has that meandering quality which breaks up the space on the page into a pleasing proportion. Finally, I don't mean to bore the reader with endless pigment names but certain combinations truly can broaden your horizons.

Greater Saturation of Color?

(C) 2020 Dale DiMauro

In the last year I have been told on numerous accounts that my watercolors have achieved a greater saturation of color. In particular, my landscape paintings have richer colorations. 

I take this as a complement largely due to the influence of plein air painting practices. Outside in the elements I really try to mix colors that I see in the natural light. It helps greatly that my knowledge and understanding of a more complete palette has progressed.

This watercolor which I started in the afternoon basically has one initial wash. While the paper is wet until it retains a degree of dampness I drop in loads of pigment. This is to define the edge of elements or seek a graduated mass.

These comments are not meant to sound like I am boasting. However, I opened one of my flat file drawers this evening and could see a transformation in the pieces over the last year. For example, I am mixing and using browns more than I ever could have imagined one year ago.