Using photographs as reference tools

Last month I talked about how tracing photographs for your paintings is just a form of imitation rather than interpretation. Having said that does not mean I do not use pictures as reference tools because I do. While drawing and/or painting from real life is always the best approach, we are often limited to what we have at our disposal and must rely on photographs for reference.

For instance, a friend of mine is creating a logo for her daughter’s company. She’s chosen to draw a dragon fly for the graphic image. Not many of us have dragon flies hovering around our backyards at this time of year and even if we did, it would be extremely difficult to get the fine detail you want to draw a good representation of the insect. This is when a photo comes in handy.

Since there are copyright issues when you use someone’s photograph, you can’t just go up to the Internet and download a picture to use as a reference. Even though it seems like you should; you can’t. Photographers’ works are protected by the same copyright laws that writers and other artists enjoy. The moment a photographer shoots a picture, it’s hers and you need permission to use the photo for anything. See http://painting.about.com/cs/artistscopyright/f/copyrightfaq5.htm for more detail on copyright issues.

One way to insure that you aren’t using a copyrighted piece is to download from sites that allow artists to use photos for their creative endeavors without any infringement,  like Morguefile.com or Wetcanvas.com. The other way is to take the photographs yourself, if you're able to do so. Here are some hints for taking your own photos:

1. Since I use a point and shoot digital camera, I take lots and lots of photos. When I was in Venice in 2007, I must have shot 700 in one afternoon. My thinking is that (a) it’s not costing a ton since I’m not using film, (b) my only limitation is the capacity of my memory chip and (c) I may never be here again. So I take as many photos as I want and what I don't want later, goes straight to the trash bin.

2. In keeping with my photography frenzy, I take a shot from every angle. If you’re shooting a building, point the camera: up, down, sideways, upside down, to the right, to the left, with people, without people, up close, far away. Go for it―you never know, maybe you can find the beginnings of an abstract.

3. Consider your lighting. If you're shooting in the morning, why not go back in the afternoon or evening and shoot the same object again to see how things change, especially color and tone.

4. Take vertical and horizontal shots, even when it doesn’t make sense; it may add interest to your painting once you’re in your studio.

5. Shoot a panoramic view by taking pictures that overlap each other.

Some ideas when you're in your studio.

1.  Watch those shadows. Although they look black they probably aren’t. Photos are notorious for distorting colors and shadows. Sooooo, if you haven’t made on-site color notes, think about what you want the painting to look like--in other words interpret what you’re seeing. The shadows are usually the color's darkest dark, such as dark red (almost brown) for an apple, dark, dull yellow on lemons, etc. I often put my photo into Picasa and lighten it. This also helps to see stuff in the shadow that may be eluding you.

2. Perspective can become eschewed in photos. If you can, create a horizon line and vanishing point. Then test to make sure your vanishing lines are accurate.

3 Don’t be a slave to the photo. You can change the design. If you have some flowers you don’t like in the photo, change them or eliminate them. If you think adding something will enhance the painting or drawing, then put it in—maybe even another reference photo.

4. Remember to use the reference photo as a place to launch your ideas--exact replication of a photo often creates a lifeless work of art. Put life into your work by using the photo as an inspiration, then put a part of you in the painting or drawing.
5. And finally, feel free to try different directions. Recently I had a student who was going to paint a cat from a photograph and she said, “He's going to be purple cat.” She really jumped off that photo and created one heck of a cat, purple and all. Well done!

Sneak-preview

Travel Sketching Opportunities in 2012

Right now the Mediterranean cruise is the only firm travel sketching trip. The rest that are listed below have not been set in stone. I'm actually seeing how many people are interested in taking the trips. So if something below catches your eye, send me a note at jjgoodell@gmail.com 

San Francisco

President's Day Weekend

February 17-20
Come visit San Francisco and sketch Fisherman's Wharf, Pier 39, Ghiradelli Square, The Haight, Union Square, Golden Gate Park, plus more. We'll stay at Hotel Tomo that is a perfect place for artistic inspiration and centrally located for many of our stops. We'll use public transportation (bus) for the entire four days.

Workshop fee: $199

More details coming soon!

Mediterranean Cruise 

April 22-28

Cruise: $749; workshop fee $600

See cruise blog for more info

Room for three more students

Acrylics Painting Retreat

Memorial Day Weekend

May 25-28

Spend the weekend with paintbrush in hand, learning some new techniques in acrylics--from using the medium like watercolor to heavy impasto work. A fun weekend filled with lots of fun, laughter and cheer. 
Workshop fee: TBD

Place to be determined either coast or mountains

North to Alaska Cruise
August 31-September 7
Spend a week exploring Alaska, including a night in Victoria, B.C. We stop at Ketchikan, Juneau,Tracy Fjord and Skagway. We'll sketch all sorts of local scenery and people, while honing our photography skills as well. And the best part is all your meals are included and you're treated like royalty. A trip that's awe inspiring and all for less than a hotel and meals on the Coast.
Cruise: $799; workshop fee $300
See Celebrity for details on cruise

October 2011: Imitation vs. Interpretation

Many years ago I took a painting class where most students traced their photographs from a projector onto their watercolor paper. Everyone told me that they were more interested in getting to the color, instead of struggling with the drawing.

Of course, as a drawing teacher, I believe everything starts with pencil and paper. I call it visual thinking: when an artist sketches out her ideas on paper for a project. Take Michelangelo for instance. He sketched 100 to 150 drawings before he ever struck stone. He knew his subject and was known for his swift carving. A skill you can accomplish when you’ve planned things out in advance.

Projectors are being used by some instead of drawing

But now with digital cameras and projectors at our disposal, folks don’t feel like they have to know how to draw. One instructor announced some time ago that 90 percent of artists trace, while the other 10 percent just won’t admit it. I don’t believe that to be true, but we students chuckled anyway.

Unfortunately, cameras cause distortions, especially when it comes to perspective. They also have things that disappear into the night (blurred backgrounds or foregrounds, unidentifiable shadows). I can often identify a traced painting versus one whose conception came from a free-hand drawing because usually the subject is too photo-realistic, too perfect, dare I say, a bit lifeless.

Fundamentally, tracing instead of drawing is simply imitating instead of interpreting your subject. What I mean is that you are limited by what the camera sees and imitating that viewpoint. The lines traced, come from the camera, an imitation of its mechanical ability. Conversely, lines freely drawn by you are your interpretation of what you are seeing, part of your soul, the inner you.

This is not say, I don’t believe in using photographs as reference tools. Heck, I use them all the time in my classes! I rely on photos a lot. There is no way I can draw tropical plants while living in the Northwest, unless I take a trip to Hawaii. So I must rely on photographs to help me know, for instance, what a Cordia flowering plant looks like.  But I use the photographs for reference only—to gain visual knowledge. Moreover, I usually study many photos of the same subject (from sites that allow me to do so).

For example, I once had a watercolor commission to paint red poppies. Of course since I don’t grow them in my backyard, I had to go to the Internet and find some reference photos. I ended up drawing 30 or more poppies in all sorts of positions before I created my composition and subsequent painting. I got to know poppies so well that I can draw one on the spot to this day.

And yes, it is a struggle to draw first. I know how intimidating it can be, how scary that blank sheet can be (the same fear applies to writers as well). But once you get your sketches down on paper, you can break away from your tracing dependency and become the master of your work. You become the interpreter instead of the imitator. You and your painting are one.

Next month: How to use a photo as a reference tool.

New Six-Week Classes Session Starting at Glastonbury Studios

Week of October 23th through Week of November 27th

Pre-registration required. Seating is limited.

(All students must pre-register for classes. Please email me at jjgoodell@gmail.com to get your form and instructions for the following classes.)

Tuesday evenings (7-9)   Drawing:  Pen, Ink and Watercolor

Wednesday mornings (10:00 to 12:30) Sketching (Miscellaneous)

Thursday evenings (7-9) Fun with Acrylics (beginning to intermediate)

No class on Thanksgiving

Mediterranean Cruise News

Information Meeting at Glastonbury Studios

Sunday, October 9th

Workshop payment due October 9th

Mediterranean Cruise: Looks like we only need a couple more people for the cruise, planned for May 22-28, 2012. For more information go to the trip blog.