Great question! Yes, photos can be the "foundation" of any story, especially front end development of an idea. The artistic story, how I interpreted it on canvas is altogether another matter.
If I'm on a learning curve, making myself fluent in a particular subject or detail, I can be quite literal with a photo until I fully understand its composition of shapes and any interesting gestures that will further visual plausibility in my painting process. A photo, in that case, from my point of view is a significant development tool.
Sometimes a learning curve is broad based over time. Painting complex subjects like Venice, where you have buildings, gondolas, human interaction, water and atmosphere to learn before seriously jumping in. So I break down each element, and do it enough so I can intuitively paint my own interpretations on canvas.
The better part of 2011 was devoted to expanding my learning curve painting atmosphere. It's really a never ending process that started at the beginning. I painted plein air a daily basis for 6 or 7 months before moving into the studio full time.
The examples below show compelling results using a generic baseline photo and where it can eventually lead.... IF YOU DON'T TAKE IT TOO SERIOUSLY...:=)...!!
The (4) 20x20 Venice paintings were executed in quick succession over a (3) day period. They were finished works. More about developing different atmospheric moods than painting Venice itself. I needed a setting for reference and scale while developing my thoughts on canvas.
During this process I'm not looking for the nuances of colour or esthetics from any photo reference.......but plausibility of any shape or setting rendered. I think a photos most valuable contribution....assisting in plausibility.
No question this setting could be painted from life, not the theatrics produced in the studio shown above or below. Nature is rarely that accommodating and when it is, its fleeting! So, not all that practical. However, doing plein air or other life setups more often than not, we paint what we see - meaning a more literal interpretation. In my mind the easier option since I also like to paint from life.
Back in the studio, in combination with life experience and digital references, we have very powerful tools at our disposal. We can move to higher levels of expression that probably wouldn't happen in the field because we do paint what we see.... In the studio we can modify, mix and match references to develop completely different ideas.
A few paintings influenced by the 20x20s above and the reference used taken by fellow artist David Cressman on one of his many trips to Venice.
We know digital cameras and programs like Photoshop brought to the artists table a host of powerful creative tools to mess
with digital imagery. In effect we can use creative digital tools and alter any photo image to our benefit while pushing paint. Like the
reference below which I used in a recent "Swimming in Paint" session.
If I'm on a learning curve, making myself fluent in a particular subject or detail, I can be quite literal with a photo until I fully understand its composition of shapes and any interesting gestures that will further visual plausibility in my painting process. A photo, in that case, from my point of view is a significant development tool.
Sometimes a learning curve is broad based over time. Painting complex subjects like Venice, where you have buildings, gondolas, human interaction, water and atmosphere to learn before seriously jumping in. So I break down each element, and do it enough so I can intuitively paint my own interpretations on canvas.
The better part of 2011 was devoted to expanding my learning curve painting atmosphere. It's really a never ending process that started at the beginning. I painted plein air a daily basis for 6 or 7 months before moving into the studio full time.
The examples below show compelling results using a generic baseline photo and where it can eventually lead.... IF YOU DON'T TAKE IT TOO SERIOUSLY...:=)...!!
The (4) 20x20 Venice paintings were executed in quick succession over a (3) day period. They were finished works. More about developing different atmospheric moods than painting Venice itself. I needed a setting for reference and scale while developing my thoughts on canvas.
GENERIC VENICE REFERENCE
1st 20x20
2nd 20x20
3rd 20x20
4th 20x20
During this process I'm not looking for the nuances of colour or esthetics from any photo reference.......but plausibility of any shape or setting rendered. I think a photos most valuable contribution....assisting in plausibility.
No question this setting could be painted from life, not the theatrics produced in the studio shown above or below. Nature is rarely that accommodating and when it is, its fleeting! So, not all that practical. However, doing plein air or other life setups more often than not, we paint what we see - meaning a more literal interpretation. In my mind the easier option since I also like to paint from life.
Back in the studio, in combination with life experience and digital references, we have very powerful tools at our disposal. We can move to higher levels of expression that probably wouldn't happen in the field because we do paint what we see.... In the studio we can modify, mix and match references to develop completely different ideas.
A few paintings influenced by the 20x20s above and the reference used taken by fellow artist David Cressman on one of his many trips to Venice.
REFERENCE (NOT ALTERED)
PAINTING A LIVE SUN WITH VENICE SETTING
16x16 warmup painted in the studio
A rising sun was quickly rendered from my studio window, then merged into a Venice setting. I often take advantage of this opportunity when painting the sun in my paintings. They always come out better when I do!
MOON EFFECTS
Venice in Peril 30x30
PHOTOS - TO ACTUALLY PAINT AN ESTHETIC STORY - PERHAPS!
ORIGINAL DIGITAL REFERENCE
Removed unwanted figure
ALTERED IN PHOTOSHOP "CURVES" TOOL
QUICK DEMO PAINTING
DETAIL
Clearly a departure from the original reference, abstractly loose and suggestive throughout, perhaps because of the muted digital modification and speed intuitive painting can produce. Aside from knowing this subject well, I enjoyed following new colour patterns more from the modification than I would have otherwise.
So, "Swimming in Paint" swimmers, through Plein air, still life setups,
live models, monitors, video loops there are lots and lots of options.
Not to mention being visually aware on a day-to-day basis of a cloud in
the sky or how light targets an object and creates a beautiful
shadow.......all wonders of painting at our disposal. All fair game in
any creative process - including the use of photos !
Key to working with digital imagery is more the choices we make while painting. Avoid taking it too seriously, follow the patterns not the hard core detail. Take a few liberties to add movement. Avoid overcooking and you might avoid a static photo copy!
Enjoy your day pushing paint..:=)
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