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If I don't have that understanding of what I see and try to translate it into paint then I will have a painting that is poorly executed, no matter how faithfully I copy a photo.
I'm presently working from photos, and realizing once again the limitations. But without those photos, I would not be able to work at all, because the subject would never sit for me.
It's been an education, because I've been trying to analyze what I'm seeing from what I can best term a "sculptor" point of view. What part of the face/figure projects frontward most and now can I describe that information in terms of color intensity, edges, etc? From where is that light coming and on what portions of the face should the light be resting? What units of the face can I describe as belonging to the same area and what parts should I differentiate?
Marvin, much of what I am trying to do is a direct result of studying with you, so thank you. Thanks, too, to you SOG members, who faithfully give critiques to struggling artists. Sometimes I need to hear a message from multiple sources before I start seeing for myself.
I could work from life all day long, but without an understanding of what I'm seeing, I will not get far.
I could work from photos all day long, but without an understanding of what I'm seeing, I will not get far at all.
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