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Choosing Colors For A Painting…Less Is More!

There is more than one way to choose colors for a painting. Your first impulse might be to use colors that as closely as possible approximate WHAT YOU SEE. Sometimes this approach works well.  You can learn a great deal about mixing colors by taking this path.

ESTABLISH COLOR UNITY.

However, there are dangers in striving to paint exactly what you see. Sometimes an artist will use too many unrelated colors and a picture can become disjointed and appear confused. Therefore, to create a pulled together look, try to use fewer colors in an effort to establish COLOR UNITY in a picture. Don’t use every color you own!

You could also choose colors for your paintings to reflect HOW YOU FEEL about the subject. As an artist, you probably hope to share your reaction to a scene and use color to reach a viewer on an emotional level. What is the overall feeling or mood you want in your finished picture? For instance, would warm colors (or cool colors) better establish the mood of your picture? Is it a clear, sunny and bright summer day at the beach, or a misty, damp and dark winter afternoon? ( See my related blog “Get In The Mood”, published September 4, 2018, https://leemuirhaman.com/2018/09/04/get-in-the-mood/, for more information about creating mood in a painting.)

Dusk.jpg

A third way to choose colors for a painting might be to pick a set of colors that would represent what you believe to be the BASIC CHARACTER of your subject. Let yourself think about the subject in colors totally different from what appear in reality. An unusual set of colors might better suit what you are trying to get across about your subject. You don’t need to move too far away from actual colors of an object to give it your own take. Exciting color variations can create interest in a dull, monochromatic area of your picture. Clouds are not always puffy and white, and trees are not only green.

Meadow Road.jpg

 

CONSIDER COLOR TEMPERATURE, LIGHT QUALITY, VALUE.

Regardless of the way in which you choose paint colors when planning a painting, give your picture a distinct COLOR SCHEME. Consider emphasizing a particular color combination (or temperature) for your image. Again, keep in mind the overall feeling you hope for in your finished picture. (Mood can be achieved, in part, through your choice of colors.) Start with using COLOR TEMPERATURE to charge your picture with emotion. Consider several specific colors or a range of colors making sure to include both warm and cool colors for use in your picture. It is important that ONE temperature dominates. The other temperature will contrast, counterbalance, and neutralize the dominant color for variety.

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Continue to establish the mood by considering the LIGHT QUALITY that will be in your painting. Will you use intense, pure paint colors or more dulled, diffuse colors? Keep in mind that bright sunlight is suggested by pure, bright colors. (Think of the look of a Greek landscape.) As light becomes more diffused with moisture or smoke, colors appear duller. Dulled colors hint at subdued lighting, poor visibility, less detail, and lowered value (light/dark) contrast. (You see much less detail, for instance, at night.) Remember that you can create duller colors by adding a bit of a color’s complement (it’s opposite on the color wheel).

River sunset winter.jpg

Also, always consider VALUE (light/dark) in planning the mood of your picture. Would mostly light colors (or mostly dark, or a balance of values) enhance the mood or feeling you plan to establish? (For more information about values, see my related blogs “Dusk,Evening, and Moonlight… Oh, My!”, https://leemuirhaman.com/2019/02/05/dusk-evening-and-moonlight-oh-my/, published February 5, 2019, and “Why Should I Bother To Use A Gray Scale?”, https://leemuirhaman.com/2019/05/21/why-should-i-bother-to-use-a-gray-scale/, published May 21, 2019.)

LIMITED PALETTE.

Reducing, or limiting the number of colors used in a painting has some distinct advantages! By creating a LIMITED PALETTE you SIMPLIFY decisions that need to be made during the painting process. It becomes easier to preserve HARMONY and COLOR UNITY. A limited palette encourages greater balance in your work. You will be able to maintain more CONTROL using fewer colors. Color mixing becomes easier and less frustrating. Painting becomes more efficient!

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Further, painting with a limited palette allows you to think less about color choices, while letting you focus more attention on other important components of painting, such as shape, value (light/dark), and warm/cool balance.

CREATE A LIMITED PALETTE OR COLOR SCHEME.

How do you choose the right color scheme? Well, there is no “right” or easy answer! There is not one perfect combination of colors. But there are many good choices. (By the way, you DO NOT have to use the exact colors recommended in a demonstration!) Still, it is important to actually CHOOSE A COLOR SCHEME while you are in the planning stage of painting. (Remember that different color combinations create different feelings or moods.) Without choosing a color scheme before beginning to paint, you will be in danger of creating a mess of unrelated colors. So, choose a color scheme that suits you!

 

A limited palette is made up of two or more colors. Your choice of colors can be as simple as Burnt Sienna with Indigo, or Brown Madder with Cobalt Blue, even Permanent Rose with Viridian, in a COMPLEMENTARY color scheme. Or create a limited palette using the three primary colors, in a TRIAD color scheme. Perhaps your choice would be New Gamboge/ Cadmium Red/ Ultramarine Blue, or Winsor Yellow/ Permanent Rose/ Cobalt Blue, or Perylene Maroon/ Indian yellow/ Phthalo Blue. You might want to expand just a bit by adding Burnt Sienna or Perylene Green or one of your favorite convenience colors to the three primaries.

Boat Float.jpg

Another common limited palette includes six colors – a warm and a cool version of each of the three primary colors. Daniel Smith Extra Fine Watercolors offers a very good example with their “Essentials” kit, which includes Hansa Yellow Light, New Gamboge, Quinacridone Rose, Pyrrol Scarlet, Phthalo Blue Green Shade, French Ultramarine Blue. Using these six colors can be described as using a SPLIT PRIMARY color scheme.

A few additional ways to combine colors into a color scheme include choosing several colors based on their position on the color wheel and their distance from each other. For example, in an ANALOGOUS color scheme, three or more  colors are chosen that fall next to each on the wheel, possibly yellow-green, green, blue-green, and blue. A SQUARE color scheme employs four colors evenly spaced on the color wheel, such as Permanent Mauve, Viridian, New Gamboge, and Pyrrol Red. A TETRAD color scheme uses colors whose placement on the color wheel form a rectangle, perhaps Permanent Rose, Ultramarine Blue, Light Red, and Viridian. Yet another possible scheme is a SPLIT COMPLEMENTARY scheme, made up of one color plus the two colors on either side of its complement. A possible split complimentary scheme could be Quinacridone Rose, Viridian and Green Gold.

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So many choices! To simplify, first choose a dominant, then one or several subordinate colors to give an overall mood to your painting. Decide on cool or warm dominance. Think about possible color schemes that might highlight your subject, and experiment on test paper until you find one you prefer. For color ideas, you might have a dramatic photo with an appealing color combination or a saved magazine image to use for color inspiration, or use your imagination.

Color is fun and amazing, but often less is more! Use fewer colors! Enjoy!

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Simplify Your Watercolors By Focusing On Shapes!

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WOW! VS. BORING.

As an artist, you have the opportunity to improve a composition before you paint it! Don’t be tempted to merely copy what you see before you. Instead, change an ordinary scene into an extraordinary painting. If you just paint what you see, without thinking, evaluating, or redesigning, you may end up with a painting that has no “WOW!”

LOOK FOR SHAPES.

But how do you go about improving the subject you want to paint? How can you make your image better and design stronger? What should you do to create a painting with impact? Wouldn’t it just be a lot of work, especially if I don’t know how to improve my image? How do some artists create an exciting painting about a mundane, everyday subject? Copying is NOT enough! But, the answer may be, at least in part, to use interesting SHAPES!

While you may think that most artists begin their paintings by drawing LINES that represent objects to be painted, this is often NOT the first thing that they do to prepare for painting. Instead, an artist usually looks for or tries to compile a strong composition. One of the best ways to plan a composition is to reduce a scene to its essential or most basic components, to cut out distracting details, to simplify.

SIMPLIFY.

To help you simplify and reduce distractions, squint your eyes. Then look for the dominant shapes in the scene. Some artists SIMPLIFY by limiting the number of dominant shapes that they focus on to three, seven, or twelve, no more than fifteen. Evaluate and think about what shapes you could rearrange or emphasize, which shapes are important and which provide support for the other shapes. For instance, should the house in your painting be moved closer to or even overlap the barn? Should you remove that distracting tree? Are there too many cars in the image – they don’t add any helpful information?

Contour sketch Forsythia House.jpg

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Above: Dominant shapes, & finished ‘Forsythia House’ Watercolor.

The relationships of the interlocking shapes in a picture will determine balance and interest. Good painters make more interesting shapes!

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Above: Dominant shapes, & finished ‘Primrose’ Watercolor.

PAINT SHAPES NOT OBJECTS.

Try to see the world around you as made of shapes, and you will find it easier to become an arranger of shapes. Make an effort to avoid focusing on drawing or painting ‘a tree’, ‘a boat’, ‘a dog’, ‘a car’, or ‘a streetlight’. Paint what you ’see’, not what you think you see. (Check out my related blogs “Avoid Painting Lollipop Trees – Part I, II, and III”, https://leemuirhaman.com/2019/03/13/avoid-painting-lollipop-trees/, https://leemuirhaman.com/2019/03/19/avoid-painting-lollipop-trees-part-ii/, https://leemuirhaman.com/2019/03/26/avoid-painting-lollipop-trees-part-iii/, published March 13, March 19, and March 26, 2019.)                                                             Beginning painters can get so preoccupied with NAMING details (“Is this a tail?”, “Are the feet crossed?”, or “I can’t tell what this is!”) that they forget to look at shapes and their relationships to each other. You need to paint SHAPES!

Contour sketch Dog.jpg

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Above: Dominant shapes, & finished ‘K’s Dog’ Watercolor.

One way to define shapes is to think about their geometric form. Are they circles, squares, rectangles, triangles? These are simple shapes, but very static and dull. They should be improved and made more dynamic by varying their size and shape contour, connecting two or more shapes together, overlapping shapes, avoiding symmetry. A building is much more interesting when viewed from an angle, as opposed to looking at it straight-on. Don’t forget that skies, shadows and reflections are also shapes. Interesting and unusual shapes are better than regular or precise shapes!

Contour sketch sunset River.jpg

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Above: Dominant shapes, & finished ‘Golden River’ Watercolor.

Once you have selected your scene to paint, simplified, rearranged and refined the dominant shapes, then choose one shape to be more important than the others. This shape will be your center of interest, what you want your viewers to notice. There can only be one center of interest in a painting. Plan how you will arrange your values (lights/darks) to highlight the most important shape for more emotional impact. More impact can also be created by the skillful use of color. White paper, for instance, can be a luminous and striking unpainted shape!

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Above: Dominant shapes, & finished ‘Floating Christmas Tree’ Watercolor.

Then, finally, having completed your planning for the best composition, by simplifying shapes and perhaps sketching out a couple of different arrangements of shapes in a black & white thumbnail sketch, it is time to carefully draw your shapes (not merely the outlines of specific objects) onto watercolor paper in preparation for painting.

IN SUMMARY.

In summary, everything has a shape! We tend to want to paint shapes just as they are, without changing them or making them more interesting. This can, however, lead to busy and confusing, static, or just perhaps even dull and boring paintings. It’s important to be able to conceptualize flat shapes for your flat watercolor paper, rather than just to think about three-dimensional objects (such as “mountain” or “boat”). When you can focus on shapes, it becomes easier to change shapes to suit your painting, move shapes to improve your composition, and remove clutter (get rid of boring or poor shapes), and add different colors to highlight certain shapes. So, strive to create simple but exciting paintings by making dynamic shape combinations.

Join me and get painting tips, inspiration, and the latest news about classes, new art or products for sale, sent to you by email. Subscribe here. I’ll give you a free copy of my Color Blending Tips pdf. that you can download and print.

Avoid Painting Lollipop Trees! (Part II.)

When you practice painting trees, begin by studying the bare outlines of winter trees (deciduous), because you can better see their whole structure and their proportions.  In general, the proportions of a tree can be divided into thirds: one third trunk, one third branches, one third twigs.  This principle may not always apply, but it gives you a helpful place to start.  Observe whether the tree exhibits a single vertical trunk or multiple trunks; a twisted and contorted trunk, possibly weeping branches, or angular or smooth-flowing branches.  Very few trees are symmetrical.

Use a round brush to paint the main trunk and thicker branches, then a rigger to paint thinner branches or twigs.  (A palette knife or liner can also be useful for painting small twigs.)  Alternatively and more simply, you can scumble in the smallest branches of a winter tree with a light tone to suggest the smallest growth.  For a winter tree, work from the bottom upwards.  Establish the trunk and main branches boldly; then begin to “suggest” a few smaller branches before rendering a light tone (by scumbling or dry brushing) for the fuzzy tiny twigs.

Maple winter.jpg

Maple summer.jpg

Maple autumn.jpg

The complicated outlines of trees in leaf can be overwhelming without SIMPLIFICATION.  It is important to remember that the same basic structure as is there in winter still lies beneath the cloak of foliage.  You should paint the foliage as several large masses, varying them in size and making the shapes interesting, while also leaving rough edges; nevertheless, each should have three dimensions.  Some masses should overlap others, but leave gaps between some to form important sky holes.  Paint branches and twigs in these sky holes, NOT on top of the foliage shapes (Lost and Found).  You should not paint individual leaves.  Definitely do not paint detail you cannot see from a distance.

In general, when painting foliage, prepare a wash for the lighter areas and another, stronger wash for the darker spots.  (You have the option of using even more color layers to increase color and tone variations.)  If you apply the first light wash in a series of quick strokes with the side of your brush, the resulting shape will tend to look more spontaneous than overworked.  Then, before the first layer of color dries, drop in some of the darker wash to correspond to the darker, shaded areas you have observed.  You must remember to leave random sky holes.  For trees in leaf, begin your painting with the foliage; then add trunks and branches.  Tops of trees  (facing the light) will usually be the lightest areas.

 

To be continued…

Avoid Painting Lollipop Trees! (Part I.)

Artists new to watercolor find painting trees an endless source of frustration and difficulty.  They may have been told to look closely and study their subjects carefully before attempting to paint, but the more they look, the more details they see, and the more confused they become!

If you want to become an effective and talented painter, you have to make up your mind to simplify and see your subject in terms that watercolor can accommodate.  This simplification is especially necessary when you are trying to paint trees and foliage.  Try to look at the trees through squinted eyes: look for shapes, and disregard many of the details.  Observe groups of trees, and pick out areas of light and dark.  In other words, focus on creating the shape and character, the color and texture of trees, not on producing botanically correct or precise illustrations.

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Individual trees are often irregular, but you can describe most of the individuals by their general shapes.  If the shape is wrong, the tree will be a confusing blob that detracts from your picture.  Countless varieties of trees exist, each type with its own characteristics.  You need to exercise thought and care when considering how to paint your trees.  They often have a more complicated shape than other elements in a painting.  Nevertheless, you can simplify a tree (or group of trees) and suggest the shape as round-topped, thin and tall, conical (conifer), or even flat-topped.

Part of the difficulty with painting trees is each person’s tendency to take visual information and categorize it to fit with prior experiences.  The conscious mind likes to generalize, identify, and name, then move on; thus, you end up painting what you THINK a tree looks like, the generality.  Instead, to be a good artist, you need to rely on your unconscious, visual brain to actually observe and register what is before you.  You can train yourself to gather the information that is normally unconscious and to then make it conscious.  “Paint what you see, not what you think you see.”  That is, paint what you observe, not a generalized idea of what your mind tells you a tree ought to look like.  Don’t let your intellect take over the painting process if you want to avoid lollipop trees.  A young child may paint a tree as a simple green circle atop a stick, but capturing a convincing image of real trees requires a bit more sophistication.  (See my 12/18/2018 blog, “Painting Begins with Looking and Seeing.”, https://leemuirhaman.com/2018/12/18/painting-begins-with-looking-and-seeing/.)

Once you have noted the overall silhouette of the subject, look at the angle of the limbs (if the tree is close enough) and the character of the foliage.  Making trees look believable has a lot to do with understanding that the primary function of the trunk and limbs is to reach up and out far enough to hold their leaves in sunlight.  Each species does so in its own way, but trunk, branches, and twigs graduate in size as they get farther from the base.

Observe that the trunk grows out of the ground usually in one piece and is therefore the thickest part of the tree.  It also looks more solid and stable if you curve it out at the base.  From the trunk grow the limbs, which are thinner than the trunk but still need to be substantial since they bear the main weight of the tree.  Try to avoid making them leave the trunk directly opposite one another.  The trunk itself keeps the same thickness until a limb comes off it, whereupon it becomes less thick.  The same thing happens as each limb leaves the trunk, until finally the trunk itself splits into the last two limbs.  Limbs themselves split into branches, and the same reducing process goes on until branches split into twigs, which run out from the branch ends.

Meadow road tree.jpg

This tapering and meandering of the trunk branches is a little different in each species of tree, but most branches are not straight lines.  Young trees tend to have smoother bark surfaces, while older trees have bark that is more textured.  Try to avoid lollipop fans by painting trees with volume.  Branches should spread out in all directions and grow toward (and away from) the viewer.  Give branches coming toward the viewer stronger tone, tighter drawing, sharper marks, and foreshortened outlines to create more convincing trees.

To be continued…

Properly Using A Photograph As A Painting Reference.

Getting outdoors and painting directly from nature can be very enjoyable.  You get a feel for your surroundings – colors, smells, temperature, atmosphere, light, and so on.  Sometimes, however, you need more time to work on your painting than you have at the moment: the weather may not cooperate (it begins to rain, or the temperature dips below freezing), the light changes quickly (the sun goes down, or clouds emerge), or other circumstances change (the birds you are painting fly away, or ripples disturb the water).  For these reasons, painting with the aid of photographs is often much more convenient and can increase the amount of time you can spend painting a scene.

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Christmas tree truck photo references.

Dangers do emerge, however, when you are working from photographs, particularly if you use pictures taken by someone else.  As an artist, you need to make sure that the photos on which you plan to base a painting are not copyrighted by the photographer.  Photos do belong to the picture-taker.  As a solution, you might ask the photographer for permission to use them.  Also, you might try a Google search (“Advanced Image Search”) and look in the “Usage Rights” section for content labeled either “Creative Commons” or “Public Domain.”  Alternatively, visit some internet sites that offer stock or copyright-free photos.  (I will include a list of some of these sites in next week’s blog.)

TAKE YOUR OWN PHOTOS.

Taking your own reference photos, however, is an even better approach.  You can think of your camera as a sketchbook, using it to compose pictures while you look through your viewfinder.  Each picture will belong to you, whether you combine it with a similar shot, crop and simplify the image, or make color changes as you paint.  Keep in mind, however, that photographs DO NOT reproduce an image in the same way that the eye sees it.  The camera tends to lose details in shadows and overexpose bright spots.  Photographs can also change actual colors in a scene and provide too much detail.  While your photograph can provide some excellent information (for example, architectural details, lighting conditions, and color references), the camera is simply a TOOL like any other tool (like a paintbrush or painting paper), and your eye and judgment as an artist must guide the use of any such tool.  Use photos not as ends in themselves but simply as sources of reference information.

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Watercolor “Pepperell Relic”, with photo reference.

Sometimes when you focus a lot of energy on taking photos, you may not take the time you need to study your subject and look at it with careful attention.  Sketching or drawing that subject, on the other hand, can force you to “see” what you are looking at, noticing the truly important information.

IMPROVE ON YOUR PHOTO REFERENCE.

Your goal should not be to paint an exact copy of any photograph; instead, you should simplify the scene.  Your job is to improve on a photo, adding your own personality and flair, expressing your excitement or the mystery you feel when viewing that scene.  What attracts you to the subject in the first place?  Take time before painting to look at your photo and think about what you might want to change in it.  Some elements in the photo might seem unnecessary or distracting.  You might be able to improve the composition or color.

If someone tells you that your painting looks like a photograph, don’t take that statement as a compliment.  The implication is that you have actually copied the photograph rather than using it for inspiration or information.  Do not attempt to include every detail from a photo in your painting.  Simplify; focus on your interpretation of the center of interest, and try to be creative.

You will get more out of your photographs if you use them as a starting point for your painting rather than as the desired end result.  You will often need to make some changes from the photo to turn it into a good painting.  The first type of editing of a photo is to make SIMPLE COSMETIC CHANGES while keeping the essential image intact, and many types of these cosmetic changes can improve your picture.  For instance, your photo may show dull, boring clouds that need some added drama.  You could also decide to reinterpret and brighten colors to produce an exciting or ominous mood.  You could tilt or angle your image for a somewhat different point of view.  Some artists who flip the image in the photo (as in a mirror) find that that change improves the way the viewer’s eye moves through the picture. One of the simplest changes to make is a change in season.  Another cosmetic change you could make is altering the time of day (and thus the mood) by changing the light and altering shadows.

By manipulating values, detail, and the quality of colors, you could create a warm, sunny picture or a soft, foggy image . . . or anything in between.  Similarly, you could add more shadows to add interest and visual pattern.  If a photograph does not show enough value contrast, you can create that contrast; sometimes, by simply changing the light direction, you can lighten some areas and darken others.  You can highlight important areas by making them light and by surrounding these light areas with dark colors (thereby increasing contrast around your center of interest).  You don’t have to use the colors you see in a photograph; you can increase color harmony in your painting by limiting the number of colors you use.  Alternatively, emphasize both warm and cool colors for contrast and interest.  You could make some exciting variations of color in an area that is basically one color by mingling other colors to add life.

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Watercolor “Maine coastline”, with photo reference.

Another type of edit to improve a photograph for painting is making a STRUCTURAL CHANGE to improve the composition and to build a picture that is more your own creation.  You can make changes to what is in the photo and to where things are in your picture.  First, evaluate your image to identify the most important object or the focus of attention.  Notice the big SHAPES, major LINES, and VALUES.  You’ll want to decide what to keep and what to eliminate from the photo.  Don’t keep anything that is irrelevant.  Keep in mind your knowledge of good composition (see my blog “Making a Strong Painting with Good Composition” from October 16, 2018, or review your favorite art books on the subject of composition and design).

Cropping a photo and zooming in for close-ups allow you to relocate the center of interest to a more dynamic position, thus improving your composition.  You could also highlight your center of interest by changing your format or the orientation of your paper.  For example, a landscape orientation may be appropriate for focusing on a farmstead with surrounding fields whereas a portrait orientation could highlight the magnificent tree in front of a farmhouse; on the other hand, a square format could work well with a flock of sheep grazing in a field, while an elongated format could effectively fit a vista of the mountains that provides the backdrop for the farmstead.  Exaggerating some details or colors can also improve a composition.  Similarly, you could change your point of view; try changing the level or angle from which you are viewing the subject, imagining, for instance, that you are looking down at the same scene from a plane flying overhead.  If your photo has been taken from the shore of a lake, would the painting be more majestic if you imagined the lake viewed from the edge of a cliff above it?  Use your imagination!

A third way of editing photographs for painting is making CREATIVE CHANGES; this technique can be quite dramatic.  You can add elements that are not in the photo or combine parts of several photographs to create a new image.  Birds from several photos can be put into one.  Flowers can be rearranged.  To a wintry field you can add skaters on an icy pond.  You can paint two different types of images together, combining an image of a wilderness lake with the image of a map showing how to get there.  The sizes of elements within a picture you can also alter; if the photo shows five trees of the same size, try making one the focus of attention by making it bigger while also varying the size and spacing of the others to support the dominance of the larger tree.  You can overlap images, fading one out as it joins another, and, of course, you can even produce an image that is pure fantasy.

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Watercolor “Mulpus”, with photo reference.

While you can paint from a photograph, painting on site is preferable because that way, you can view, experience, and even sketch the scene for yourself.  Using other people’s photographs involves some dangers, particularly if you don’t have permission to use them.  Furthermore, photos tend to distort and change some of the information they capture, in addition to including too much detail for a good composition.  If you take your own photo, you can use it for lighting conditions, architectural details, and further inspiration.  However, photographs can never tell you the full story, even though they can be helpful references.  You can (and should) edit a photo to improve and simplify its image.  Crop your photos, and combine them as needed to create effective, powerful paintings.

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Photo reference for future watercolor.