A: That's up to you but how about using tracing paper as an aid.
The same drawing has been used for both windows but different tones, colours and techniques have been used in each. Both paintings have sold.
Whether using tracing paper is cheating or not has been a hotly debated argument amongst artist since...well, since it was invented probably.
Here, I am going to suggest ways in which tracing paper can be used as an aid - and none of them involve tracing from a photograph to reproduce it as a watercolour painting.
Here, I am going to suggest ways in which tracing paper can be used as an aid - and none of them involve tracing from a photograph to reproduce it as a watercolour painting.
Firstly, whether you're left or right handed drawing anything with a mirror image is hard. Take a vase for example. I find it easier drawing the right hand side of things, perhaps because I am left handed. To get the left hand side of the drawing to mirror the right hand side I've already drawn here's what I'd do.
Having drawn one side of a vase satisfactorily I then mark the middle point. Taking a piece of tracing paper and placing it over my drawing I trace the lines using a soft pencil. I then flip the tracing paper over, line it up with the middle point, and trace my line again, giving me an accurate mirror image. This trick can be used to create reflections where there is a mirror images too.
Also, if I've drawn a complicated scene freehand, and I know I'll want to paint it more than once, I will trace it so I can use it as a template in the future. This strategy eliminates the time consuming task of re-drawing a complicated picture allowing me to re-paint the scene many times experimenting with using different colours/tonal pattern/techniques etc.
I have in the past drawn directly onto tracing paper. This has another advantage: I am free to make as many marks and lines as I feel necessary, safe in the knowledge that I can use an eraser without damaging the surface of the watercolour paper. Plus, when I transfer the drawing later on, I can decide how much of the line drawing I need to use as a guide for the brush. I can even trace part of the picture, do an initial wash and then transfer some more or the rest. This is particularly useful when using the "pouring technique".
Using tracing paper to experiment with placing an object into the composition is useful too. Let's say you've already painted a rural scene but would like to place some figures into it. Try drawing the figures onto tracing paper then place it over the top of your painting. You can now move the tracing paper around the scene to work out where they need to be in the composition before committing paint to paper.
Also, if I've drawn a complicated scene freehand, and I know I'll want to paint it more than once, I will trace it so I can use it as a template in the future. This strategy eliminates the time consuming task of re-drawing a complicated picture allowing me to re-paint the scene many times experimenting with using different colours/tonal pattern/techniques etc.
I have in the past drawn directly onto tracing paper. This has another advantage: I am free to make as many marks and lines as I feel necessary, safe in the knowledge that I can use an eraser without damaging the surface of the watercolour paper. Plus, when I transfer the drawing later on, I can decide how much of the line drawing I need to use as a guide for the brush. I can even trace part of the picture, do an initial wash and then transfer some more or the rest. This is particularly useful when using the "pouring technique".
Using tracing paper to experiment with placing an object into the composition is useful too. Let's say you've already painted a rural scene but would like to place some figures into it. Try drawing the figures onto tracing paper then place it over the top of your painting. You can now move the tracing paper around the scene to work out where they need to be in the composition before committing paint to paper.
Or, trace part of your picture, the focal point for example. Transfer the drawing onto card and cut around the shape using a craft knife (see above). Now you have two templates, one negative and one positive.
I made the template of a pear to use as a teaching aid. Many beginner students worry when I ask them to draw a pear, or an apple, but the lesson is not a drawing lesson. The lesson is to paint the pear using graded washes. This exercise demonstrates that by using graded washes an object can be made to look three dimensional. I feel there is enough fear in painting in watercolour without adding to it in the first lesson.
Templates can be used as masks, to reserve the white of the paper when you want to use a messy technique like sponging, splattering or spraying watercolour from an atomiser (see below).
I made the template of a pear to use as a teaching aid. Many beginner students worry when I ask them to draw a pear, or an apple, but the lesson is not a drawing lesson. The lesson is to paint the pear using graded washes. This exercise demonstrates that by using graded washes an object can be made to look three dimensional. I feel there is enough fear in painting in watercolour without adding to it in the first lesson.
Templates can be used as masks, to reserve the white of the paper when you want to use a messy technique like sponging, splattering or spraying watercolour from an atomiser (see below).
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