In a recent blog, I described the process of copying from the Modern Masters within the context of learning how to draw. The other context in which my students copy is when they are learning a specific medium, such as colored pencil or watercolor. Here we copy because it just makes sense! After all, we are fully engaged in learning new techniques & oftentimes, a whole new vocabulary; copying means we don’t have to make all of the artistic decisions as well.
And some media are exceedingly rich in vocabulary & technique. Watercolor springs to mind: Flat wash, graded wash, wet-into-wet, wet-into-dry, lifting… There is a lot to assimilate! Another medium with specialized terms & techniques is pen & ink: Contour lines, scribble stroke, stippling… Media like these are best learned incrementally, using one of the many “how-to” books that lead the beginner through numerous small projects, one building upon the other. Although colored pencil & graphite have fewer terms & techniques to learn, they nevertheless require hours of dedicated practice in order to properly control the hand while applying the medium to the paper so here, too, working from a “how-to” book gives the beginner an opportunity to build skills gradually & thoroughly.
But once these “practice” projects have been completed, the student is eager to put it all together by doing a complete painting. This is the ideal time to copy from the Old or Modern Masters. For a watercolor or water-soluble colored pencil project, we can look to John Singer Sargent & Winslow Homer. For pen & ink, we can copy Rembrandt’s drawings & even his etchings. For colored pencil & graphite, copying an oil painting from almost any period in art history will work just fine. For example, one of those magnificent Dutch Baroque still lifes would be tremendous fun to do in colored pencil. For a graphite project, I once copied a Neoclassic oil portrait & it translated beautifully into that medium.
With media like soft pastel & oil pastel, which are famously forgiving, it’s possible to dive into copying from the Masters straightaway, especially if the beginner chooses paintings that feature large shapes & not too much detail. Many of Georgia O’Keeffe’s still lifes & abstracts are perfect: The student can focus on learning to apply & handle the pigment without worrying about a lot of drawing, yet many of O’Keeffe’s paintings have lush colors & wonderful shapes to keep things interesting. Later on, Monet & Degas – really, any of the Impressionists – are very good choices for copying in either of these media.
Here are some additional tips:
1) When choosing a painting to copy, do select from among the Masters. Whether an “Old” one or a “Modern” one, you’ll be learning from the very best – not only how to handle a particular medium, but all sorts of other essential things, like composition & design.
2) Remember, you don’t have to copy the whole painting: It’s fine to render just one of Jan Bruegel’s luscious blue bearded irises! (This is especially true when working in a labor-intensive medium like colored pencil.)
3) When using a colored reference for a graphite project, photocopy it (or scan & print it out) in black-&-white. This will help you to translate the colors into the correct values.
4) A good source for reproductions of drawings to copy is Dover Publications. They have a large selection of soft-cover books which are very reasonably priced. Bookstores, museum shops, & libraries are also good sources for reproductions of paintings & drawings.
5) Take the time to copy at least 2 or 3 “Masters” in the medium you are learning before you move on to your own original work. Speaking of which…
Eventually it will be time to remove the “copy training wheels” & to start doing your own original work, whether from still life set-ups, your photos, or en plein aire. More on that in a future blog…