A beautiful photograph can stop you in your tracks. But to turn a photograph into a great painting—that’s where vision, skill, and interpretation come together.
If you’ve ever wondered how, having taken a great photo how to translate it onto canvas, this guide is for you.
I have separated this article into two.
Part 1
Suggestions on how to approach your transition from photo to painting.
Part 2
"The Silent Observer" explores the boundary between presence and absence. The piece was sparked by the feeling of moving through crowded spaces while remaining entirely detached—a witness to life rather than a participant. My process began with applying unrestrained movement to the canvas, followed by layers of muted tones, bright, vivid accents, and sharp, contrasting lines to represent the boundary between the internal mind and the external world. Through abstract forms, the painting acts as a mirror, challenging the viewer to decide whether they are looking at the artwork or if the artwork is silently observing them.
Using the image below create a sketch as a precursor to a line and wash painting or critique both images and decide and explain which one you would take forward to become a line and wash artwork.
Things to Consider :-
What compositional elements will you leave out?
How will you simplify the image?
How would you change either image or better still draw your own version.
Where is your horizon line and why?
Here is a nice little sketch exercise to get you started in the Club.
Its a photo I took just a few weeks ago in Alicante. I thought it would make a great compositional challenge for the Art-Club.
The exercise.
Produce your own sketch taking into account elements such as light and dark, focul point, perspective, simplification etc. In other words make it ready to become a water colour.
When complete post your versions including a brief commentary on what was difficult, what you left out and why.
Hi John,
I have looked again at your "Silent Observer". Could I make an observation for you to consider as constructive criticism. I have reviewed it again as it was nagging at me that something was not quite working. I think I know what it is.
I struggle to get around the painting. Whilst the figure on the bottom right cleverly takes the viewer into the centre of the painting, towards the light, that's where my focus stays. Perhaps this is deliberate on your part but I think you need to consider the journey. Taking into consideration your commentary I think you need to show a way out to the external world.
I hope that gives some food for thought?
M