Of all the fruitless mulling I’ve done to determine what makes art “good,” I’m sure of at least one thing and that is that copying others’ work does not fit into that category.  But reproducing the work of others does have value (see Malcolm Jones’ piece on copying) and that’s what I was after this week.

Feb 8, From Mercer Mayer’s “Just a Mess,” Watercolor

I’ve long admired illustrations in children’s books.  It must take a special person (or the child inside a special person) to capture the imaginations of both child and adult.  As a child, I took the pictures for granted, but now, re-reading them, I am realizing how important and thoughtful they often are.  While I have no aspirations to illustrate children’s books, this week’s exercise has been extremely helpful.

Feb 8, From “The Little Engine That Could” originally illustrated by George and Doris Hauman, Watercolor and Watercolor Pencil

For one, reproducing art makes you think backwards.  How did the artist achieve a certain effect?  What mediums and colors did he use?  What did the artist do first and last?  It’s good training, I think, for planning your own works.

Feb 10, From “The Real Mother Goose,” Originally illustrated by Blanche Fisher Wright, Watercolor

Another benefit is that you employ skills that you didn’t know you had.  Your existing skills are sharpened and new skills emerge.  For example, in this piece below, the palette was especially important.  There were skin tones, so obviously, I was shaking in my boots.  But to my delight, when the painting dried, the colors were a pretty close match.  I guess my observation and mixing skills have improved.

Feb 7, From “All of Baby Nose to Toes,” originally illustrated by Hiroe Nakata, Watercolor

Copying someone else’s work is exhausting.  You use a completely different part of the brain that relies more on observation and less on creativity.  After my 5th illustration, I was ready to call it a week.

Feb 11, From “Can’t Catch Me,” originally illustrated by Michael Foreman, Watercolor and Watercolor pencil

What I learned this week is that my observation and sketching skills are far better than I had imagined.  I was pleasantly surprised that in most cases, I got the paint and pencil to do what I wanted it to do.  My main critique is that my illustrations lack the skillful, purposeful hand that artwork from experienced artists have.  If you look closely, the lines and strokes aren’t quite as confident as the original.  And that’s the one thing that bothers me most about all my artwork so far.  I am hopeful that will change in time.

The next step will be to interpret the world for myself and translate that to paper or canvas with the skills I now know I have.  That seems like a giant leap, but then again, it’s only February.

Two more rogue sketches for this week include another tourist scene, the Rabat Kasbah des Oudayas…

Feb 6, “Kasbash Des Oudayas,” Crayon & Watercolor

And a stack of unread books/mail/clippings on my nightstand:

Feb 5, “Not Yet Read,” Pencil 4B in Sketchbook