I always prefer and I always advice others to use real objects, real scenes and live models for their paintings. It’s not only because camera does not see things as a human eye does, but also because of immediate presence.
When somebody aims only for technically great achievements in arts, they certainly stick with photos because we quite cannot distinguish between tiny details when looking at something with just our eyes. I’m not painting or drawing anything I cannot see or which is too small to see. I prefer to go bolder and not to use any magnifying glass.
It can be tough with flowers time to time, especially in winter, and they generally do not last as long as painting takes from start to finish. Anyway, whenever possible using real things has its advantages. They also cause feelings, admiration, attraction or vice versa. This is also something we are trying to implement in our paintings. Technical ability is great, but technically perfect and emotionally cold art isn’t speaking to me. I’m not saying that I always keep working until I have achieved absolutely everything. There is something great about unfinished paintings, too. For instance, a chance to add imaginative characteristics or continue with one’s thoughts. When painting is small, 16 x 20 inches (40.5 cm x 51 cm) inches or so, it doesn’t feel right to spend a year painting it. I sometimes return to a painting after 2-3 years.
Therefore, it feels great becoming a rose. As we paint any petal, we build it and grow it to our liking. Although, it’s just a rose, it has it all: some hidden attraction, some mystery and some color combinations that do not always find reflection in a photo of the painting, but they do become visible when looking at the artwork in person.
There are lots and lots of objects which can be painted not even leaving our room. People sometimes say: I don’t want to paint still life, it’s boring. That’s totally wrong. That is the best exercise in painting there can be found. People who can paint or draw can paint anything and draw anything from apple to face. Still life is the shortest way to explore values, edges, color transitions and the ways we can create them. It’s the best tool to learn underpainting, sketching and blocking in the main shapes. It’s also the easiest way to learn about lines and their relationships, as well as all kinds of shadows. Therefore, we should never underestimate still life as subject, genre or way of expression.
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