Copyrights and Plagiarism

QUESTION: I am in the process of writing a book illustrated with my own watercolors. However, some of these images were copied from other watercolors, even though the actual painting was ultimately done by me. Is this plagiarism? How different does the final image have to be to be different? These are primarily pictures of tea cups. I don't want to do the wrong thing so would appreciate your opinion. Thanks.

SUSIE'S REPLY: How exciting for you! Writing a book is almost like giving birth and could be considered a labor of love. I wish you every success with your adventure!

Now to get down to the nitty gritty: First and foremost: My opinion is given for guidance only; you're advised to consult a copyright lawyer on copyright issues. My information is based on US copyright law. Remember, although there are international copyright agreements, every country has its own copyright laws.

According to the information found on dictionary.com the term "plagiarism" usually applies to literary theft. Plagiarism occurs when a writer duplicates another writer's language or ideas and then calls the work his or her own. The writers' words are protected by copyright as their legal property. It is permissible to quote another writer as long as you carefully give credit to the writer and the source of your quote.

In regards to visual art there is a myth about how different an image needs to be to not be a considered a copy. Some artists believe (and/or have even been taught) that you can legally use another artist's work if you change or alter a certain percentage of the painting. Some say changing an image 10 percent is enough to make it a new image while others say a change of 20% or 30% is required. This is absolutely not true and is only a myth. A copy is a copy.

A good rule of thumb would be when comparing the two images side by side if the another artist's work is recognizable as what your image is based on then you are risking copyright infringement.

Objects or subjects such as "teacups" or the "sunset" can not be copyrighted so that they can only be painted by a single copyright owner. Another artist's work can inspire you but the concept and composition of your painting should be uniquely your own not a copy of their work.

Since you asked for my opinion, if it were my book, I'd use my own teacups, my own sketches and my own reference photos to paint the illustrations from. Let it be totally and uniquely your own without the shadow lurking over you that you might not be doing the right thing.
Just consider any copied images you've done so far practice for what's yet to come.

My personal policy is "if in doubt, don't!" Let you conscience be your guide.

Again, I wish you success with your new book! Please let me know when it's available... I like teacups!

I look forward to seeing your original watercolor illustrations.

SUSIE

Stretching Watercolor Papers- Removing Sizing

QUESTION: Hi, I just finished your DVD Painting across America The Oregon Coast. The DVD was fun easy to follow. I do have one question about stretching paper. There are several pros and cons to stretching. One of the pros that I have been taught is that stretching removes the sizing. What do you think? Debbie

SUSIE'S REPLY: Hi Debbie! I'm so pleased you enjoyed the DVD on painting the Oregon Coast. Thanks!
About stretching watercolor paper: If you asked five different instructors about the pros and cons of stretching watercolor paper, you'd probably get five different answers. That's because we all develop our own style and techniques for painting and what works best for us as we learn to paint. None of us are wrong, but my method may not be best for someone else's style. And that's OK!
What do I think?
About sizing: For me personally, I like the sizing on my paper. Sizing enables me to use techniques that require a more durable paper surface. (Like glazing, scrubbing and lifting) I use Arches 140# CP for most of my paintings. I understand (with Arches watercolor paper) the sizing is added to the paper pulp as it is processed (referred to as internally sized) so the sizing is the same on both sides of the paper. Some brands of watercolor papers spray the sizing on the surface after the paper is made. I'm guessing those papers might need to have some of the sizing removed to make the paint flow better for the artist. Which is better? It really depends on the technique and style of the individual artist.
So for me personally for my style of painting removing the sizing isn't a pro, it's a con.
More About stretching: I know some artists who will not paint on unstretched paper...period!
My preference is to paint on high quality unstretched loosely secured watercolor paper. I enjoy the freedom to tilt and bend the flexible paper to create interesting mingling of the paint if my painting session take a turn in that direction. Plus I work on a number of paintings at the same time so if I did stretch my paper I'd need dozens of backer boards to hold my works in progress.
When I've worked on the taunt surface of stretched paper it wasn't that I didn't like it, but I did need to make adjustment to my brushstrokes and work differently.
Call me lazy, but personally, I'd rather be painting than spending the extra time it takes to stretch my watercolor paper. But that's me!

Thanks for your question!
SUSIE

How important is drawing?

QUESTION: Hi Susie! Love your work. My question is this: I want to be an artist, like you. I practise drawing and painting for approximately two hours a day. Is this enough? In Gordon MacKenzie's book he states that to be an artist you have to start building a data base. What does he mean? Any pointers you can give me would be much appreciated. Paul


SUSIE'S REPLY: Hello Paul, thanks for your question. I'm sure many other artists wonder about the importance of drawing and how it applies to painting....especially watercolor painting!

I believe that the more you draw the better you will be in every art medium. Drawing is a great hand and eye coordination exercise. Transferring what you see to the paper can also train your eye to really look at the object/subject. Draw every chance you get whether it for a painting or not.

When I'm teaching I use a simplified line drawing (for my students to see what I'm visualizing in my head) to illustrate placement and/or perspective. To me the lines are meant to be guidelines like a road map and are not intended to be the exact edge of my subject. I like to use my brush to create the shapes of the objects not following pre-made pencil lines exactly. When I try to force the paint to stay inside the lines my painting looks and feels tight and over controlled.

Most of my paintings are painted "free hand" without any pencil lines. It took me several years to get to this place. However I did draw on my paper when I started painting. The reason I can paint without pencil lines is because I do draw a lot and the information I save in my "data base" is accessed when my brush starts to draw on my watercolor paper.

In response to your specific question --- I thumbed through MacKenzie's book The Watercolorist's Essential Notebook to find what you were referring to so I wouldn't take it out of context and I'm sorry to say I didn't find it. (Perhaps you could send me the the page number.)

What he could have meant by "starting to build a data base" may have meant to become familiar with your subject and how it is shaped so that when you start to paint it you have an understanding about how it is put together or how it grows so as you paint the subject it looks natural. If we are painting something from memory or sometimes even from a photo, and we get to a place where we don't know exactly what's next we have to fake it to fill in a gap. It's much better to have a 'data base' from previous drawings to refer to. As I said I'm not sure that's what he meant but its a good guess.

I hope that helps some. Draw Draw Draw! Enjoy drawing and learning all you can about the subjects and objects that interest you. Then when you start to paint those things you will be so familiar with them painting their shapes will be second nature.

Most of all have fun!
SUSIE

ADDITIONAL COMMENT!! I found the MacKenzie reference! It's in his Landscapes book. What he means by "Start building your own data base." is to take notes and write down what it is you like about a specific painting or photo that inspires you. Take photos of your own when you see something you'd like to paint. Keep a sketchbook to remind you of the things you want to paint. He also says, "...there is no better way to improve your ability to see than to draw."
So we were on the same track. :) SS

Easy Watercolor Christmas Cards

Question: Hi Susie, I'm a beginning watercolor student and would like to paint my own Christmas cards this year. What suggestions would you have for a beginner who would like to paint something simple but something that expresses the beauty of Christmas?

SUSIE'S REPLY:
I think that receiving a hand painted greeting card is so special! I have some Holiday card suggestions on my website that should give you some ideas for painting simple cards. For beginners (and kids) I recommend easy shapes such as those you might find for making cookies. Try painting a wreath or a stocking, a gingerbread man, Christmas tree, star etc each can be as simple or ornate as your imagination allows. Add a border. Dare to dream!

Here is a link to my free Christmas Card Ideas
and here's a link to my Winter Landscape Cards with patterns and instructions
and you can find some additional tips on my watercolor tips pages

Have fun painting your cards! Keep them simple and I know you can do it!

Merry Christmas!
SUSIE

Palette Choices

QUESTION: Please tell me what type of watercolor palette you recommend. I've seen so many like Quiller, Richeson, John Pike??? and I'm confused as to which is the best buy for my money. Thank you kindly. Fran


SUSIE'S REPLY: I personally like a light weight plastic palette with flat wells. It's my choice because I like to work with dry paint vs. wet paint. I find that the slanted wells collect too much water under the paint. My favorite palettes are the 32 well Jones palette or the Richeson palette with 22 wells. Both have lids and an open mixing area without "speed bumps".
The Quiller palette has flat wells and would fit my needs if it had a few more wells. It is arranged to work with the color wheel color theory and is an excellent choice for working with a limited palette of colors.
If you work with moist or freshly squeezed paint you may prefer the slanted wells. The John Pike palette is one of the sturdiest palettes on the market.

When purchasing a palette I look for a palette made from durable plastic and watch out for weakened corners. I have found through the years that the quality of the Jones and Richeson palettes mentioned above are consistantly reliable.

I hope that helps! Happy Painting!
SUSIE

Transfering a drawing to watercolor paper

Question: How do you transfer a drawing without a light box or window. Do you ever use graphite paper? If so, specifics please on it. Also, do you erase your drawing after you have finished your painting? I have never heard this addressed. Thank you, Linda /CA

SUSIE'S REPLY:
Linda,
There are many types of graphite paper available in art supply stores. If I do use a transfer paper I like the Saral brand the best. Because Saral Transfer Paper is wax free it gives the advantage of erasing like pencil without any smear or smudge.
Some artists like to make their own transfer paper using a graphite stick on tracing paper sealed with lighter fluid.

Do I erase my pencil lines when I finish a painting?
Yes, I do... most of the time. That's because for the most part if I do use a pencil line it's for a guide line or position rather than an edge. My drawing is not intended to be a part of the painting.
That's me ... and my personal preference.
There is nothing wrong with leaving pencil lines in the finished work. There are many great artists who do fantastic line drawings on their paper prior to adding watercolor to their work. Erasing the pencil lines would diminish the impact of their paintings.

For me personally, if I do want to transfer a drawing to my watercolor paper I prefer to use a light box or window rather than transfer paper.

Like so many things we do as artists, we will try this method or that method and adapt the one that works best for us and the way we paint. Not that one way is right or another wrong.... it is just what method works best for each of us.

Confession:
I did draw before I painted when I began my watercolor journey. Along the way my painting evolved into more of a freehand style painting without drawing first. I do still draw some for my students when I'm teaching. For the record!

I hope that helps answer your questions.
Happy Painting!
SUSIE

Paint Colors for Painting Dry Sand and Wet Sand in watercolor

QUESTION: Dear Susie,You are so talented. I am humbled by your work. Thank you for sharing your experience. I just bought your brush and can't wait until it gets here. What color(s) do you use to paint dry sand and wet sand? Kris / Florida

SUSIE'S REPLY: Hi Kris - Thanks for the kind words! I love what I do and I love to share.

The answer to your question on colors for painting dry sand and wet sand would depend on the location of the beach and the type of sand found there. It could be white or tan or black or golden or any combination of these.

Just as you hair looks darker when its wet, wet sand will usually be a darker value of the same hue/color you use for dry sand. Plus keep in mind that wet sand will often be reflective of the sky color too. Those reflections will vary in color depending on the lighting conditions and the time of day.

Granulating pigments add a slight texture that helps with painting the illusion of sand and is even more effective if the granulating pigments are used on rough watercolor paper.

I suspect you want me to give you the names of some colors you might try for painting sand. :)
And I'll be happy to name a few that will work well for painting sand.

One relatively new color for me in my paint box is Goethite Brown Ochre (Daniel Smith)
I found that works well for a mid value warm golden sand that doesn't look too yellowish. I like mixing it with Indanthrone Blue or French Ultramarine for a nice blue gray. It has a nice density that lends to granulation when used on either cold pressed or rough papers. (While I haven't tried it on hot pressed paper yet, I believe with the properties of the pigment would give some nice granulation on hot pressed too.)

• Quoted from Daniel Smith:
  Found in iron deposits nearly worldwide, Goethite (Brown Ochre) is named after Johann Wolfgang Goethe, the German philosopher, poet and mineralogist.
  Our unusually pure pigment is mined in Russia, south of Moscow. Rich and warm, DANIEL SMITH Goethite is a dark tea color in masstone and washes out to a rich, warm tan. In washes, it displays intriguing granulation, with pools of light and dark in every brushstroke. Like all colors derived from the earth, it is lightfast and permanent…a lasting connection to the planet and the creative forces of nature.

Goethite Brown Ochre is included in a limited edition Surf and Sand Triad offered by Daniel Smith earlier this summer. (2008)


Used alone or mixed together here are some additional watercolor pigments/paints you might want to try.

• Burnt Sienna
• Raw Sienna or Yellow Ochre
• Lunar Earth
  (DS) A transparent, non-staining pigment that resembles Burnt Sienna in color but separates dramatically. Lightfast and extremely versatile, Lunar Earth shares pigment properties with Lunar Black and creates similar amazing textures.
  Explore their radical reticulating qualities separately, then try painting Lunar Earth into a wet Lunar Black wash. An instant beach-sand and pebbles-magically appears.
• Lunar Violet
  (DS)With extreme granulation it’s capable of creating a rugged weathered look of years gone by, mix with other granulating pigment to create a sandy texture.
• Burnt Bronzite Genuine
  (DS)Burnt Bronzite Genuine pushes the honey tone of Bronzite Genuine to a more coppery hue. Both deeper brown and more orange, it's ideal for portrait work as it easily produces a wide range of flesh tones. Like Bronzite Genuine, it gets a subtle lustrous sparkle from iron oxide.
• Bronzite Genuine
  (DS) It's a warm golden-brown in masstone - somewhere between ochre and sienna, but distinctly different - that lets down into pale washes of soft, always warm, sandy beige. In a wash on cold press or rough paper, the brown settles out of this intriguing special-effect color.
• Yavapai Genuine
• Hematite
  (DS) ground from a heavy silvery-black mineral rich in iron. In a thick wash, the heavier particles settle, creating bold granulation. In a thin wash, it is a soft dove gray.
• Hematite Violet
  (DS) produces the same splendid texture as the standard Hematite, but the background hue is a warm violet-brown.
• Transparent Brown Oxide

Keep in mind that the paint varies from brand to brand even though the paint has the same color name. [The descriptions (in italics) above are quoted from Daniel Smith.]

I hope these give you some ideas for painting sand, wet or dry.
Have fun!
SUSIE