How am I supposed to NOT work from photographs?

[LopezT]

Title says it all, how in the world am I supposed to NOT work from photographs at my age.

I'm a junior in high school right now and I've ambitions to be a portrait artist, and as such I want a school that will strengthen my technical skills.

So I've been looking at PAFA, however, I found this eyesore
An observational drawing is any drawing that you make while looking at actual objects. It can be a figure drawing, portrait, still life, interior space, landscape, etc. Do not use photographs as reference.

HOW? I understand how if I was enrolled in PAFA, as they would supply me with models. However, I live in a nowhere city in Michigan.

All I have to work are from photographs, everything in my portfolio are from photographs. I'd love to work from life but have no idea how I'm expected to.

[Noah Bradley]

Mirror.

[QueenGwenevere]

Surely you have things around you? You can't possibly live in a vacuum...

Do you have a mirror? Draw yourself. (Don't have a mirror? Get one.)

You say you live in a city. Okay, go out and draw some buildings, people in the street, pigeons, fire hydrants, dogs, anything.

At the very least you MUST have something you can use to draw still life from observation. Your lunch. Your shoes. Your dishes. Your computer. Your garbage. ANYTHING.

And surely you live in an interior, or can get into a public building of some kind... okay, draw that, there's your observational drawing of an "interior space".

[LopezT]

Well of course I have still life to draw from, but thats not my strength at all, my strength is portraits. Still life is definitely not what I'd want in my portfolio. At least not more than a few pieces.

I will do a self portrait drawing, but still thats 1 out of the 15 required pieces.

[Black Spot]

Don't you have any friends or family?

[Nezumi Works]

Well of course I have still life to draw from, but thats not my strength at all, my strength is portraits.

Got links to any of your stuff? Maybe start a sketchbook and post some here? It's not good form to talk up your strengths when we can't see what you mean.

That said, drawing anything makes you better at drawing everything. A bowl of fruit involves mostly the same shapes in a head and shoulders portrait, you're just arranging them differently.

[TinyBird]

I will do a self portrait drawing, but still thats 1 out of the 15 required pieces.

Draw every single of your bodyparts separately. That should fill up 15 drawings.
And you say you're in junior high, ask people in your classes if they'd be willing to pose for you.

Though, 15 portraits is probably not what you'd want your whole portfolio to be, especially if this is some sort of school thing.

[Elwell]

An observational drawing is any drawing that you make while looking at actual objects. It can be a figure drawing, portrait, still life, interior space, landscape, etc. Do not use photographs as reference.

That's how.

[Cory Hinman]

You really can't draw from photos UNTIL you've drawn from life.
A LOT.

[InvisibleQuail]

If it's not "your strength" than you should practice it so you can get batter at it?

[QueenGwenevere]

You're in school, draw your classmates.

And yeah, what InvisibleQuail says... If portraits are your only "strength", you really should practice some of those other things or you'll never get good at them. Especially since most art schools and art programs are going to want to see more than just portraits - the more variety, the better, usually.

[Kamber Parrk]

Looks like the only real problem is if PAFA absolutely, positively has a life nude requirement as part of its portfolio requirements.

Maybe there's a community college within driving distance that offers life sessions. Or, maybe you can convince your parents to let you attend an atelier program out of state (or in-state) during the summer?

[sone_one]

the requirement is not lifedrawings (as in with a nude model), but more along
the lines of drawing from life, which are two completely different things.

well how are supposed not to draw from photos, where basically there is no
room for either vision nor intellectual effort while copying. how are you
supposed to be a painter, if the crown of creation to you is photography?
become a photographer then.

[Elwell]

Looks like the only real problem is if PAFA absolutely, positively has a life nude requirement as part of its portfolio requirements.

Here is the link to their undergrad and certificate portfolio guidelines (why the hell they've posted it as a Word doc and not in html or as a PDF is beyond me, but that's another story), I don't see any nude requirements.

General
The Pennsylvania Academy of the Fine Arts requires an Admissions portfolio of 12-15 consistently strong images. We are interested in well-developed fine arts portfolios. We are looking for skill, creativity, focus and ambition. Your portfolio should consist of observational drawings that investigate line quality, composition, value, proportion and the illusion of depth. We also want to see works that showcase the complexity of your thinking and how you create and organize visual images. These works may be observational, imaginative, conceptual or abstract, and can be executed in any media. In every case we want to see your strongest work. Do not submit images that are outdated or low quality.

Observational Drawing
Any successful undergraduate fine arts portfolio must include examples of observational drawing. An observational drawing is any drawing that you make while looking at actual objects. It can be a figure drawing, portrait, still life, interior space, landscape, etc. Do not use photographs as reference. The ability to translate a three-dimensional object into a two-dimensional image is one of the most challenging drawing skills that an artist must master; it is critical that the committee is able to evaluate this ability. It is impossible to overstate how important this aspect of your portfolio is.

Creative Thinking
In addition to evaluating your observational skills, the committee will look for evidence that you have the ability to think conceptually and to create visual art according to your own personal vision. These works can be in any style or medium and should be finished pieces that use the elements of visual language to convey a clearly developed idea.

Ambition
Beyond technical skill and conceptual thinking, a quality portfolio should display the artist’s response to a variety of challenges. Outstanding portfolios will maintain strong conceptual themes, while exploring a diversity of media, scale, and technique. Students should strive to create complex compositions, display breathtaking skill, and exhibit a unique artistic point of view.
Your portfolio should display focus and commitment. These are the elements that distinguish scholarship-winning portfolios. Remember, it is never a good idea to sacrifice or dilute quality; a portfolio should only contain 12-15 of your strongest images. Do not include work that is ambitious if it is not also well executed.

[JeffX99]

So I've been looking at PAFA, however, I found this eyesore
An observational drawing is any drawing that you make while looking at actual objects. It can be a figure drawing, portrait, still life, interior space, landscape, etc. Do not use photographs as reference.

All I have to work are from photographs, everything in my portfolio are from photographs. I'd love to work from life but have no idea how I'm expected to.

Edit2.5: I'm rather embarassed...I thought the OP had pulled that from one of my posts about drawing from life...it rang so close to what I recall writing awhile back. Now I realise he was simply pulling it from the actual PAFA portfolio guidelines. Still, it was creepy how close it was...so please disregard my thread faux pas!

LOL - that was me I believe [ok not me but close!]? And you're more than welcome to actually quote it with my name and everything! [if it was mine!]

I'm totally late to this party but yeah...I'm not sure exactly what parts of my [their] quote to bold, underline or italicize.

What everyone else said...except for get "Drawing Essentials" by Deborah Rockman...it's all in there. And definitely start a sketchbook or post some work. I realize you are interested in portraits...but the school could care less what is in your portfolio, they are interested in your ability to observe and draw, regardless of subject.

Edit: I did NOT write those requirements...honest!

Edit 2: OMG - that is almost verbatim! [I'madork]

Edit 3: Self-quote from this thread Using Reference :

Any directly observed and translated subject, whether in drawing or painting, is working from life: livestock, landscape, buildings, still life setups, pets, flowers, etc.

OK - not even close to verbatim but relatively close in principle.

[Kamber Parrk]

Well then, the OP simply needs to:

GO DRAW!

[Nezumi Works]

I especially like this part:

Do not use photographs as reference. The ability to translate a three-dimensional object into a two-dimensional image is one of the most challenging drawing skills that an artist must master; it is critical that the committee is able to evaluate this ability. It is impossible to overstate how important this aspect of your portfolio is.

So bitching about using photos is totally pointless, since THE WHOLE POINT IS TO DRAW REAL OBJECTS. Not to mention, you complain that it's hard to find subjects, when the requirements want you to be creative in solving problems. So be creative.

Keep in mind, this portfolio is not the one you'd give to the public. Its sole purpose is for the school to decide whether you can be taught or not. The only people seeing this (assuming you don't put the pieces out there yourself) are the admissions committee. That may have an effect on how you approach all this.

[Elwell]

Yeah, those are pretty good guidelines for an entrance portfolio for any school, not just PAFA.

[Stoat]

And don't even think about drawing from photos anyway. They'll spot it, no problem. It takes a LOT of ability to work from photographs and not get that cramped, flat look.

Which is why they don't want you doing it yet.

[Nezumi Works]

And don't even think about drawing from photos anyway. They'll spot it, no problem. It takes a LOT of ability to work from photographs and not get that cramped, flat look.

Which is why they don't want you doing it yet.

Not to mention, if you're trying to prove you're someone who can be taught, it might be a good idea to, you know, follow their instructions.

[{CKL}]

Whoa, take it down a notch everyone, you're dealing with a teenager, all this is pretty new to them.

OP, I know it's uncomfortable at first, but you need to really push yourself to set up these Life Drawing sessions yourself, no one else is going to do it for you. I think you're wondering how the hell do you make this happen because you've never done it before. There's nothing magic about it, you just do it. Just like when you started working from photographs. Be resourceful and follow the guidelines you were given to a 'T'. And, btw, if you can demonstrate that you can nail a still life dead on, it'll show them you could do that with anything. Best of luck.

[minamongoose]

Well of course I have still life to draw from, but thats not my strength at all, my strength is portraits. Still life is definitely not what I'd want in my portfolio. At least not more than a few pieces.

but that is what they are going to want to see. You are going to spend a lot of time drawing still life and etc. in beginner art classes so you may want to start getting used to that now. Just grab a couple of objects you like and arrange them on a table, and draw it. They want to see that you are willing to draw from life, and that you are willing to follow their instructions. I'm assuming you have friends or family, ask if they will sit still for a while and let you draw them. Draw your hands and feet. Draw your pet if you have any. Draw some fruit. Go outside and draw some trees or flowers. There are endless things you can find to draw, so don't worry about your strengths for now, just try to draw what you see around you.

[JeffX99]

In addition...you can be very creative with still life...it isn't just fruit and flowers and such...I like to use animal skulls and tools and weird machine bits. You can even set these things up like they are characters in a play somehow...facing each other as if in conversation, etc. Research still life a bit more and see how creative people get with it. Check out Alan Magee and Daniel Sprick for starters. Trompe L'oeil may interest you as well.

[Nezumi Works]

In addition...you can be very creative with still life...it isn't just fruit and flowers and such...I like to use animal skulls and tools and weird machine bits. You can even set these things up like they are characters in a play somehow...facing each other as if in conversation, etc. Research still life a bit more and see how creative people get with it. Check out Alan Magee and Daniel Sprick for starters. Trompe L'oeil may interest you as well.

Or if you have a taste for the surreal:

[JeffX99]

Absolutely!...so many ways to be creative with still life. Hopefully these have given the OP some good inspiration points. Post your work LopezT and good luck in your progress!

[minamongoose]

No, I didn't mean those were the only possible things to draw... of course you can draw more interesting things if you want. I just listed some common things that anyone would have access to and that are good practice for someone who doesn't feel great about drawing from life and drawing still life. It doesn't have to be boring at all.

[hitnrun]

if all else fails, as someone posted already: use a mirror. You're the ONE model always abailable for you to draw.

But, if the requirements are still lives, I'd probably get to work on that.

[jzhang]

You really can't draw from photos UNTIL you've drawn from life.
A LOT.

more or less, agreed.

go find some homeless people, coffeeshop, or a place that people sit for a long ass period of time...? if you live with people, just draw them while they're doing their thing.

there's literally no excuse to not be able to draw from life (unless you're blind).

[danny4]

using a mirror, you'd still be drawing from a flat plane image with no real life physical object in front of you...no better or worse than working from a photograph.

[Elwell]

using a mirror, you'd still be drawing from a flat plane image with no real life physical object in front of you...no better or worse than working from a photograph.

Excuse me, but WHAT??!!!???