Content | Page |
Advertising Illustrations and Artists’ Paintings | 6 |
Emotion Evoking Images | 8 |
What to include/exclude and how to guide the eye? | |
Vision | 10 |
Power Areas Within a Picture | 12 |
Dividing a Picture into Sections - The Golden Section | 12 |
The Horizon | 14 |
Layout Tolerance Limits in Relation to the Horizon | 16 |
Approaching the Edges | 16 |
Bottom Right Corner Pulling Force | 18 |
A Picture’s Optical Centre Point | 18 |
Direction of Light | 20 |
When Coming, when Going | 20 |
Equilibrium and the Beginning of Motion - Corner Tensions | 22 |
Framing a Picture | 24 |
Areas of Observation and Tension | 26 |
Creating Depth of Distance within a Picture | 26 |
Moulding a Two-Dimensional Picture | 26 |
A) Scale within a Picture | 28 |
B) The Effect of Perspective | 28 |
C) The “Stepladder“ Effect | 30 |
D) The Effects of Colours and Light on Distance | 30 |
Colour Test | 32 |
The thickness of the Air Column | 32 |
An Outside Influence | 34 |
Lines, Motion and Rhythm - Lines and Dots – What are they? | 36 |
A Gap of Tension | 38 |
Using a Gap of Tension Within Albert Edelfelt’s Paintings | 39 |
Guiding the Viewer’s Eye | 46 |
Familiar and Unfamiliar Sides to an Image | 48 |
Shape and Colour A square - A Rectangle - A Triangle - A Circle - An Oval - A Polygon | 50 |
Sensing Colours Light to Colour - Visual Observation - Colouring - Spreading Colours | 54 |
Perception of Colours Red, Yellow, Blue, White, Black, Warning Colours | 58 |
Pictorial Aids within Designs | 60 |
- Forces that Keep a Pattern Together | 61 |
- The Effect of a Square | 62 |
- Uniting Force of a Triangle | 63 |
- A Circle Confines | 64 |
- Angled Lines | 64 |
- Crosses and Radial Lines | 65 |
- Landscape S | 65 |
- Certainty in the Figure of "9" | 65 |
Examples of Circular Designs | 66-77 |
Revision Picture 1, the Sun Animal, 15 diagrams | 78 |
Revision Picture 2, “The Sunbeam and the Earth Sprite“ | 79 |
Pictorial Aids & Anatomy | |
Sketching the Perspective | 82 |
Places of Details | 83 |
Trees and Forests | 89 |
A Pine Tree | 90 |
A Spruce | 99 |
Deciduous Trees | 104 |
Sky and Water | 116 |
Winter and Snow | 122 |
The Creation of an Image | |
Using a Photograph as an Aid | 136 |
A Black and White Picture | 138 |
A Pencil as a Tool | 138 |
Lines and Memory | 144 |
Considering the Shape of a Boat | 145 |
Working with Drawing Ink | 155 |
Hand-Printed Serigraphy (silk-screen printing) | 168 |
Watercolour and Porcelain Painting | |
Brushes and Basic Tools | 172 |
Watercolours | 174 |
- Tube or Block Colours | 174 |
Watercolour Paper | 176 |
- Attaching the Paper for Painting | 176 |
Wet or Dry Surface | 178 |
Light on Dark | 180 |
Water and the White Colour | 180 |
Behaviour of Colours | 181 |
Planning the Working Stages | 182 |
A Three-Dimensional Tree | 182 |
From Background to Foreground | 184 |
From Light to Dark | 186 |
The Sky and Clouds | 190 |
Motion of the Water | 196 |
Still Water | 197 |
Using Masking | 199 |
Masking Large Areas | 200 |
The “Stepladder“ Effect on the Foreground | 202 |
- Working Procedures | 202 |
Treating a Colour Surface with Salt | 206 |
- Examples of Salt Marks | 207 |
Using a Pocketknife’s Blade | 208 |
A Portrait in One Sitting | 210 |
Complimentary and Base Colours | 216 |
Facial Shadows | 218 |
Flowers | 220 |
- Floral Designs | 221 |
- Character and Detail | 224 |
- Light on Dark | 226 |
Painting on Porcelain | 228 |
- Colours Intended for Firing | 230 |
- Basic Colours | 230 |
- Tile or Plate? | 232 |
- Choosing a Painting Method | 232 |
Examples of work | |
- Pine | 234 |
- Spruce | 235 |
- A cloud’s shadow and an area of light | 236 |
- Clouds | 240 |
- Plan and Realization | 243 |