A good number of these spiral bound copies have been placed in the hands of instructors and professors of art and have been the subject of a number of lectures and demonstrations, with the chapters on perspective, contrast, geometric design and "the illusion of light" as their main themes. To art clubs, the techniques of alla prima painting and oil sketching have also been topics of demonstrations. See the annotated table of contents below.
Signed manuscript copies are also available for $47.00. pre-paid by check or money order.
James Olson 1558 Harvest St., Salt Lake city, UT 84116.
Manuscript copy of "The Artist's Toolbox"
You almost have to squint at the brilliance of the flame.
Why ?
Chapter 1 BEGINNINGS: What can be taught and what cannot is noted with some comments about observation.
Chapter 2 DRAWING TECHNIQUES: With time, we progress from symbolic to a more realistic or meaningful picture of things observed. To that end, we discuss some basic methods in learning to draw accurately. Still, certain types of lines and shapes have symbolic meaning and remain in our toolbox. Drawing then, has got to be important to all painters regardless of their method or subject matter.
Chapter 3 PERSPECTIVE: Linear perspective is the application of geometry to produce the illusion of depth or distance. Aerial perspective is the effect of atmosphere in providing the feeling of depth in a two-dimensional work. We also discuss the illusion of solidity or three dimensions in a two dimensional work.
Chapter 4 DESIGN & COMPOSITION: By design we provide an entrance for the eye into the painting, direct its path to travel through the painting to view all areas, and define the center of interest. Design also includes some of the symbols used in drawing. In composition we take design further to consider other factors. Certain proportions create a feeling of harmony and balance. One third and two fifths are most common, with the latter being preferred.
Chapter 5 COLOR THEORY AND PRINCIPLES & USE OF COLOR: Many theorists and authors have lent a great deal of understanding of how color and our perception of color works. We briefly review the works of some of the more important authors. This discussion also includes additive and subtractive colors and chromatic affects.
Chapter 6 MATERIALS AND TOOLS: This is a discussion of the various pigments and common tools for the application of paint. Everyone’s studio or humble painting space is different, but there are a few things that can improve your space Lighting, of course, is of most importance
Chapter 7 THE PROCESS OF PAINTING: Here we discuss the physical application of color. Each artist develops his or her own painting techniques but there are some basic methods that can be taught. The use of color is very personal, and we sometimes get into a rut. There are, however, some fun ways to expand our color horizons.
Chapter 8 THE ILLUSION OF LIGHT: It is through light that we see things and shadows that define their shape, but more than that, a painting of light can be made to appear brighter than the white of the paper, white pigment, or the gessoed ground upon which it is painted.
Chapter 9 DETAIL: The amount of detail in a painting depends on the artist’s intentions. It is important however, that the artist have the information to produce a convincing work. To be convincing the artist must be, at least, familiar with the anatomy of the subject.
Chapter 10 PERMANANCE: The proper application of paint and choice of materials will assure the artist of the longevity of the work produced.
Chapter11 GEOMETRY or Advanced Composition: Our minds are, after all, computers that enjoy order. Knowledge of the geometry of design and composition is a great tool in location and form of the elements of art and architecture. We explore here the elements of Dynamic Symmetry, a geometric tool used by many artists and architects.
Chapter 12 PHOTOGRAPHS: Photographs are great for gathering structural information but be careful in using them for such things as color and aerial perspective
Chapter 13 DRAWING TRANSFERS, MODELS AND NOTATIONS: As important as photographs, are structural and live models and painting notations.
Chapter 14 MARKETING: Get rid of the thought that if your work is good it will sell itself. The competitions’ work may be inferior to yours but they can beat the socks off you in marketing. Marketing may be the proverbial “evil necessity”. Be it so, but it can also be rewarding and even an enjoyable challenge.
CONTENTS
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