Conversations in Paint: A Notebook of Fundamentals

Overview

A fresh introduction to the fundamentals, CONVERSATIONS IN PAINT is part painter's sketchbook, part philosopher's journal, part instructor's primer. If you paint, it will give new insight into your work. If you don't paint, it will inspire you. Open to any page and learn to see.

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Overview

A fresh introduction to the fundamentals, CONVERSATIONS IN PAINT is part painter's sketchbook, part philosopher's journal, part instructor's primer. If you paint, it will give new insight into your work. If you don't paint, it will inspire you. Open to any page and learn to see.

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Editorial Reviews

Library Journal
Dunn, a marketing consultant, took his first art class at the age of 35. Thus, this volume, in the form of a "notebook," is written by and for the amateur painter with the attitude that all one needs to paint is desire. However, one of his major tenetsthat talent is a mythis a fallacy. Dunn covers the basic principles of design, contrast, theme, and perspective, but the design of the book itself muddies his intent. Structured more like an M.B.A.'s organizational chart, without chapter numbers as guides, the book is frustrating to work with. There is no lack of alternatives on the subject, such as Rex Brandt's Seeing with a Painter's Eye Van Nostrand Reinhold, 1984.
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Product Details

  • ISBN-13: 9781563056642
  • Publisher: Workman Publishing Company, Inc.
  • Publication date: 1/28/1995
  • Pages: 208
  • Sales rank: 993,962
  • Product dimensions: 8.92 (w) x 11.54 (h) x 0.72 (d)

Meet the Author

Charles Dunn describes himself as a perpetual student. He took his first art lesson as a self-conscious adult at the Museum of Modern Art in 1967 and has been actively studying, teaching, painting, and showing work ever since.

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Table of Contents

Introduction

SEEING

See for Yourself

Seven Ways the Artist Sees

The Language of Painting Aesthetic Conventions

Seeing in Symbols

Form Follows Function

Style

Exotic Locations and Local Equivalents

Learning from the Masters-Looking at Paintings

Tastes Change

PRINCIPLES

The Fatigue Mutations

Design-Contrast

Gradation

Theme and Variations-Major and Minor Themes

Restraint

Every Picture is Not a Painting

Center of Interest

Design Principles May Combine

Pattern

Organizing Principles

Element Patterns

Combining Patterns

Organizing Patterns

Balance

Passage and Counterchange

Patterns of Clarity and Interest

Type

Instinctive Types

Acquired Types

Formal Types

Using Type

Emotion

Mood

Stimulating Emotion

Organizing Emotion

MATERIALS

Color

Basic Characteristics Color in Nature and Paint

The Three-Value System

Relative Clarity

Secondary Characteristics

Color Relationships

Balance and Organization

Seven Ways to Use Color-Open and Closed Color

Line-Generating a Line

The Language of Line

Lost and Found Edges

Hierarchy of Edges

Texture-The Golden Section

Mass

Form Description and Surface Texture

Figure and Ground

Volume

The Picture Box

Perspective Defined

One-Point Perspective

Two- and Three-Point Perspectives

Proportional Division

Uphill and Downhill Illusions

Compromise Perspectives

Overlap Perspective

Aerial Perspective

Light and Shade

Scale

Volume Control

Look Into, Look Through, Look Over

The Sense of Space

THE BRIDGE

Style, the Bridge from Theory to Practice

Personal Profile

Procedure

Planning

The Notated Sketch

The Plan View

Pattern Schemes

Format and Horizon

Point of View and Key

Color Plans

Composition

Drawing

Painting

The Underpainting

Notan: The Second Layer

Layering

Editing-Spotting: The Final Darks

Calligraphy The Line-and-Wash Job

Framing

The Crit

Fine Points

Learning

The Purpose of Learning Apperceptive Mass

The Gateway to Learning

The Pathway to Memory

The Pleasure of Practice

The Autonomous Stage-The Antidote to Tension

Picture Credits

Bibliography

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  • Anonymous

    Posted September 15, 2011

    recommended

    Good description about the book and ship on time.

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