Conversations in Paint: A Notebook of Fundamentals

Conversations in Paint: A Notebook of Fundamentals

by Charles Dunn

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Overview

Conversations in Paint: A Notebook of Fundamentals by Charles Dunn

A fresh introduction to the fundamentals, conversations in paint (previously titled The Principles of Painting) 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.It is also a unique object in its own right, a book as work of art. Developed as a sketchbook, the pages are crammed with watercolor sketches that look as if they've been painted right on the page, plus diagrams, charts, and reproductions of old masters and contemporary artists. Quotations from Cezanne to such unexpected authors as Harvey Penick are printed in a specially designed typeface based on the author's handwriting, giving each spread the intimate, layered quality of Sara Midda's books. Indeed, the spread-designed with text, quotes, illustrations and captions, to be read and absorbed on its own-is the book's basic building block. Open the book anywhere and learn something new about painting. About seven ways an artist sees. About the language of line. About mood and the four ways to stimulate emotion. About perspective, light and shade, style, composition, drawing, technique, mass, scale. And, from a life-long teacher, a little section at the end of the book about "Learning-applicable to any area of life.

Product Details

ISBN-13: 9781563056642
Publisher: Workman Publishing Company, Inc.
Publication date: 01/28/1995
Pages: 208
Product dimensions: 8.92(w) x 11.54(h) x 0.72(d)

About 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.

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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