Painting With Your Artist's Brain

by Purcell, Carl

• ISBN13: 9781581803976
• ISBN10: 1581803974
• Format: Hardcover
• Copyright: 2004-03-01
• Publisher: North Light Books

Summary

The biggest roadblock to any artist's success is the intellectual brain. In this easy-to-follow guide, readers will learn to silence their enemy within so they can listen more clearly to their visual brain.It's the visual brain that allows an artist's spirit to shine through--the key to paintings that grab both the eye and the heart. With a variety of step-by-step demonstrations and thoughtful sidebars, readers will learn how to truly see as artists. They'll find sections on:-Negative space-Developing good technique-Center of interest-Value patternsThese in-depth lessons will help artists of all levels improve their work and add more joy to the painting process.

Author Biography

Carl Purcell has taught fine art at Snow College in Central Utah for over 25 years

Table of Contents

Introduction	8	(2)
Materials and Studio Suggestions	10	(2)
developing Good Technique	12	(18)
Before you can train your artist's brain to see correctly, you need to know good basic techniques for laying down paint on paper
the Two Brains	30	(14)
Meet your intellectual brain and artist's brain. Learn to defeat the enemy within by becoming visually articulate
seeing Shapes	44	(16)
Discover the qualities of interesting shapes using their silhouettes. Practice altering mundane shapes to transform them into exciting ones
seeing the Shape of Space	60	(16)
Learn to design the shape of space around an object. Practice creating shapes of space to add visual impact to your subjects
seeing Shapes of Value	76	(12)
Learn to see shapes of value and use them to build visual paths and bridges to captivate the viewer's eye
building a painting on Value Patterns	88	(22)
Turn the previous chapter up a notch by unifying shapes of value and extending them to the edges of your painting to activate the format and improve the composition
ensuring a strong Center of Interest	110	(14)
In painting, like target practice, you need to know what you are aiming at. You can't design the elements in a painting to support the center of interest if there isn't a center of interest
Conclusion	124	(2)
Index	126