Problem Solving for Oil Painters : Recognizing What's Gone Wrong and How to Make it Right

by Kreutz, Gregg

• ISBN13: 9780823040971
• ISBN10: 0823040976
• Format: Paperback
• Copyright: 1997-04-01
• Publisher: Random House
• More Book Details
• Purchase Benefits

Summary

Nine common trouble-spots in oil painting are identified in this book, andeaders are helped to locate their own problem areas and avoid them in future.

Author Biography

Gregg Kreutz has won numerous honors as a student and professional painter. His paintings have been represented in many juried shows. Gregg is represented by the Fanny Garver Gallery as many others, including the Grand Central Galleries, New York, O'Brien's Art Emporium, and the Dirk Walker Gallery in Brimingham, Alabama. He teaches painting at Scottsdale (Arizona) Artists School, the Fechin Institute (New Mexico), and at the Art Students League in New York City where he lives.


From the Hardcover edition.

Table of Contents

Introduction	p. 7
Idea	p. 9
Is There a Good Abstract Idea Underlying the Picture?	p. 10
What Details could Be Eliminated to Strengthen the Composition?	p. 12
Does the Painting Have a Focus?	p. 15
Are the Unessential Parts Subordinated?	p. 18
Does the Painting "Read"?	p. 20
Could You Finish Any Part of the Painting?	p. 26
Shapes	p. 31
Are the Dominant Shapes as Strong and Simple as Possible?	p. 32
Are the Shapes Too Similar?	p. 38
Value	p. 43
Could the Value Range Be Increased?	p. 44
Could the Number of Values Be Reduced?	p. 50
Light	p. 55
Is the Subject Effectively Lit?	p. 56
Is the Light Area Big Enough?	p. 60
Would the Light Look Stronger with a Suggestion of Burnout?	p. 64
Do the Lights Have a Continuous Flow?	p. 68
Is the Light Gradated?	p. 72
Shadows	p. 77
Do the Shadow Shapes Describe the Form?	p. 78
Are the Shadows Warm Enough?	p. 81
Depth	p. 85
Would the Addition of Foreground Material Deepen the Space?	p. 86
Does the Background Recede Far Enough?	p. 88
Are the Halftones Properly Related to the Background?	p. 91
Solidity	p. 95
Is the Underlying Form Being Communicated?	p. 96
Is the Symmetry in Perspective?	p. 100
Color	p. 105
Is There a Color Strategy?	p. 106
Could Purer Color Be Used?	p. 110
Do the Whites Have Enough Color in Them?	p. 114
Are the Colors Overblended ion the Canvas?	p. 118
Would the Color Look Brighter if It Were Saturated into Its Adjacent Area?	p. 122
Paint	p. 125
Is Your Palette Efficiently Organized?	p. 126
Is the Painting Surface Too Absorbent?	p. 127
Are You Using the Palette Knife as Much as You Could?	p. 130
Are You Painting Lines When You Should Be Painting Masses?	p. 132
Are the Edges Dynamic Enough?	p. 136
Is There Enough Variation in the Texture of the Paint?	p. 140
Index	p. 144
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