A
- artists
- Akers Douglas, Oliver, 103
- Albala, Mitchell, 9, 12, 22, 41, 50, 51, 64, 68, 71, 82, 90, 106, 116, 118, 130, 131, 132, 133, 144, 158, 165, 167, 172
- Allain, Tony, 35, 147
- Balkwill, Ray, 113
- Baron, Cindy, 67
- Berry, Hester, 10, 122
- Bierstadt, Albert, 95
- Carver, Jill, 112
- Castagnet, Alvaro, 72
- Charles, Sue, 14, 34
- Cone, Bill, 56, 69, 78
- Cotton, Brent, 100, 119
- Cramer, Bill, 23, 148
- Curtis, David, 128, 176
- English, Kim, 134, 135
- Gellatly, Scott, 50, 107, 160
- Gould, Mark, 109
- Greeley, Dirk, 62
- Grossmann, David, 18
- Grossman, Lisa, 169
- Hanson, Marc, 26, 75, 108
- Hargreaves, Greg, 60
- Hassard, Ray, 49
- Heavner, Obadinah, 118
- Hobbs, Frank, 13, 36–37
- Hoffmann, Tom, 17
- Hook, William, 27
- Hunter, Charlie, 117
- Jaenicke, Barbara, 142, 157
- Laitinen, Dale, 152
- Lidbetter, David, 1, 45, 66
- Lord, Carolyn, 29, 104, 105
- Margulis, Karen, 145
- Mensing, David, 126
- Muccillo, Renato, 129
- Nagy, Tibor, 16, 38
- Retz, Tad, 58
- Sandor, Carol, 81
- Sharpe, Charles, 53
- Signori, Loriann, 125, 155
- Simandle, Marilyn, 141
- Snow Lady, Lisa, 15
- Strock Wasson, Carol, 123
- Van Dyck, Peter, 89
- Vrscak, Bill, 61, 143, 161
- Watkinson, Brent, 110
- Wei, Chien Chung, 24
- Wheaton, Kim Matthews, 46
- Whisson, Colley, 52, 136
C
- color
- believable color, 108
- color wheel, 114
- complementary colors, 120, 162
- compositional variations, 59
- direct observation, 104–106
- informed modification, 104, 107
- neutral colors, 127–129, 162–163
- neutralizing complements, 120
- pigments vs. natural light, 102
- plein air, 42, 105, 106, 151
- radiant complements, 120
- saturation, 124
- temperatures, 130, 131, 133, 156, 157, 159, 160
- Tonalism, 124, 129
- color grouping
- color selection, 149
- color studies, 144–145, 146, 151
- defining, 138
- dominant colors, 138, 141
- exercise, 147–151
- exploration of, 145
- natural grouping, 139–140, 146
- proportions, 146
- relationships in, 146
- swatches, 141–143, 145, 146, 150–151
- color palette
- dry media, 155
- limited palette, 154
- mixing strength, 156
- saturation, 156
- split primary palette, 159–161
- targeted palette, 155–158
- temperatures, 156
- three-primary palette, 154
- ultra-limited palette, 154
- value, 156
- wet media, 155
- color strategy
- color-priority strategy, 121, 123, 134–135
- contrast, 114, 115, 121, 124, 130
- contrasting accents, 119
- definition of, 112
- development of, 130
- exercises, 131–133, 134–135
- hue interactions, 115–119, 130
- saturation, 120, 123, 124, 127, 130, 156, 162
- temperature considerations, 130, 133
- value, 121–123, 130, 132
- value-priority strategy, 121, 122, 132, 134–135
- composition. See also notan studies.
- active negative space, 70–73
- angle and weight variations, 59, 61, 74
- circular movement, 69
- color and value variations, 59
- diagonals, 65, 67
- direct movement, 68, 74
- focal point, 63
- implied movement, 68, 74
- intervals, 59
- land, water and sky variations, 62, 74
- length and height variations, 59
- linear perspective, 66, 74
- movement and, 63–69, 74
- variation in, 58–62, 74
D
- depth
- linear perspective and, 66, 74
- vertical format, 47–49, 52
E
- exercises
- color groups, 147–151
- color strategy, 131–133, 134–135
- format, 53–55
- limited values, 30–33, 134–135
- movement, 78–81
- notan studies, 95–97, 98–99
- shape, 30-33, 34–37
- variation, 76–77
F
- format
- compositional elements and, 43, 52
- containment, 50
- depth enhancement, 48
- exercise, 53–55
- horizontal (landscape), 44–47, 52, 55
- inward and upward movement, 47–49
- movement and, 43–49, 52
- photos and, 52, 53–55
- square, 50, 51, 52, 55
- vertical, 45, 47, 52, 54
H
- hue interaction
- analogous harmony, 100, 115, 118, 119, 131, 132
- complementary colors, 115, 120, 125, 133, 162
- difference-based interactions, 115
- light and dark, 117
- monochromatic, 116
- neutralizing complements, 120
- radiant complements, 120
- similarity-based interactions, 115
- temperature, 133
L
- limited focus, 40–42
- movement compared to, 63
- photos and, 42
- plein air, 42
- studio, 42
M
- movement
- axes, 65
- circular movement, 69
- composition and, 63–69
- diagonals, 65, 67
- direct movement, 68, 74
- exercise, 78–81
- focal point compared to, 63
- format and, 43
- implied movement, 68, 74
- linear perspective, 66, 74
- pathways, 63, 68, 69, 74, 78–81
N
- negative space
- activating, 70–73, 75
- natural setting, 73
- skies, 71, 72, 75
- urban setting, 73
- notan studies. See also composition.
- 2-value notan, 86, 88, 89, 90, 92, 96, 99
- 3-value notan, 87, 88. 93, 97
- apps for, 93, 94
- clarity of, 94
- definition of, 84
- exercises, 95–97, 98–99
- focus, 92
- function of, 84
- liberal notan, 88, 97
- lines in, 91, 94
- observed sources, 98–99
- process of, 85
- shapes, 94
- simplicity of, 92, 94
- size, 92
- squinting, 84
- strict notan, 88, 97
- tools for, 91
- value compared to, 86
P
- picture window
- compositional elements and, 43
- containment with, 50
- definition of, 40
- depth enhancement, 48
- focus, limited, 40–42
- horizontal (landscape), 44, 45, 46, 47, 52
- movement and, 43, 44
- plein air, 42
- square format, 50, 51, 52
- studio, 42
- vertical, 45, 47–49
S
- saturated colors
- balancing with neutrals, 125
- importance of, 124
- instances of, 107, 109, 120, 123, 131
- intensity of, 124
- neutral colors and, 125, 127–129, 162–163
- rich darks and, 126
- semantics of, 124
- shapes
- 80/20 rule, 25–27
- detail and, 13
- exercise, 34–37
- limited value, 20
- reductionism, 12–13
- simplification, 13, 14–17
- squinting, 19, 28
- value and, 19–22, 23–24
V
- value
- color strategy, 121–123, 130, 134
- endpoints, 22
- exercise, 30–33
- limited value, 20
- notan studies compared to, 86
- relativity of, 19
- scale, 21–22
- shape and, 19–22, 23–24
- squinting and, 19
- value-priority color strategy, 121, 122, 134–135
- value zones, 23–24
- variation and, 59
- variation
- aspects of, 58, 59
- exercise, 76–77
- land/water-dominant, 62
- sky dominant, 62
- variation in, 58–62, 74
W
- works
- Ascension, North Cascades (Mitchell Albala), 41
- Ascension, Winter (Mitchell Albala), 22
- Augusta County, VA, Near Staunton, Winter (Frank Hobbs), 13
- Autumn (Tony Allain), 147
- Ballard Bridge to Shilshole, Winter (Mitchell Albala), 130
- Ballard Bridge, Under a Golden Light (Mitchell Albala), 51
- Bosley Mere (Hester Berry), 10
- Bridge Over Calm Water, American River (Carolyn Lord), 29
- Cadence (Lisa Grossman), 169
- Canyon Fortress (Bill Cramer), 23
- Cap’n Jim’s Place (Bill Vrscak), 161
- Cascade Dusk (Mitchell Albala), 116
- Cascadia (Mitchell Albala), 64
- The Cottonwood Tree (Mitchell Albala), 106
- Desert Flora (Scott Gellatly), 160
- Eclipse Day #1 (Marc Hanson), 108
- English Rooftops, Staithes, England (Colley Whisson), 136
- Entering the Narrows (Kim English), 135
- Evening Trees (Brent Watkinson), 110
- Excessive Moderation (David Mensing), 126
- Fading Light (Tibor Nagy), 38
- Fields in Summer (Sue Charles), 34
- First Easel (Mitchell Albala), 12
- Five Five Eighteen (Charlie Hunter), 117
- Flood of Light (Ray Hassard), 49
- From Silence to Symphony (Loriann Signori), 155
- Garnet Pond (Bill Cone), 69
- Glen, Canyon, Stream: Arcadian (Mark Gould), 109
- Going Up (William Hook), 27
- Golden Light of Winter Day’s End (Barbara Jaenicke), 157
- Iceberg Shore (Bill Cone), 78
- Instow (Hester Berry), 122
- Lake in the Sierra Nevada (Albert Bierstadt), 95
- Landscape Variations (Karen Margulis), 145
- Last Light (Carol Strock Wasson), 123
- The Lazy Afternoon (Tibor Nagy), 16
- Light Covering (Tad Retz), 58
- Long Day (Tom Hoffmann), 17
- Looking Up (Bill Cone), 56
- Moment in the Sun (Bill Cramer), 148
- Montegabbione, Umbria (Mitchell Albala), 71
- Montevideo Urban Series (Alvaro Castagnet), 72
- Monticchiello (Frank Hobbs), 36–37
- Mormon Row (Marc Hanson), 26
- Morning, Brewer Lake (David Lidbetter), 45
- Mostly Sunny, High 76 (Bill Vrscak), 61
- Mountain in Sunlight (Mitchell Albala), 90
- New Day (Jill Carver), 112
- Night Quarry (Dale Laitinen), 152
- Old Harry Rocks (Oliver Akers Douglas), 103
- Over the Bridge, Sandwich Kent (David Curtis), 176
- Palm Garden (Lisa Snow Lady), 15
- Parking Lot (Peter Van Dyck), 89
- Pathway to the Canal (Mitchell Albala), 68
- Peak Study, Orange (Mitchell Albala), 144
- The Promise of Abundance (Kim Matthews Wheaton), 46
- A Quiet Frost (Marc Hanson), 75
- Rain Showers Approaching (Colley Whisson), 52
- Remembering Spring (Barbara Jaenicke), 142
- Rooftops 59th Street, After the Rain (Mitchell Albala), 158
- September Light, Salmon Bay (Mitchell Albala), 167
- Shantou in the Rain (Chien Chung Wei), 24
- Shell Beach Opalescence (Carolyn Lord), 105
- Smoldering (Sue Charles), 14
- Snow Rivers in Half Light (Mitchell Albala), 172
- Snowy Ridge, Early Light (Mitchell Albala), 118
- Spring Light - Beck Hole, North Yorkshire (David Curtis), 128
- Spring Passage (Cindy Baron), 67
- Study, Camano Farm (Mitchell Albala), 144
- Study, Copper Morning (Mitchell Albala), 144
- Study, Grasser’s Lagoon in Gold (Mitchell Albala), 9
- Subtle Grandeur (Loriann Signori), 125
- Sunburst (Tony Allain), 35
- Sunset Light Over the Grand Canyon (David Grossmann), 18
- Swan Hotel, England (Marilyn Simandle), 141
- Toward a Western Light (Mitchell Albala), 165
- Trickle Down (David Lidbetter), 66
- Upper Ridge in Snow (Mitchell Albala), 50
- Valley Fires II (Renato Muccillo), 129
- Venetian Reflections (Ray Balkwill), 113
- Walk Through Granada (Kim English), 135
- Waterside (Scott Gellatly), 107
- The Way Home, Study in Azure and Orange (Mitchell Albala), 132
- The Way Home, Study in Grays (Mitchell Albala), 132
- The Way Home, Study in Orange and Violet (Mitchell Albala), 133
- The Way Home, Study in Yellow and Phthalo (Mitchell Albala), 131
- Wetland in Autumn (Scott Gellatly), 107
- When Days Are Short (Brent Cotton), 119
- Winter Fields (Greg Hargreaves), 60
- Winter’s Calm (Brent Cotton), 100
- Woodland Autumn (Bill Vrscak), 143
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