composition of outdoor painting edgar payne pdf

p.104 'in composing, both extreme dark and light main areas need to be repeated elsewhere, either in smaller proportion of mass of the same value, or modified slightly.' The same applies to color Put some interest in the background so that the eye rests there for a longer period of time. p.72 manipulate texture in perspective to recede the plane. p.69 'Isolated parts are very likely to detract if they have no attachment to the main groups.'

use interchange: edges along which the contrast of values increase in gradation'

'Every good composition contains three or four main values. Without consideration for these facts, the student is likely to over-model or make his accents and highlights too strong.' p.81 'even though full scale in pigment is used the relation of values within each mass in the picture must be very much closer than those outdoors. Avoid being controlled by realism, thus over-modeling all accents and details. I am happy to have an insight into his methods and ideas. It adds up to an invaluable source of inspiration and instruction.Īfter all, E.A. The vertical lines of the tree are well opposed by the strong definitions of the ground planes, as well as by the more subtle values and softened edges in the distance.'īut with all of my sniggers and giggles about this book, there is also much solid information about a color palette, working habits, and materials. 'This canvas reveals the circular form of arrangement with a U influence. He describes principals of composition but it feels as if he could take any painting he likes and ascribe impromptu qualities to it: There are many examples and annotated photographs of beautiful painted scenes, but it is difficult to understand what Mr. 'While it is important that the artist thoroughly develop his artistic powers, it also is important that he use a tremendous amount of observation, concentration and painting to acquire sufficient knowledge of typical shapes, proportions and other characteristics of outdoor form, line and color, for as Whipple says 'Natuure does not capriciously scatter her secrets as golden gifts to lazy poets and luxurious darlings, but imposes tasks when she presents opportunities.' ' The sentence is inspiring and throws me into a whirl of intention, but I cannot help laughing as I read it.ĭescriptions, exhortations, and ruminations come in threes: If she is to be represented, she demands that she be not occasionally but often consulted' 'Nature is not the least concerned with artistic attributes, although she has prior claim on the artist and insists that her qualities receive first attention. Long sentences of ruminative thought, theory, and allegorical language: This is a wonderful book, and very much of its own time (late 30's early 40's).

Composition of outdoor painting edgar payne pdf