Foster Caddell's Keys to Successful Landscape Painting PDF


By Foster Caddell

So much different oil portray books inform you approximately brushes, blending shades, what sorts of canvases, and so on. This booklet assumes you have already got these books to be had. the writer used to be an illustrator who turned a instructor, and it seems that he observed his scholars making an analogous error repeatedly. Keys to winning panorama portray makes use of 50 examples of mistakes and corrections. Well-done!

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Courtesy of Mr. and Mrs. Arnold Hartikka. SOLUTION In my paintings I like to see the elements of harmony and The picture should be well organized, not hectic and chaotic, and this is brought about primarily by a wellorder. organized design. As I explained on the opposite page, the design element relates to value patterns as well as to subject matter. I dislike rules in painting, peat is this: when in but one I often re- doubt— simplify. Some of the esthetic concepts of a painting are difficult put into words for the student— they almost have to be "felt" rather than specified.

Casein, 15" x 13". NTING Illustration A point I would like to touch on here is that I freely acknowledge my background as an illustrator. There is a contemptuous attitude among certain people toward any artist that has had anything to do with the "commercial world," but they fail to realize that some of the great painters of history, such as Michelangelo, Rembrandt, and Rubens, might have been considered "commercial" commercial to is illustrator artists. To be a one has to be good enough so someone agrees pay you for a painting before it is made.

52 KEYS TO SUCCESSFUL LANDSCAPE PAINTING I am not showing you a painting that is any way. Instead, I want to give you two examples of how to vary your solution to the same subject. The New England area has many wetlands that stretch between the ponds and lakes. You will notice them throughout this book, for I find their moods and seasons a wonderful motif and challenge. Here we see a cold, overcast winter day. I devoted most of the canvas to the pattern of brush- and show-covered ice and less to the sky, in which I suggested just a small patch of light breaking the solid cloud cover.

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