>>2474960
I have it photocopied because it was out of print when I got it.
It's a nice book specifically if you're an OIL painter who works PLEIN AIR.
I'm going to summarize what he talks about and write down some interesting bits (most of these I had underlined). Not necessarily ad litteram:
> Talent [...] just assume that you do [have it] and forget about it
> Self-doubt it utterly cripping to painters.
> Stick to the simplest solutions [when painting] [...] What you paint is more important than how you paint it
> Appropriate edges are key
He does stress a TON on edges in the book. He's a very impressionistic painter (a-la Sargent), his paintings are very loose and simple, with detail only in the focused areas like the face.
> Slow down.
> If there's something wrong with your painting, it's one of these four things: COLOR, VALUE, DRAWING or EDGES.
> Stressing on importance of color temperature (you can read about this in Color and Light).
> Paint with the largest brush you can choose for the task
> Don't work on photos taken by others
> His oil painting process (turp washes, then drawing etc.)
> Establish the general tones then paint details into 'em (rather than drawing e.g. facial features before toning the skin
> More oil technique
> Block-in vs. Grisaille
> Drawing is measuring / see things as patches of color
I don't know if he works sight-size but he doesn't seem to work with a constructive method.
> simple shapes etc. etc.
> break down curves in different planes
> use a very obvious element such as a straight line, a triangle, a square [within the figure] as your anchor for the rest of the drawing
> values & color
Check the David Gray video on color swatches. This goes a lot into paints / pigments / color mixing so I doubt it would interest the majority of people here (which I assume work digitally)
> Squint / simplify values into areas of contrast
> Highlights are not as bright as you think they are
Cont.