Painting with Four Tubes of Paint [antikvár]

As an artist myself and a gallery owner, I've got the best of both worlds. With a watercolor brush in my hand and a fresh sheet of Arches on my drawing board, " a. I'm as happy as I can be. And I can go on to my own gallery when my painting is done and talk to folks who are on vacation, enjoying themselves in the beautiful area where we live. Throw in an occasional hike in the mountains or a ski trip to a special frozen lake, and I keep wondering what i did to deserve this unique heaven. I've blazed quite a trail through these United States since I was a boy first discovering art. Then, as i watched crayons melt on a radiator and realized the most beautiful patterns created by the colored wax trickling down the hot radiator and blending into yesterday's multicolored mixture, i knew i was an artist ahead of his time. My experience with art grew more disciplined as i progressed through school, branching out even to cartoon making during high school. I studied under scholarship at the Art Institute of Chicago. But when my wife and I married, I enrolled in night classes at the American Academy of Art and worked full-time at Vogue Wright, the biggest art studio in the world at that time. Vogue Wright was an "art factory" that cranked out most of the artwork for the Sears and Ward catalogs and all the Spiegel catalogs. Their smaller accounts were dumped into General Accounts, the department i worked for. Because our department was not considered important, I was given assignments that long-established professionals would have killed for. Two illustrations from an earlier s i my Producing art for my cousin, Bill, for silk screens forced me to preplan my colors and taught me how to tie areas together and how to separate them, since all the art was drawn on acetate and preseparated. That meant that all the blues had to be drawn carefully on one acetate, all the reds on another, and so on. Doing feature wash drawings of everything from lawn mowers to bicycles and from metal buildings to rifles for a small studio specializing in newspaper illustration gave me the knowledge that enables me to paint landscapes today that look solid. I also learned that a corollary to solidity is texture. Everything has a texture, and, in watercolor, very often you have to paint texture at the same time as form. Doing two or three things at one time is what keeps watercolorists young! When a friend and I formed a corporation, Product Illustration Inc., it was a multiple birth. Many of the concepts and procedures in this book were born at the same time, for I had to devise a system that i could use to quickly train the young artists we hired. One thing led to another, and before we knew it, my wife and 1 had purchased the Four Seasons Gallery in Jackson, Wyoming, and were saying good-bye to Illinois. With a new place to live and paint, I even began to write about painting. A series of articles called "Painting the Four Seasons" was accepted for publication in the local Jackson newspaper and drew widespread attention. As a result of their success, I felt obligated to expand on my ideas, and so this book took shape.