The Eye of the Painter: Chapter 3_Unity

And here's some more notes from Mr. Loomis's . Its taken us a couple months but we finally hit chapter 3 haha.

Chapter 3_ Unity

Unity must begin with the design and pattern to bring about a relationship and balanced of the areas of the picture. Such balance is affected both by distribution of values_the lights, middle tones, and darks- and by the placement and amount of area of each in relationship to the whole design.

Of first importance is the necessity of training the eye to see masses flately and more or less un-broken.



The foreground carries most of the detail and accentuation, and as materials recede it becomes fuzzier and hazier.



Still life is the best study of light and pattern.



Any design is more effective when half- tones within the design are minimized and the larger and flatter areas of tones take their place among the simple tones. For power and simplification the large flat tones are best. The more contrast, the more intense and dramatic effect. The closer in values the masses are painted, the more reserved and quite unity forceful unity.

When colors are close in value, a wide range of colors may be used with beautiful effect. But huge patches of contrasting color may easily become garish and over powering. One way of achieving unity with colors is to mix a little of one color through out all the colors of the subject.

Low values will not be missed as much as bright ones.
Look to nature consistency.



If a picture has an idea, let the whole pitcure be consistent with that idea.

Abstract forms belong with other abstract forms. Realistic forms should be with realistic forms.

Flatness of treatment is one approach and round or modeled another and two do not seem to belong together.

A picture should suggest that the painting was stopped while the painter was still having a good time.



In order to have form that we can leave unfinished, we must approach the form simple at first in simple planes, and work all over the subject, bringing it to completion simultaneously rather than piece by piece.

We must think of the whole picture all the time, and of every part as it fits into the whole design.