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Detailed entries for one subject from the INDEX TO HOW TO DO IT INFORMATION.
Click on a see also (sa) or tracing (xx) to view detailed entries about a related subject.
The entries are in alphabetical order by magazine name and then in chronological sequence.
To obtain a copy of any magazine article contact your local public library or the publisher.


Four ways to activate pastel drawings. How to approach composition, point of view, line and color for fresher, more interesting drawings. Includes suggestions for making and using a viewfinder to experiment with composition.
ARTIST'S MAGAZINE Jun 1989 (v.6#6) pg. 56

Seven ways sketching can be used to plan artwork.
ARTIST'S MAGAZINE Jun 1989 (v.6#6) pg. 83

New frontiers of space. A look at how humans perceive space, how those perceptions change and how the changes can be interpreted in paintings.
ARTIST'S MAGAZINE Jul 1989 (v.6#7) pg. 54

How to develop an "artist's eye." Techniques for capturing the color and effects of natural light and for learning to organize shapes and patterns into an integrated, harmonious design.
ARTIST'S MAGAZINE Sep 1989 (v.6#9) pg. 38

Problem-solving with a photocopier. How to test new compositions, colors and value patterns.
ARTIST'S MAGAZINE Mar 1990 (v.7#3) pg. 106

Tips for making a foreground fit with the rest of a painting.
ARTIST'S MAGAZINE Feb 1991 (v.8#2) pg. 48

A plan for making decisions about the subject, shape, value, color and line direction before beginning a painting.
ARTIST'S MAGAZINE Jul 1991 (v.8#7) pg. 56

Drawing with a creative twist. Taking liberties with scale, perspective and logic.
ARTIST'S MAGAZINE Aug 1991 (v.8#8) pg. 51

Reducing objects to cubes, spheres and cones. A lesson on how to use these shapes to develop light, shadow and simplify complex subjects.
ARTIST'S MAGAZINE Oct 1991 (v.8#10) pg. 69

From ho-hum to head-turning. A four-step process to create a watercolor painting that arouses the interest of a viewer and tells a story.
ARTIST'S MAGAZINE Feb 1992 (v.9#2) pg. 46

How to treat edges in a drawing or painting to achieve greater vitality and dimension in an artwork.
ARTIST'S MAGAZINE Mar 1992 (v.9#3) pg. 10

A short course in composition. How to study works by the masters for their organizing principles (rhythmical movements, shapes, value patterns, spatial organization and color.)
ARTIST'S MAGAZINE Mar 1993 (v.10#3) pg. 2A

Tip shows how to make a drawing or painting more interesting by introducing variation.
ARTIST'S MAGAZINE Aug 1993 (v.10#8) pg. 7A

An explanation of the "Law of Thirds" in composing the dynamic arrangement of a painting.
ARTIST'S MAGAZINE Nov 1993 (v.10#11) pg. 2A

Tip on using a "ghost sketch" to help you plan a composition.
ARTIST'S MAGAZINE May 1994 (v.11#5) pg. 10A

Composing with figures. Four simple principles to strengthen paintings of people.
ARTIST'S MAGAZINE May 1994 (v.11#5) pg. 69

Technique for checking the accuracy of a composition transferred from a photo or working drawing to a painting surface.
ARTIST'S MAGAZINE Dec 1995 (v.12#12) pg. 32

Composition "helper" is made from an empty plastic slide frame with thread cross-hairs. It can be hand-held or clipped to metal rod.
ARTIST'S MAGAZINE Mar 1996 (v.13#3) pg. 35

Seeing the larger shapes. Learning how to develop the skill of seeking a subject as a series of abstract shapes when planning the composition of an artwork.
ARTIST'S MAGAZINE May 1997 (v.14#5) pg. 20

Painting by the rules. Advice on adding interest, directing the eye using variety, and ways to enhance the center of interest.
ARTIST'S MAGAZINE Feb 1998 (v.15#2) pg. 26

How to adjust the composition in a charcoal drawing during both early and later stages.
ARTIST'S MAGAZINE Feb 1998 (v.15#2) pg. 74

Accentuate the negative. Improve drawing by learning to see and use negative shapes.
ARTIST'S MAGAZINE Mar 1998 (v.15#3) pg. 18

Expanding on negative shapes. How to recognize negative shapes that exist on a subject that help define an image.
ARTIST'S MAGAZINE Apr 1998 (v.15#4) pg. 30

Creating imaginative compositions. A review of the principles of repeating shapes and using color to direct the eye. Also discusses creating excitement by shifting color and playing with spatial relationships.
ARTIST'S MAGAZINE Apr 1998 (v.15#4) pg. 34

Keeping clutter under control. Tricks for organizing details of a complicated art subject into an engaging composition.
ARTIST'S MAGAZINE Apr 1998 (v.15#4) pg. 56

How to create balance in a painting through placement of shapes and through the use of color.
ARTIST'S MAGAZINE Jun 1998 (v.15#6) pg. 32

Melding passion and technique. How to manipulate the elements of composition to convey emotions in an artwork.
ARTIST'S MAGAZINE Jul 1998 (v.15#7) pg. 26

Break it up. How to divide a picture plane for the greatest possible visual impact. A lesson in the compositional division of space and placement of the center of interest.
ARTIST'S MAGAZINE Jul 1998 (v.15#7) pg. 34

Doing more with less. How to combine a sparse composition, muted palette, texture, variety and contrast to create a realistic painting of common objects of daily living.
ARTIST'S MAGAZINE Aug 1998 (v.15#8) pg. 16

Simplify, simplify. How to give watercolors a feeling of freshness and spontaneity by eliminating the details.
ARTIST'S MAGAZINE Aug 1998 (v.15#8) pg. 62

Mastering contrasts. A lesson in how 17th century Dutch master Jan Vermeer created quietly captivating paintings with contrast.
ARTIST'S MAGAZINE Nov 1998 (v.15#11) pg. 24

Fine-tuning shapes, values and edges. Advice on placing lines and shapes for a cohesive composition.
ARTIST'S MAGAZINE Nov 1998 (v.15#11) pg. 38

Going for the big picture. How to build stronger watercolor paintings by focusing on the interplay of large negative and positive shapes.
ARTIST'S MAGAZINE Dec 1998 (v.15#12) pg. 60

Great paintings by design. How to use shapes to create stronger, better paintings.
ARTIST'S MAGAZINE Mar 1999 (v.16#3) pg. 54

Thoughtful composition. How to enhance a subject with placement and value.
ARTIST'S MAGAZINE Jul 1999 (v.16#7) pg. 35

Locking onto the grid. A composition strategy.
ARTIST'S MAGAZINE Jul 1999 (v.16#7) pg. 80

The importance of planning pattern and color before painting.
ARTIST'S MAGAZINE Aug 1999 (v.16#8) pg. 34

How to crop a subject to draw in viewers.
ARTIST'S MAGAZINE Sep 1999 (v.16#9) pg. 96

Living on the edges. How to take control of hard and soft edges and the way they relate within a composition.
ARTIST'S MAGAZINE Oct 1999 (v.16#10) pg. 24

Composition made easy. A beginner-friendly checklist to improve your designs and increase creativity.
ARTIST'S MAGAZINE Oct 1999 (v.16#10) pg. 54

Scaling the world. How to use scale to balance a painting's composition, values, texture, and lights and darks.
ARTIST'S MAGAZINE Nov 1999 (v.16#11) pg. 42

Identifying abstract shapes. How to improve compositions by focusing on the abstract shapes in a painting.
ARTIST'S MAGAZINE Nov 1999 (v.16#11) pg. 67

When less is more. How to achieve simplicity, balance and movement in a painting.
ARTIST'S MAGAZINE Dec 1999 (v.16#12) pg. 54

Developing the focal point. How to use color, contrast and details to emphasize the center of interest in a design or painting.
DECORATIVE ARTIST'S WORKBOOK Jan-Feb 1990 (v.17#1) pg. 6

Seven steps to great designs. Explanation of how to identify purpose, plan and outline options, research, select a concept, make a thumbnail sketch, refine the sketch and create notes on color mixtures.
DECORATIVE ARTIST'S WORKBOOK May-Jun 1990 (v.17#3) pg. 6

Keep it simple. A lesson in how to clean up the clutter in watercolor composition. Instructions for two landscapes, Venice and Autumn Leaves.
DECORATIVE ARTIST'S WORKBOOK Jul-Aug 1997 (v.24#4) pg. 68

Tips on how to suggest distance in a painting.
TOLE WORLD #104 May-Jun 1990 (v.14#3) pg. 67

Getting a start in line art. Suggestions for creating more dynamic compositions.
TOLE WORLD #111 Jul-Aug 1991 (v.15#4) pg. 12

Getting a start in line art. How to achieve balance in a composition.
TOLE WORLD #112 Sep-Oct 1991 (v.15#5) pg. 12