Learn the secrets of the masters. Learn to draw and paint what you see. Learn how to interpret the visual realm by distilling the essences of form, to create works of art that seem to be living and breathing. Put Robert's forty years as a professional artist and teacher to work for you.
The Power of Positive Painting© is the long awaited how-to paint book by nationally renown artist, Robert Maniscalco. The P3 is a full color, 142 page, how-to draw and paint method. It is a highly informative, beautifully illustrated, user-friendly paperback book, covering everything from developing an accurate drawing and underpainting, mixing rich luminous flesh tones, to completing a finished portrait. Robert’s step-by-step P3method demystifies the art of not only portrait painting but any genre involving form, including still life and landscape. There’s even a section on releasing the creative genius inside you! The P3 is the sum total of all of Robert’s forty years of artistry and teaching. Every trade secret is laid out for the taking.
I probably learned more reading P3 than I did throughout 6 years of college, when it comes to painting technique I recommend his teachings highly.— A. Garavaglia
Put Robert’s lifetime of study to work for you because the best way to learn is to learn what a master has discovered, so they can save you at least some of the headaches. You cannot avoid them all, but Robert deeply understands the how of teaching, and what you must go through to learn. The Power of Positive Painting focuses on the craft aspect of painting. Certainly, Robert’s artistry comes through but no attempt by him is made to sway the reader stylistically. His method is intended to equip you for any representational genre, style or subject. Robert explores that place between art and craft and science with courage and sensitivity. —Eric Rhoads, founder and publisher of Fine Art Connoisseur and Plein Air magazines.
I am so pleased with the improvement in my painting that was visible immediately as a result of Robert’s P3 book. You do the critiques so candidly and without allowing personalities to effect your comments. I will certainly recommend you and your books and workshops whenever possible. — Brenda Delle
Rob Maniscalco is a distinguished artist, writer, art teacher, playwright and actor. I applaud him for that. As you might expect, I am a tough critic. I think your book will be a success! The Power of Positive Painting gives many valuable insights. It’s been my pleasure and honor to be able to get this “sneak peak” of his wonderful book. Your dad was a wonderful artist! I see you are as well. You have learned from the best! — Jack Faragasso, Frank Reilly authority, Professor Emeritus at the Arts Student’s League
I absolutely got my money’s worth! Now I know I can paint a face and all the parts will be in the right place! Painting the P3 way is a lot of fun! — Caroline Goodman
Well you are not only a very gifted painter, but an effective inspirational writer. I’ve been under your influence all day as I started my judge painting. From a practical aspect I am developing a new approach. I really think you are the real deal, and I’ve enjoyed your writing as much as your instruction. — Betsy Wilson-Mahoney
IF I was an artist, especially a painter, I would insist this book goes into the curriculum in every art school in the country. Amazingly thorough, insightful, and full of views from 30,000 all the way down to the runway. — Doug Crowe
Its like a Kleig Light went off in my head! Everything I ever learned anywhere suddenly made sense! Value is Key! I am no longer plagued by muddy color! You told me you would help me and you did! — Karen Silvestro
Thank you for sharing your incredible expertise and wisdom. As a portrait student, I’ve been refreshed, revived and inspired by your teaching. I’d endorse you any day! Artistically yours, — M. Hoffman
Author(s): Robert Maniscalco, Vicki Barnes
Publisher: Independently published
Year: 2021
Language: English
Pages: 144
UNIT ONE – A Positive Head Space
Learning the Craft
What is the P3 Method?
A Very Brief Historical Context
The P3 Method is a Hybrid of Alla Prima Painting
The P3 Method in Action
The Powerful Mind-Set
In Person Study
Studying with Multiple
Teachers
Whole Brain Drawing and Painting
Quality
Ego Kills Creativity
The Visual Elements
Always Be in Action
We Learn by Doing
Always Practice with Intention
A Healthy Dose of Detachment
Originality
Interpretation
Steal from the Best
Eccentricity
Tenacity
Style and Structure
The Easy Way vs. The Right Way
Honest Observation
Just Say “No” to Things
More About the Background of This Method
Using our Talents to Move the Needle
Unit Two –
Observational Drawing and Painting
Drawing Specifically, Verses Drawing with a Formula
Every Mark Matters
The ABDs: Always Be Drawing
The Three R’s of Drawing
The Spiritual Nature of Drawing
Happy Little Accidents
Practice Leads to Assimilation
Relating
Freedom Within a Structure
Formats
Get a Grip
Know Your Media
Explore, Experiment and Exploit
Blind Contour Ground Rules:
Modified Contour Drawing
Variations on Blind and/or Modified Contour Drawing
A Word About Erasers
Experiment with line variety and weight
Having Creative Fun with Contour Drawings
Contour drawings from Your Imagination
A few paintings by NETI . . . who is that he is not.
A Conversation on Responsive Drawing
Give Yourself a Sketch Book
Sketchbooks are Where Ideas Go to Incubate
Sketchbooks and the Creative Process
Avoid Patterns of Any Kind
Using Our Creative Bank Account (CBA)
Juxtapositions
Devise Works of Art that are Personal
The Universe of the Painting
Gesture & Envelope
Step One – Drawing or Painting the Gesture
Step Two – The Envelope
Step Three – Contour (Optional)
The Envelope
The Envelope is the Alpha and the Omega of the Form
Using the Sticky Points of the Envelope
The Three-in-One Exercise
Gesture and Envelope with Paint
Reading Angles
THE THREE R’S OF DRAWING
Focus on Relationships
RELATIVE MEASUREMENT - Proportions
Measuring Proportions
The Proportion Mantra
Find the Halves
The Rule of Thirds and Other Estimations
Scaling Up or Down
Sight Sizing
The Grid System
The Organic Grid
RELATIVE LINES – Linear Relationships
Here is a Great Exercise
RELATIVE NEGATIVE / POSITIVE SHAPES
The Chair Exercise
The Magic Window to the World
Convex versus Concave forms
Figure Drawing
Using Mechanical Transfer Devices to Draw
Working Freehand from Photographs
A Summation of Drawing
Perspective
One Point Perspective
Lines in Value-based Drawing and Painting
The Planes of the Face
UNIT THREE - Composition and Design
Value-based Composition
Composition Exercise
Diagonal vs Horizontal/Vertical Lines
Placement: to Half and Half not
Vary the Distances of Exit Points
Avoid the Middle
Avoid Abutting edges
Leading the eye
The Golden Mean and the Point of Focus
Challenge the Viewer
Unit Four – A Practical Guide to Color
The Three Components of Color (H-V/C)
Color Is Relative
VALUE and LIGHT
Shedding Light on Values
Form, Character and Likeness
Let there be Light
Local Values versus Form Values
The Three Cubes in Ambient Light
Painting the Three Cubes
Shadow versus Shade
White House with Black Roof
The Munsell Value Scale
Here is a Great Exercise
A Word on Texture and Paint Quality
Value Ranges
Light and Shadow
High-key, Mid-key and Low-key
Monet’s Haystacks
The Lighting Conditions
Rembrandt Light
Front Light
Half Light
Back light
Two Sources of Light –Form Light and Rim Light
Another Portrait with Two Light Sources
Ambient Light with Multiple light sources
Natural Light
Ambient Half-Light
Common Lighting Effects
Aerial or Color Perspective
HUE
The Dirty Little Secret About Hue
Squinting
Train Your Eye to See in Values
Mastering Values
Value and the Master Colorist
Color Mixing and Matching
The Munsell Color Wheel
A Practical Color Wheel for Painting and Mixing Color
Get the Sharpie
Objectifying Color
Color Temperature
Glazing and Color Temperature
Chroma
Neutralizing a Color
Tinting
Toning
Shading
Using Neutrals Effectively
Chroma / Value Charts
Unit Five - Painting a Portrait in Oil
Thumbnail Sketches
Attacking the painting
The Underpainting
The Underpainting Versus Alla Prima
An Underpainting Offers Several Advantages Over Other Techniques
A Checklist of Steps for the Effective Portrait Underpainting
Making the Underpainting, Step by Step
Gesture and the Placement of the head
Develop the Envelope
Find the Proportions
Take the Grid a Step Further
Checks and Balances
The Impasto
Achieving a Powerfully Painted Impasto
Building the Impasto
Try to Resist Dealing with Edges Too Early
The Power PaletteTM
The Limited Palette and the Master Colorist
Arranging Colors by Value
Benefits of Using the Power Palette
Using the Power Palette
Flesh Tones and the Power Palette
The Real Benefit of using the Power Palette
Prescriptions for Flesh Tones
The Planes of the Faces
More Advice About the Impasto
Painting Lines
Counterpoint
The Six Components of the Master Stroke
Perfectionism
Edges
Introducing Rich Half-tones
Dragging a Dry Brush Through the Edge
Pulling Paint Through Paint
Fan Brushes and Fingers
Modeling of the Form
Depth and Focus
The Focal Point
Color Harmony
Backgrounds, a Value-based Perspective
Posing the Model and the Concept of the Painting
Painting the Finish
Finish vs Full Resolution
Precise Abstraction
Style
The Concealed Brushstroke – in the Tradition of Ingre, Holbein and David
The Premier Coup — in the Tradition of Velazquez, Rembrandt and Sargent
How to Paint with Expression
Courtroom Sketching
Effective Use of Photography as a Secondary Reference
Pet Portraits
Presenting a Portrait
Making Changes
Studio Setup
More Demos . . .
List of Materials
Glossary of Terms and Concepts
Parting Thoughts
