| Content | Page |
| Advertising Illustrations and Artists’ Paintings | 6 |
| Emotion Evoking Images | 8 |
| What to include/exclude and how to guide the eye? | |
| Vision | 10 |
| Power Areas Within a Picture | 12 |
| Dividing a Picture into Sections - The Golden Section | 12 |
| The Horizon | 14 |
| Layout Tolerance Limits in Relation to the Horizon | 16 |
| Approaching the Edges | 16 |
| Bottom Right Corner Pulling Force | 18 |
| A Picture’s Optical Centre Point | 18 |
| Direction of Light | 20 |
| When Coming, when Going | 20 |
| Equilibrium and the Beginning of Motion - Corner Tensions | 22 |
| Framing a Picture | 24 |
| Areas of Observation and Tension | 26 |
| Creating Depth of Distance within a Picture | 26 |
| Moulding a Two-Dimensional Picture | 26 |
| A) Scale within a Picture | 28 |
| B) The Effect of Perspective | 28 |
| C) The “Stepladder“ Effect | 30 |
| D) The Effects of Colours and Light on Distance | 30 |
| Colour Test | 32 |
| The thickness of the Air Column | 32 |
| An Outside Influence | 34 |
| Lines, Motion and Rhythm - Lines and Dots – What are they? | 36 |
| A Gap of Tension | 38 |
| Using a Gap of Tension Within Albert Edelfelt’s Paintings | 39 |
| Guiding the Viewer’s Eye | 46 |
| Familiar and Unfamiliar Sides to an Image | 48 |
| Shape and Colour A square - A Rectangle - A Triangle - A Circle - An Oval - A Polygon | 50 |
| Sensing Colours Light to Colour - Visual Observation - Colouring - Spreading Colours | 54 |
| Perception of Colours Red, Yellow, Blue, White, Black, Warning Colours | 58 |
| Pictorial Aids within Designs | 60 |
| - Forces that Keep a Pattern Together | 61 |
| - The Effect of a Square | 62 |
| - Uniting Force of a Triangle | 63 |
| - A Circle Confines | 64 |
| - Angled Lines | 64 |
| - Crosses and Radial Lines | 65 |
| - Landscape S | 65 |
| - Certainty in the Figure of "9" | 65 |
| Examples of Circular Designs | 66-77 |
| Revision Picture 1, the Sun Animal, 15 diagrams | 78 |
| Revision Picture 2, “The Sunbeam and the Earth Sprite“ | 79 |
| Pictorial Aids & Anatomy | |
| Sketching the Perspective | 82 |
| Places of Details | 83 |
| Trees and Forests | 89 |
| A Pine Tree | 90 |
| A Spruce | 99 |
| Deciduous Trees | 104 |
| Sky and Water | 116 |
| Winter and Snow | 122 |
| The Creation of an Image | |
| Using a Photograph as an Aid | 136 |
| A Black and White Picture | 138 |
| A Pencil as a Tool | 138 |
| Lines and Memory | 144 |
| Considering the Shape of a Boat | 145 |
| Working with Drawing Ink | 155 |
| Hand-Printed Serigraphy (silk-screen printing) | 168 |
| Watercolour and Porcelain Painting | |
| Brushes and Basic Tools | 172 |
| Watercolours | 174 |
| - Tube or Block Colours | 174 |
| Watercolour Paper | 176 |
| - Attaching the Paper for Painting | 176 |
| Wet or Dry Surface | 178 |
| Light on Dark | 180 |
| Water and the White Colour | 180 |
| Behaviour of Colours | 181 |
| Planning the Working Stages | 182 |
| A Three-Dimensional Tree | 182 |
| From Background to Foreground | 184 |
| From Light to Dark | 186 |
| The Sky and Clouds | 190 |
| Motion of the Water | 196 |
| Still Water | 197 |
| Using Masking | 199 |
| Masking Large Areas | 200 |
| The “Stepladder“ Effect on the Foreground | 202 |
| - Working Procedures | 202 |
| Treating a Colour Surface with Salt | 206 |
| - Examples of Salt Marks | 207 |
| Using a Pocketknife’s Blade | 208 |
| A Portrait in One Sitting | 210 |
| Complimentary and Base Colours | 216 |
| Facial Shadows | 218 |
| Flowers | 220 |
| - Floral Designs | 221 |
| - Character and Detail | 224 |
| - Light on Dark | 226 |
| Painting on Porcelain | 228 |
| - Colours Intended for Firing | 230 |
| - Basic Colours | 230 |
| - Tile or Plate? | 232 |
| - Choosing a Painting Method | 232 |
| Examples of work | |
| - Pine | 234 |
| - Spruce | 235 |
| - A cloud’s shadow and an area of light | 236 |
| - Clouds | 240 |
| - Plan and Realization | 243 |