Frontz displays the traits of a conscientious and practical artist. She does not recommend that students purchase an absurd amount of paint because with ample knowledge of color properties she knows that it is possible to make many hues from a limited palette. Leslie Frontz also provides numerous useful tips for making a studio experience easier, such as wiping brushes on a sponge and making use of smaller areas of space.
The book provides a logical breakdown of the process of interpreting the world around us as a series of shapes. Being able to quickly gesture what one sees allows the artist to provide a quick read for the viewers. Edge control further emphasizes the succession of silhouettes and even without details gives an impression of a realistic environment. Since each object is tonally not linearly separated from all others, being able to render accurate edges instantly increases the illusion of reality.
The author offers valuable advice to her readers such as the importance of contrast in color temperature and soft transitions within each shape. The contrast of warm and cool enlivens a scene because the shadows are usually cooler and the areas in light are warmer. This natural separation is pleasant to the viewer and physically correct. Gradual transitions must exist on each surface because light usually hits at an angle so some areas receive less light than others.
Leslie Frontz understands the limitations of a painting from a photograph which has a limited value spectrum however she herself makes errors in tonal value judgement. Her paintings have extreme highlights that are entirely white even on objects in the distance. Due to atmospheric perspective the contrast decreases toward the horizon but in Frontz’s work this distinction is absent and the bright highlights in the distance flatten her artwork. Despite this fallback her edge control is superb and she generously shares all the information that she has gathered throughout her life with her readers. This is an excellent book for art enthusiasts.