5 comments about An Introduction to Acrylics (DK Art School).

1. I found this book to be just what I needed to get started with acrylics. It is concise, yet has all that a beginner needs to know what to buy and how to get started. I found the simple exercises very helpful and look forward to trying the more complex techniques as I gain confidence.



2. Pretty picture as in all DK books but gives an entire overview of all acrylic paining in 72 pages. A lot of simple paragraph definitions of techniques but nothing of any direction or use for a begining painter. A great picture book for a child.



3. I bought this book based on all the other reviews and now I too love it. Loads of beautiful color pictures and examples and written clearly. If you're beginning acrylics - get this !



4. Considering that I have yet to find a complete compedium of Acrylic techniques, this is probably one of the better books out there, especially for beginners. This book will give you the short and skinny on your tools, paint and mediums, and canvases/surfaces. After that, the book starts giving examples on how to tranfer your image onto the canvas with pencil prior to painting, using opaque methods to painting, transparent(watercolor style) methods, drybrushing, scumbling, and more. Then at the end of the book, it contains a series of gallry examples in acrylic to inspire. This book is a good foundation book, and gives many approaches to using acrylic.



5. When I decided that I wanted to start painting, I bought five "How To" books. This one is my favorite, hands down. The book is well organized, well written, and contains a lot of beautifully detailed photographs. The author has kept the text to a minimum, letting the photographs do much of the talking, which works far better for me than other books that have more emphasis on written instruction.
   
   In only 72 pages, every topic is covered, and no question is left unanswered. It begins with a brief history of the medium, then moves on to cover color, paint types, brushes, painting surfaces, tools, and techniques, as well as galleries of different painting styles. There's even a section on experimental approaches, such as stenciling and inventive scraping. Rather than presenting a series of exercises (as many books do), this author encourages experimentation and discovering your own personal style, an approach that really inspired me to pick up a brush and get started.
   
   Also worth mentioning is that every photograph and illustration is in color . . . really GOOD color. This may sound like a no-brainer, but a few of the other books I purchased contained a lot of black-and-white photos. Hey, you can't learn to paint in black and white!
   
   Experienced artists may find the material here a bit too rudimentary, but for the true novice, like myself, this book is a winner. If you're looking for that ONE book to get you started, this is it!

3 comments about The Art of Botanical Painting.

1. It is a nice book and the explain it good the art of flowers. I recommanded on every the draw with flowers.



2. I've bought all sorts of books on botanical painting but this is the best of the best. The illustrations are fabulous, the instructions clear and comprehensive. Have you ever heard of "botanical gray"? This book is something you can't live without.



3. What a fabulous book!
   
   If you paint flowers in watercolour or are enrolled on a course of Botanical Illustration, as I am, then this is the book for you.
   
   Written by Margaret Stevens in association with the Society of Botanical Artists, the book takes the reader briefly through the beginnings of Botanical Art to a useful chapter on materials including paper, watercolours and brushes. Whilst it doesn't proscribe a palette of colours, the great majority of the illustrations detail the colours used. The chapter on plant anatomy is useful for the non-botanist as is the one on drawing technique for those new to this aspect of painting.
   
   What gives this book a considerable edge over others of this type is that its other purpose is as the text book for a two-year diploma course in Botanical Illustration run by the SBA. (The author is the course director.) There are up to a dozen examples of work covered from start to finish over several pages produced by members of the SBA, some of whom are tutors on the course. There is excellent detail of watercolour technique and superb coverage of the production of varied coloured leaves and flowers and the colours used in their painting. The chapters on composition, working in the field and painting fruit and vegetables are extremely useful. All chapters are illustrated by high quality botanical paintings, mostly by SBA members.
   
   A beautiful book to own, better as an inspiration to painting but best of all as a reference when painting flowers in watercolours.

5 comments about How to Master Airbrush Painting Techniques (Motorbooks Workshop).

1. I've been looking for an informative,complete and properly illustrated book that doesn't make the attempt to go over the heads of any novice, like me, and yet, covers all the neat little tricks that a good teacher of any skill and art combined, can put into a comprehensive book. I never lost interest at all. My attention span is a good way of telling me when a book that I'm reading is worth it's mud at all! I like this author,Ms. JoAnn Bortles puts it all out there in a way that makes it easy to apply to my own techniques as I go through each lesson. I like this book. I think it's the Bomb!! And I would recommend it as a fine gift for a friend or a personal purchase any time.



2. just got my wife a used air brush. she thinks this book will help her get started on several projects she has planned. she is used to oil painting, and says this looks like fun.
   thanks!



3. This would have to be the best book I've read about custom painting and airbrushing on cars/bikes. The book is great for the beginner (like me) who wants to know about airbrushes, suitable paints, and the techniques to start creating a custom paint job.



4. Very comprehensive. I felt the author was having a personal casual discussion with me about what I wanted to learn instead of just documenting technical information and techniques. Teaching painting techniques in writing must be a tough task, but I think the author did a good job.



5. I'll start off by saying I keep picking up this book over and over. The Troubleshooting chapter is so detailed. It covers nearly every problem I have ever had with an airbrush. I have other airbrush books and none of them have this much "fix it" info. That one chapter has saved me so much time and stress.
   The rest of the book is great also. One of the learning chapters has a really fun exercise that was so easy but gave me really cool results.
   The book is very easy to follow and the examples in the book can be applied to almost any airbrush project. She uses a common sense approach that takes away the complications that come up when I'm trying to learn a new technique.
   And unlike my other airbrush books, it has lots of photos. The example chapters have many photos that cover each little step.
   It also tells how to get great ideas to airbrush.
   And I really appricated the way she also tells how to deal with how to not get discouraged when things go wrong. How to deal with the stress that comes from trying to be be artistic.
   I have another of JoAnn's books and while I enjoyed that one, I like this one better.
   It is also a large book with nearly 200 pages. I feel this book was a great buy.

3 comments about Composition of Outdoor Painting.

1. This book has certainly seen better days. It is hard to read with a modern understanding and one must dissect the language from the actual content to extract the juice out of it. And some of the contents are just as valid today as they were fifty years ago. It is a shame that few authors , Kevin McPhearson, comes to mind, have tried to address the issues of composition and the nature of art created outdoors or landscape themed as thoroughly and carefully as Edgar Payne. He was a better painter than writer but the attempt to creating a method to his art is nevertheless productive. His wife's artwork is included in the book as a gesture of love but it sorely lacks the quality of his own pieces.



2. Edgar Payne was one of the great american landscape painters, as well as a great teacher, and an accomplished writer.
   I found his style of English to be a little more difficult to read, but after the first chapter or two I got used to it, and it was well worth the effort.
   
   I highly recommend reading and referring to the chapter on compositional forms: the pyramid, circle, L, and S shapes for example. He lists a dozen of the most commonly used outdoor compositions, and gives easy examples for understanding them.
   
   Lots and lots of valuable information!



3. If you can only buy one book on composition of Outdoor Painting, this is the one. The original book, published in 1941, has seen several editions and goes in and out of print. Although Amazon often shows that it is out of print, call the publisher directly. They have plenty of brand new copies in the latest editions. The book, itself, is not large, only 6x9 or so. And it mostly consists of WORDS! But it is one of the most succinct books on composition I have ever read. Each paragraph, each sentence is packed with information and advice. There are some simple line drawings which help the viewer and provide the basics for compositional outlines. Also, the newer editions have some very fine color samples of Mr. Paynes work in the back of the book, as well as several addenda by his daughter. If you are an outdoor painter, you could read this book every day for the rest of your life and still find something new to think about or try.

5 comments about Everything You Ever Wanted to Know about Watercolor.

1. Kinda new to painting. Im a web designer and went to painting to "enhance" my art side. I worked with oils, but wanted to learn about watercolours. This book is a great one to pick up.
   
   Just put paper on the carpet first...........



2. This book gives a broad overview of watercolor techniques, from loose and washy, to photorealism, including glazing, spattering, color theory, and masking. It's a good way to see all the variety found in watercolor today. I only wish it could have gone into more depth on some of the more unusual techniques.



3. I am new to water color and have many questions ,and this book answers them and gives more information that is very useful



4. If you can only purchase one book on watercolor this is the one. It is very comprehensive covering every aspect of watercolor painting from materials needed to showing all the various painting techniques.



5. This book gives good detail and excellent examples to allow various styles to emerge. Very organized and easy to read. It covers so many different aspects that I, as a newbie, have found it a must-have out of the many books that I have purchased to help me learn. This really is one of the very best of the many that have been written out there. You'll not be frustrated or feel left lacking for knowledge.

5 comments about Taking Risks with Watercolour.

1. An internet search of images turned up several VERY intriguing still-lifes full of bright color swatches, lacy textures, and over-lapping objects in a style like absolutely no other artist on earth. Dang! Who's work IS this? Hmmmm! Shirley Trevena. Dig deeper and a plethora of utterly brilliant images, each one as exciting as the last - and I'm thinking, "I have GOT to learn more about this woman! Bought both of her books AND her DVD, and if she ever puts out anything else, I'll get that, too. Most artists are creative, but in usually in a rather traditional, safe sense. Not Trevena. Her work reflects both her knowledge of color and how it's supposed to work, of composition, shapes, lines --- all the elements of the accomplished artist, and then she breaks all the rules and STILL makes it work! Perhaps she has some intuitive, mystical sense about color choice, about playing pale colors against daring and dark hues, and expecially about composition. I don't know. But, if I could collect only one artist's work, I would fill my house with Trevena's. Taking risks, being outside-of-the-box creative is exactly what she has done - inspiring you to do the same. I have well over 100 art books now. Hers are my absolute favorites - the ones from which I've learned the most about taking risks, and feeling giddy with excitement when I'm able to take risks with my own paintings.



2. This is a book for the daring... it goes beyond the typical information found in the average watercolor instruction book. Many, many good suggestions and ideas can be found.



3. This is a wonderful book for any artist wanting to expand their horizons in w/c. The author is generous in giving concrete examples and techniques and also gives a step by step explanation as to how she created one of her paintings. As an art teacher I find this an exceptionally good book.



4. I love this book and have read it from cover to cover. Shirley Trevena's paintings are thrilling to look at, the text is very readible and the layout keeps you turning the pages. I have been painting watercolours of flowers and still life for many years but Shirley Trevena shows me new ways to forge ahead, and fun ways to overcome some of the obstacles I have been facing in my work. Congratulations also to Albert Jackson and the other photographers for a truly excellent book. I look forward to the other book by Trevena.



5. Although the title of the book refers to watercolour painting only, artists using other mediums will get inspiration as well.
   
   Shirley Travena dives into the medium with enthusiasm (no tepid, sepia palette here!) incorporating watercolour with mixed media (including of all things, oil pastels and collage) using imagination, flair and ingenuity. The illustrations are vibrant; a feast for the eyes. While tonal values, composition, alignment and other basics are covered, they are presented in an innovative way. No boring lectures here.
   
   The author shows a delightful candour - admitting how hesitant she was when first starting - and even daring to show some of her early works, on which she has since improved. But then she provides creative ways of overcoming problems, including the initial, daunting feeling of confronting a blank piece of paper or canvas. In addition to trouble-shooting, there are numerous ideas for achieving great effects with very simple techniques. Her use of masking tape to create different planes, for example, is very creative.
   
   This is an experienced artist who nevertheless insists there is no 'right' way to create pictures, which is borne out by such headings as "Daring combinations" and "If a picture needs something, feel free to invent it." Whatever medium or style you use, doing some of the experiments and explorations in this book could well give a new lease of life to your paintings, as well as provide inspiration for new works of art.

5 comments about The Painter in Oil.

1. I was looking for a book on realistic painting theory, and that's exactly what this is. It starts with details about what sort of paints will last the longest, what makes a good brush, how to stretch a canvas properly, etc.
   
   Next it talks about general ideas, like how colors and values relate to shading, and how to draw properly (drawing is the foundation of good painting).
   
   In the last part of the book, it covers specifics, like how to paint a good still life, and how to paint figures.
   
   This book isn't a formula book, like something from Bob Ross, but gives you in depth theory and a detailed look into the neoclassical style of painting. It was written in the late 1800's, so the writing has a certain charm, but it isn't difficult to read at all.
   
   The book itself is very sturdy and the font is easy to read.



2. If your interested in oil painting and the theories behind it, this book is for you. Written about 100 years ago, the author treats you as a student as he explains the various materials and methods for a successful painting. From early sketches, to rough studies, to completed works, you should find what your looking for here.



3. I am amazed at how much Parkhurst knew about painting. Much of this knowledge has been lost to many contemporary art schools so I am very thankful Parkhurst took the time to write this book. It takes a little while to get past his older writing style but it is not too bad. He has a great sense of humour that comes through as well.



4. Great. Clear and concise neo-classical painting technique coupled with beautiful writing on the subject of perception. Soulful.
   
   From the book:
   
   The painter should not be hampered by process; he should not be controlled in the expression of himself by tradition. He should feel free to use any or all means to bring about the result he aims at, and he should allow no tradition or point of view to prevent him from selecting whichever means will most surely or, satisfactorily bring about his true purpose.



5. One of the best books on painting I have read. Old copies have always been way out of my price range.
   There are a few minor typos that I assume are from digital scanning that were not caught, but the book was in great shape and shipped fast.

5 comments about Ways of Seeing: Based on the BBC Television Series (A Pelican Original).

1. Even though "Ways of Seeing" is a flawed book in many ways, it is so seminal in the development of post-modern image making that it must be considered essential reading in critical theory.
   
   The book is based on a television series. The book itself is only 176 pages. The print is all in a bold, sans-serif font. The authors are quick to claim that the book was made, not written. The pictures used to demonstrate the points are small and in black and white.
   
   The book is based on the theory that the interpretation of western art evolved out of the power and finance structure of western civilization. Inevitably books that describe the world primarily in economic terms, as an arena of conflict and a battle by the rich for dominance of the poor, are referred to by some as Marxist and I have no doubt this book has been so described.
   
   The book has seven chapters, four of which are written and three of which are reproductions of art works without words. The theme developed is that the way people view art is strongly affected by the power structure of the society.
   
   I must confess that the three chapters that were solely illustrated were difficult for me to engage, both because of the size of the images as well as the difficulty of following the thread which I felt ran through the pictures even though I was not able to decode the message.
   
   The first chapter is based on and explicates the work of the critic Walter Benjamin in his essay, "The Work of Art in the Age of Mechanical Reproduction". Unlike Benjamin, who sometimes seems torn between the loss of the aura of the original and the benefit of mass accessibility, Berger seems to believe that real benefits will derive from the reproduced work of art, if the viewer can sweep away the lenses of the past through which he might view the work.
   
   The third chapter deals with the role of art in the commodification of women and the fifth chapter examines the role of oil painting in the reduction of people's world view to a matter of money. (Burger only excepts the work of a few artists, like Rembrandt, from this view.) The final chapter is based upon the use of images for marketing.
   
   This work is important because, if it did not shape the outlook of post-modern art, it was at least in the vanguard of recognizing the roles of the art that preceded post-modernism, and led to the rejectionist point of view.
   
   Berger is clear in emphasizing that the way we view art is filtered through the prism of culture in the sociological sense, although that certainly was not ground breaking in critical theory, even at the time of first publication. On the other hand, here was art criticism first presented on what was then a new media, television. Even the book format, such as using a bold-faced font throughout the book, appealed to the avant-garde.
   
   Burger would substitute art, not as a tool to help preserve an economic and power system, but rather as a way for the consumer of art to enrich his own life.
   
   I suspect that artists other then post-modernists may not benefit very much in their work from reading "Ways of Seeing". On the other hand, if you have a serious interest in critical theory, even though you may reject Berger's thesis, you must read this book.



2. "Ways of Seeing " has become so universally available, so overused (especially in academia), and so often quoted, that it's refreshing to read the reviews of so many intelligent naysayers here. "Ways of Seeing" is perhaps mistitled in that it really proposes only one way of seeing works of art, which is as artifacts in the history of capitalism. It is propaganda, and like most propaganda, it heavily skews the evidence in favor of it's main argument, which is basically that European art from Raphael to Picasso is just a tool for enslaving women, non-Europeans and the working classes. (Warning: Berger is a real kill-joy. If you read this book and imbibe it's themes, be prepared to never innocently enjoy your favorite old masters again!) However, I would advise anyone with a serious interest in art criticism and theory to get a copy, fill the margins with notes, consult the original sources, and decide for herself/himself how well it stands up. To give just one instance of how sloppy Berger can be, I would invite the reader to consider whether he bothered to learn anything about the art of perspective drawing before indicting it as ideologically tainted, and then trashing it, all in two short paragraphs.



3. Ways of Seeing is about looking at art, if you get right down to it. However, it is about looking at it from a political point of view, or a cultural point of view, or a gender point of view. He takes a few different actual art pieces and writes about each of them, taking this sort of thing into account.



4. This is a hot little book well worth contemplating if you're aspiring to become a serious artist. For the student, novice artist, seasoned practioner or curious artlover, your money will be well spent to have this on your shelf.



5. Dreck, dreck, dreck, dreck,dreck, dreck, dreck, dreck, dreck, dreck,more dreck, more dreck, more dreck, more dreck, more dreck, more dreck, more dreck, and more dreck, and more dreck, and more dreck . . . you get the idea?

4 comments about On Location - Plein Air Painting In Pastel.

1. If you are inspired by nature but feel overwhelmed with information when you reach your painting site, then you must read this book. Richard McDaniel shows you how to see the structure behind the landscape. He presents you with a logical sequence of steps that allow you to focus on the important features without getting bogged down with details. The author describes his approach with precision and clarity. The examples of works in progress also help solidify your understanding by allowing you to virtually see the paintings come alive. There are also countless helpful hints for keeping yourself on track, like implementing practical organizational skills and working on value studies in the studio.
   This is a great book. I'm still applying the lessons I've learned from it and I can see a definite improvement in some of my paintings. Thanks, Richard.



2. This beautifully executed book is not just for pastels. I use it for watercolor painting. The colors and layering are similar. Many, many breathtakingly beautiful artwork in this book. His work is excellent. If you aren't afraid to use deep, rich colors in your artwork, this is a very good book for ideas. I can't say enough about the use of color in this book. It is exquisite.



3. The paintings, text, color schemes in this beautiful book are exactly to my taste, as are his other books. I even bought his great american pastel set to go along and am fired up to go paint- not easy to get me motivated but I am now!



4. As beautifully written as painted, this book "On Location" makes me want to paint in pastel even though I am a die hard oil painter of 25 years. Richard McDaniel will undoubtedly be recognized as one of the leading painters working on location in this era of plein air painting. As a painter he brings to the art world well composed, drawn, and executed works of art and yet never loses his sense of artistic touch in the delicate balance between bold color, subtle nuance and overlay upon this sound structure. What is all the more remarkable is his sense of paint, his touch and "brushwork" is as fresh, creamy and alive as any oil painter using the alla prima technique.
   
   As a writer his skills match his range in drawing and painting with his ability to interpret, explain and diagram his method to others... no easy task. This text is richly illustrated and also organized with logic and layout, it shows a thorough understanding of the subject and a clear mind at work carrying the reader from one point to the next. Ideas flowing, the text is a reference book of information and far more than just a simple "how to".
   
   I have seen all the great works of plein air painters of the past through exhibits in the Louvre, Musee d'Orsay, Metropolitan, Terra and the National Gallery during Carter Brown's era. Very few works by contemporary artists' stand up to my scrutiny on mental comparison to these works in touch, color, composition and technique as well as Richard's work. Any student or professional could benefit by adding "On Location" to their library and studying and reflecting upon this man's work.

5 comments about Creating Nature in Watercolor: An Artist's Guide.

1. I found this newest Cathy Johnson book to be every bit as informative and entertaining as her many previous books. The artist's love of nature shines gloriously within these pages. Not only does she give clear and easily understood instructions to 'capture nature', she also inspires you! This book is both working text and entertainment.



2. Having used 2 of Ms. Johnson's books before ("Creating
   Textures in Watercolor" and "Watercolor Pencil Magic-sadly
   out of print") I had great hopes for this new volume, and it
   does not disappoint. More than a collection of pretty
   watercolor studies to be admired -though it is full of
   them! - this book breaks down the process and tells you
   how to get the result you're looking for. Ms. Johnson even
   gives tips on the practicalities of capturing the
   uncooperative moving creatures of nature on paper! I have found something valuable on every page.



3. Cathy Johnson's newest book, Creating Nature in Watercolor, is a most delightful read and it's filled with tips and techniques on appreciating nature and capturing your interpretation of that observation in watercolor. Whether you want to learn how to document botanical samples in a journal or compose an extensive landscape on a full sheet of watercolor paper, this book is a must have! Cathy has a teaching style that encourages everyone to jump right in and have fun learning. This book contains short exercises as well as step-by-step lessons for painting landscapes. A beginner will find this book to be a tremendous start off point and a professional will find many useful tips and notes to help them progress in their treatment of nature and landscapes.



4. Cathy Johnson's newest book is a work of art in itself. The inside page design is simply beautiful. The illustrations by Ms. Johnson are very inspiring. And her tone is one of gentle encouragement ("yes, you can do this too"). I just received my copy recently and have already spent hours savoring it. Many of Ms. Johnson's books seem deceptively simple. One could quickly glance over her notes and paintings and then set the book on the shelf. The real value comes from taking her books, page by page, and actually DOING the exercises she provides. Pay attention to her teaching, follow her examples, and wonderful things will happen with your artwork. Creating Nature in Watercolor is a wonderful book and I am thankful that the artist took the time to create it.



5. I have just recieved Cathy Johnson's new book, "Creating Nature in Watercolor, an Artists Guide." I sat down and read it through, and found it felt like an beautifully illustrated letter from a good friend, who is encouraging me to join her in her love of nature and creating. The art work is superb of course, as I expected, since I already own several of her books, and recently took one of her wonderful Online Classes...and she has been drawing and painting for her whole life...but I also found much more in it than artwork. She not only shares many, many, many valuable techniques and tips...but they seem unique to her charming way of helping us out with some of the little things that become big things when you dont know how to deal with them. And she adds so many details and makes them all so interesting!
   Her 'personal relationship' with nature pulls the reader and artist into a close connection with creation and creating.
   It is a book for everyone...beginning and professional artists as well as all who appreciate nature.
   For me this is her best book....so far...:)