5 comments about The Elements of Color.

1. as Tellez noted previously, this isn't an easy read. fortunately, the reward is worth the effort. Itten does not dumb down his perspectives for the sake of the reader, rather he puts it all on paper for the devoted color theorist to decipher.
   that said, it is for the most part approachable and relatively short reading. I re-read this book every couple of years to keep my busy mind fresh and focused when working with this most essential component of my work.



2. The information in this book is interesting, but the color in the color wheels and all color samples are very pale and washed off. Very disappointing.
   
   If you need to use the color wheels or scales as references, this book will not be helpful.



3. I purchased this book because I wanted to understand colors, color schemes and theory(ies) better in order to apply to my necklace designs. It's a good book to have in your library, but it won't answer all the questions you may have about some applications. Itten's other books however cover pretty much everything; try The Art of Color, for example, if you'd like learn more about color effects on moods/feelings.



4. It's been difficult to give a balanced critique. On one hand, "Elements of Color" has a wealth of information, but on the other, it takes serious committment to fully understand and comprehensively apply the information Itten presents. There is much valuable data, but it's interspersed with almost stereotypic, outmoded "Teutonic" concepts; e.g. assigning "Blond Types" springtime, bright, vivid colored topics, while "Dark Types" should be assigned "Night, Burial and dark room" topics. There is much valuable, technical information, but it is like digging through hard stone to find the gold; overwrought and culturally centered, judgemental statements are very common ("red expresses intermediate degrees between the infernal and sublime"... what's this?!?!). Other statements seem value-laden, i.e., "sentimental blue", "angelic pink", "blue reigns supreme"... Some excuse may be found in realizing the concepts in this treatise may have been developed before the Post Modernist Age, which accepts cultural and ethnic diversity, that accepts art and the use of color as being open to various interpretations, that color is certainly relative and greatly subjective, that many statements about color are only opinions... and that there is no absolute truth as to what color is "right" or "wrong". Unless the reader is studious and very serious about trying to unearth the information contained in this book, he or she is much better served by studing Albers or others. Too bad there is no editing, no index, and no glossary. What would Itten think of the book, "Chromophobia"? ... Pablo Tellez



5. Itten, himself is one of the greatest color theorist of our century, and the masterful mind behind the Bauhaus School.
   
   In this book Itten describes his color theory and the facts of his famous "Color Star", which is one of the most strongest tools for color harmony for designers and alike.
   
   Most color books have samples of color harmonies you choose from when you design, or talk about complementary colors, but cant tell you why u use such combinations or so.
   
   If you have an analytical approach to design, rather than just copying what others do, you will love this book. You will begin to understand the language of colors.
   
   Have u ever heard of "the Seven Color Contrast", if not then it is time for you to get familiar about it.
   
   This book is an evaluation of Ittens masterpiece "Art of Color". The chapter on subjective experience of color is very limited in this book.
   
   If you are willing to invest more on color matters buy "Art of Color"
   
   If you are happy to stay with the basics then this book is adequate for your purposes.

5 comments about Richard Diebenkorn in New Mexico.

1. Of the few scholarly books written on Deibenkorn's prolific production, this volume offers a new insight into the relationships of his previous developmental and matured California works. His clearly defined non-objective landscapes hold the seeds of the objective period to follow and an even more defined structural forecast of his late period of geometric compositions. Diebenkorn's use of color in New Mexico brings together both a broad stroke vision of the native landscape and an alternate coloration of local floral and costume. This author views the Albequerque series as his deepest expression of color beyond the sand, stone and dry botanical forms of cactus and sage as a predominating foilage. The light-hearted color canvases are of very special interest.
   
   Of all artists of the twentieth century, few, if any, have explored the diversity of color intricately entwined within the composition structure so much as Diebenkorn.
   
   Ray W. Clarke
   Cleveland and Palm Beach



2. This book is something of a revelation for anyone who has an interest in American painting, but isn't an artist, academic or serious collector. Richard Diebenkorn, for me, has always been a great West Coast, landscape/colorist painter, known most recently for the Ocean Park series that became a kind of hallmark for him. "Richard Diebenkorn in New Mexico" shows an entirely different phase of his remarkable professional life; one that saw him fully committed to the dominant abstract expressionist school of the time and painting with quite a different pallette of colors than that he would come to be known for some 20-30 years later. This book is a wonderful collection of paintings, drawings and sculpture that provide examples of how the then-student Diebenkorn developed his craft over a two-plus year period in the 1950s. This is a major pleasure to read, peruse and discuss as well as a wonderful addition to any art library.



3. This book provides an enlightening look at Diebenkorn's early biomorphic landscape drawings and paintings. It's full of quality images and incisive analysis, and gives a thoughtful overview of his formative break-through years.



4. This book accompanies an exhibition of Diebenkorn's works painted in New Mexico in the early 1950's. Wonderful illustrations make it a valuable addition to the literature on the artist. Now, you really have to be an all-out Diebenkorn fan to consider that these early works measure up to what was being painted at the same time in New York by the likes of Pollock, De Kooning, Rothko, Kline and Guston. Diebenkorn became great when he started the Ocean Park series in the 1970's, but here, he only reveals himself as a good colorist. The merit of this catalogue lies, in my opinion, in the high quality of the illustrations, albeit of minor works, and in the sensible text written by a leading authority on the artist.



5. This excellent collection represents the works produced by Richard Diebenkorn during his tenure at the University of New Mexico from 1950-52, comprising some of his most exciting abstract images. The companion exhibit at the Harwood Museum in Taos, New Mexico once again confirms Diebenkorn's stature as one of the most influential and important abstract painters of our time.

1 comments about The Complete Guide To Painting Water.

1. At last I found a book to help me with my struggle to paint water scenes. I sure need a lot of practice but am now hopeful I can at least make some progress.

No comments about Marlene Dumas: Measuring Your Own Grave.

5 comments about Flowers A to Z with Donna Dewberry.

1. Great book for anybody whos intrested in learning one stroke painting because it teaches you how to paint different kind of flowers and the instructions are easy to follow.



2. Good solid book, but nothing really stellar. It has some good techniques, but not the Wow factor in many of the other books



3. The product was in excellent condition when I received. I will buy more books from this seller. Very pleased



4. I enjoyed the instructions in this book. First, a detailed explanation of how to complete each type of stroke is given. Then, the book has detailed information on how to paint many different types of flowers and arrangements. And finally,(this is the best part) it goes on to explain how to create original arrangements depending on the surface space the painter has to work with. This book was well written and easy to follow



5. This book is awesome! I have many of Donna's books but this is my favorite. I've been painting using the One Stroke method for about 5 months and I'm HOOKED! I've taken 13 classes with my local OSCI since then, which is the best way to improve your OS painting skills, but this book is a great compliment to those classes. Donna uses about 15 pages in the beginning of the book to go over materials, techniques and colors. Then she covers 50 flowers/blooms using 2 pages for each. The picture of her finished piece is a full page and of course very colorful. Then on the opposite page it lists the brushes and paints you'll need and a step by step guide on how to paint the flower(s). But it doesn't stop there. She uses 14 pages at the end to cover filler flowers and floral composition. Finally the last 2 pages are a gallery of floral project ideas. This is an invaluable resource! Enjoy!

4 comments about Splash 10 Passionate Brushstrokes (Splash).

1. The last "Splash 10" book is really a fantastic book. So many great paintings and creative artists make you want to get your brushes out and start painting.
   
   The inspiration they provide is a great gift. A very well-worth purchase.



2. I have most of the Splash series and I think 10 is one of the best yet. I love to see what other watercolorists can do. Their imagination abilities are truly remarkable. Splash 10 is also special to me as my teacher, Susan Stuller, has two paintings included.
   
   Marti Franks



3. Book ten already! I wonder if the folks at North Light thought Splash would last from January 1991 to May 2008 for the latest edition. Especially when you consider the number of books out there. Put 'watercolor painting' into Amazon's advance search and more than 8,000 titles pop up, try 'watercolor instruction' for more than 800!
   
   I mentioned in my review of book nine that I thought the contents rather subdued in comparison with previous editions and ten does rather continue that impression. I must admit that I have no idea about the criteria for inclusion in this series but selection is probably based on what is available and maybe there just aren't many eye-stopping paintings around. I'm thinking here of Deborah Rubin's tram painting in book eight or Hosey Hutson's beautiful painting of the side of a barn made up from 7-UP signs in book six.
   
   So what does this latest book have to offer. There is certainly no reduction in quality from the ninety-nine artists included and the range of styles is as wide as previous books. Dan Burt's included again (he's also in book seven and eight) with his amazingly flamboyant casual brushstrokes and so is Soon Warren's glass bowl with flowers done in an almost photorealist technique. Ted Nuttall (also in book eight) contributes a lovely portrait rather reminiscent of Charles Reid's style: an apparent casualness of color and brushstrokes that makes it look so easy but is in fact the epitome of creativity and professionalism. John Salminen lives in the Minnesota woods and so is intrigued by big cities. He has two paintings that nicely capture the feel of a metropolis, his starting point are his own city photos. As with previous editions all the artists write about their techniques and inspiration.
   
   Book ten is the same size as the others, printed on good paper with a 175 screen. The paintings are divided into seven sections with the usual favorites: landscapes, still life, flowers (with some really good exhibits) and people. I always thought the design of the series rather good, clean and uncluttered but this book has a rather annoying design conceit: there are three examples of display type printed on the paintings. This seems to me a totally unnecessary idea, empty areas of a painting are there for a reason and not to be considered as an optional place to add text. I've not noticed this in previous books.
   
   Despite the fact that this tenth book (like the ninth) doesn't quite come up to the creative exuberance of the previous eight it still has plenty of wonderful watercolors to inspire you and the series still continues the very high painting selection one has come to expect.
   
   ***FOR AN INSIDE LOOK click 'customer images' under the cover.



4. Rachel Rubin Wolf must be doing something right with now a tenth in the series. The Splash series is a collection of current watercolor artists and some of their most inspiring work.
   
   This one is Passionate Brushstrokes. The colors, the ideas, the perspective of the paintings are once again terrific.
   
   It is especially helpful, as an artist, to read from each artist their breakthroughs, their inspiration, their secrets along with each painting in the book.
   
   It is not a how-to book but looking through the book is motivating and inspiring if you are trying to get a new painting going.

5 comments about Celebrate Your Creative Self.

1. Book recommended by my art teacher. Good for artists wanting different ideas on how to use acrylics. Jackie



2. I love this book! I am a "self taught" painter. I'd been struggling with new ideas...didnt know how to acheive what I wanted. I saw this book and decided to give it a looksee. I am extemely happy with it. It answered many of my questions and I am back on the creative road.



3. Celebrate Your Creative Self: Over 25 Exercises to Unleash the Artist Within
   Have not had time to use a lot of the activities, but there seems to be some really creative acitivies that interest me.



4. I really like this book. I own it and have given it as a gift to many of my artist friends and students. It has great idea starters that are open ended enough to allow for creative license. I also really like the spiral binding that allows the book to lay flat while refering to some of the techniques.



5. It was a very inspiring book. Lot's of great photos of artist work. I am an oil painter and still found it helpful and inspiring.

5 comments about Painting Better Landscapes.

1. The best book I have bought. Goes into visualizing,planning,etc. Covers the guidelines for compositions as well as values and mood. Highly recommend.



2. I bought this book years ago and I continue to come back to this book years later. It's full of good and useful information. Kessler lays out the basics well and provides good solid information for constructing good landscape painting. Her book is a great reference for when I run into problems or am not sure of what I'm seeing when I'm painting. Kessler and John Carlson are the two best books on painting landscapes that I found.



3. On my feedback I had entered the feedback for the wrong book, my apologies, please. This book does have a lot of great information and gives details using great techniques.



4. Well written text, for advanced artist as well as the beginner. Kessler explains her topics very well. She uses a lot of earth tones in most of her paintings, but any artist can adjust the color range to suit their taste.



5. Este libro es estupendo para mejorar tu pintura, tanto seas novato como avanzado, pero especialmente es útil si llevas tiempo pintando, creo que está orientado especialmente para superarte en lo que ya haces. Te hace ver la técnica a seguir, desde que empiezas a inspirarte en una fotografía y su interpretación, la combinación de colores empleados, la mejor composición, profundidad, la forma de trazar con el pincel, y muchas recomendaciones más para superarte en lo ya llevas haciendo un tiempo atrás, como es mi caso. Recomendable para todos.
   AVISO PARA AMAZON.COM: Soy español y hecho de menos que tengais un apartado especial para saber las publicaciones en mi idioma. Todos los libros que he comprado los hubiera disfrutado más si estuvieran traducidos al español.
   
   This book is marvellous to improve your painting, so much be raw as(like) advanced, but specially it is useful if you go time doing(painting), I believe that it is orientated specially to excel yourself in what already you do. It makes you see the technology(skill) to continuing, since you start inspiring by a photography and its interpretation, the combination of used colors, the best composition, depth, the way of planning with the paintbrush, and many recommendations more rides to excel yourself in already doing a time behind, since it is my case. Advisable for all.
   
   I WARN FOR AMAZON.COM: I am Spanish and a fact of less than a special paragraph to know the publications in my language. All the books that I have bought had been enjoyed by me more if they were translated into the Spanish. THANKS.

5 comments about How to Paint Like the Old Masters: Watson-Guptill 25th Anniversary Edition.

1. I consider myself a successful painter. I've sold paintings, I've had exhibits, and more importantly, I love to paint... but I am self-taught and even with all the information online, this book still provided excellent detailed descriptions into the full process of the masters. From which brushes to use to how to mix paints and thinners. This book was very helpful for me in trying to fine tune effects I want to achieve in a painting. For instance, if I'm doing a portrait and want it to be a little Rembrandt with a hint of Titian (whatever that means to me at the time) this book gives me the tools to accomplish this.



2. The book first goes into an in-depth discussion of the various mediums, varnishes, and colors used by Titian, Rubens, Durer, Veronese, Hals and Rembrandt. The author advises us to use Lead white, and to also make our own mediums using a messy boiling method. Several "examples" follow to fill out the book, where he does several paintings, in phases, to suggest perhaps how the old masters painted. It is a unique book, because there is a dearth of books out there on what techniques and materials the old masters really used. And Shepherd is a decent draftsman, as witnessed by his several excellent figure drawing books. However, I only recommend buying or borrowing this book if you are completely clueless on the topics of grisailles, glazes, lead white, and how blues and grays can be used in underpainting to bring out realistic flesh tones later when lighter
   glazes or scumbles are applied. It is an introductory book only.
   
   The big problem is that there is virtually nothing really written down by the old masters on what their techniques really were, other than anecdotal evidence. So the author is really guessing, and certainly says nothing about how these artists set up their compositions, or their use of models. Shepherd talks only about the mixtures and drying times. Watteau was said to have worked very quickly, finishing a painting in a day-- with a very dirty palette with lots of turps dripping all over--yet his paintings are gorgeous. Rubens, besides having assistants, apparently had some original ideas on how to paint "transparent" shadows, which gives his work a special glow. Titian said that he used "20 to 30" glazes (it's important to realize that the famous Venetian colorists always painted grisailles first). Certainly, the color mixtures that Shepherd employs should be taken with a grain of salt, because a sense of color is an intuitive, naturally-developed thing, and so it is only useful to know that they MAY have used madder and ocher to get a sort of flesh tone-we don't KNOW that they did.
   
   The part about boiling mediums is too labor-intensive, expensive to order, and impractical to experiment with, and worse, there is no evidence that boiling your own mediums, mixing your own paint, or esp. using white lead will make your paintings "glow" like the old masters!
   I used Titanium white and it is fine--Lead white is chalky and hard to mix without lots of medium, too much of which can make your work too wet
   or sticky. It is also poisonous, and can seep into your skin. It's covering power and mixability is in no way superior to Titanium white, in my view (but better than other whites). Shepherd does, however, mention Maroger medium (Neo Megilp is the modern alternative), which is a sort of varnish-smelling "jelly" which allows a certain mixture and buildup of effects very attractive to certain artists who want their work to look like Rembrandt's. But Velazquez worked very thinly, using no such jelly at all, if you see his work close up (The Technique of Genius book).
   
   In general, I give this book a low rating, because it is less helpful than simply LOOKING at close-ups of old master works. By looking at the surface of great paintings, you can discover many tricks, see how loose, crafty and bold they were, and then go back to your studio and try to keep that in mind when you paint. I certainly do not recommend seriously following Shepherd's step-by-step methods! which I think could actually be discouraging and harm your art, being so dogmatic and narrow. But as a book to simply peruse and familiarize yourself with perhaps how some of these old masters painted, it is fine.



3. I bought this book based on the reviews here and I wasn't disappointed.
   
   What was really good about the book was that the images shown are of a reasonable size. In many books the images are too small to really see the painting technique clearly. Each painting is also shown in quite a few stages of completion so you can really clearly understand the painting process being demonstrated. The descriptions given of each technique were also very clear and well written.
   
   What I most disliked about the book was that many of the paintings in the book were done in the 1970s and so looked quite dated.
   
   This is a great book, but I wouldn't recommend it for beginners - you need to know the basics of painting and colour mixing etc. first.
   
   It doesn't give the final word on painting like the masters, I'm still interested in reading more about it, but this book was a great starting point and well worth buying.



4. This is the only book I've every come across that completely demonstrates the techniques of several masters. The graphics are amazing and I like the fact that there are several sequential illustrations for each painting. Wonderful 'how to' book on painting like the masters.



5. Joseph Sheppard's How to Paint Like the Old Masters is a good visual reference book especially for procedural figure painting techniques used by historical painters. The book explains how to start from a tinted or warm background, and the correct layering of highlights and colors, etc. Unfortunately, the author's illustrative examples are mostly of 1970-esque nudes that give little inspiration for painters to aspire toward.

5 comments about Dreamscapes: Creating Magical Angel, Faery & Mermaid Worlds In Watercolor.

1. I received my copy of Dreamscapes and I am thrilled with it. What I like about her book apart from the beautiful artwork, is that she is very detailed about how to start the process of a watercolour painting. Little things are not overlooked and she assumes you haven't painted before. There is even guidance on how to draw. If you have a little drawing experience, it will be easier to follow however the way she lays it out makes you feel like you can tackle her projects. And there are a lot of them! The author also covers materials in depth. If you love fantasy you are going to be really inspired by this beautiful book as I was.



2. I preordered this off her website so I got a print of her beautiful cover as well as the book.
   
   I've always been a fan of her work, and just started doing watercolor so this book is perfect for me. It's given me a lot ideas of things I want to try out in the medium.



3. Wow, this is my favourite mermaid illustrating book.
   Love, that the illustrations are explained with full example and easy to repeat tips.
   This book is all you need to create stunningly beautiful female fantasy art.



4. Having been privileged to introduce and feature the Art of Stephanie Pui-Mun Law in my own books nothing gives me more pleasure than to see this wonderful volume 'Dreamscapes' that has just been published. From my own experience I can appreciate the huge amount of work and detail that will have gone into producing the most stunning 175 page book of 'Creative How to Draw' magical Angels Faeries and Mermaids.
   Stephanie Pui-Mun Law is one of the foremost Fantasy Artists of the New Millennium her work and detail enchants. Time again one has to return to her images to see and understand her creative inspiration and thought process, yet here in this book she tell us her secrets and shows us how to hone the skills needed to be a success. This book is a must have for any aspiring artist of any age, it educates and enthralls with creative energy and artistic inspiration, welcoming readers to enter and join the enchanted faeries world. It instructs clearly and precisely allowing the reader of any age to easily follow and study techniques. For libraries, education, hobby shops and stores, art colleges, children, students this book will be an all time reference and best seller.
   This book teaches conservation and understanding of the beauty of Mother Earth and the importance of protecting the environment, there is no better way to educate than encouraging through instructive art books like this.



5. I have been a fan of Stephanie's work as a fellow artist. I like her watercolor technique and use of color in her artwork. I purchased the book, not to learn how to create art, but to better understand Stephanie's process as an artist.
   
   Upon reviewing the book, I was very impressed with the presentation of the material and Stephanie's instructional style. It was very clear, and extremely thorough. And all of it is presented in a high quality package. The pages are heavy weight and packed with illustrations and side bars of info. What Stephanie has done here is to give a wonderful gift to anyone who is interested in learning about watercolor illustration. The kind of information here is akin to the type of knowledge a student once might have learned as an apprentice to a master artist. Now that tradition has regretfully passed us by, Stephanie has offered a very viable substitute.
   
   I highly recommend this book to anyone interested in fantasy illustration, or to someone who just would like to experiment with watercolor techniques. The only thing disapointing about the book is that it ends.