5 comments about Portrait Painting Atelier: Old Master Techniques and Contemporary Applications.

1. The step by step approach I liked, but the paintings by the author look clumsy and dead. Also this is not a survey of old master techniques. It is only the author's one single technique. She did not even paint the portrait on the cover which is a lot more beautiful than her own paintings. The writing is very dense and she uses the technical terms interchangeably when they mean different things. "I scumbled a glaze of raw umber"- well which one was it, a glaze or a scumble? The troubleshooting steps at the end of the book are vague and condescending and I think also kind of misleading. I thought "Classical Painting Atelier" from the same series was a lot more useful.



2. I was attracted by the cover of the book but was a bit disappointed at most of the paintings inside the book.The colors and some of the paintings are simply not that great. However, the content is what is interesting and worthwhile to spend the money. For a self taught painter, this book clarifies many aspects which are unclear and offers some useful exercises and explanations. The author of the book really explained many things in great length which is seldom found in other art books.



3. THIS BOOK HAS MANY PAINTINGS, TIPS,THAT ARE VERY HELPFUL FOR ANY ARTIST THAT IS A BEGINNER AND NEEDS A LITTLE PUSH.
   THE IDEAS, AND TECHNIQUES ARE VERY GOOD AND VERY VALUABLE TO PUT INTO PRACTICE. I JUST LIKE A LOT,AND I KNOW I AM GOING TO KEEP THIS BOOK FOR A LONG TIME.



4. this is a carefully written book, lots of information, many examples, color reproduction seems good. my biggest complaint is that the methodology seems dogmatic and anal. hard to be spontaneous when using this technique of painting in the old masters style. in fact, it completely inhibited me and I gave up on the canvas I was working on in utter frustration while trying to follow the program.



5. This book is very nice for any painter - beginner or advanced. Step by step instructions and I love the way it explains how to mix paint colors for all complexions including shadowing. Highly reccomend.

5 comments about Landscape Painting: Essential Concepts and Techniques for Plein Air and Studio Practice.

1. I, like several other reviewers, feel that Albala's book is the best one published to date since Carlson's classic Guide to Landscape Painting. Albala strikes a position distilling the didactic forcefulness of Carlson -- every painter needs a Carlsonian inner-voice -- and marries it to a humanist liberal arts tradition. His is a thoughtful and analytical discussion. Perhaps overly analytical to a beginning painter, but as one progresses this groundwork should pay off if you are not merely an arm-chair painter! The stunning examples taken from a myriad of plein air painters will have you ringing up your paint-buddy in anticipation of once again trying to capture the light!



2. This book is fantastic I have about 30 books on painting and this is the best by far. Mr. Albala writes with clarity and insight concepts that are neccessary for correct paintings. Ideas I thought I had a handel on were made crystal clear. By page 30 I had more than my moneys worth. If you buy 1 painting book this year make sure it this one. I LOVE this Book!!!!!!!!



3. While the cover and title appealed to me, the content was lacking.
   
   NEVER BUY A BOOK LIKE THIS ONLINE.
   
   You have to see it in person.



4. This is one of the very best books on painting, as well as landscape painting, that I have ever read. Fairly difficult concepts are explained clearly and procedures and styles are also well defined and explained. I would recommend this book to any painter, beginner to advanced as it is a wealth of helpful instruction as well as reference and amusing art quotes. This is one book destine for the permenant collections!



5. I finally got some clear insight as to how to compose an en plein air landscape. I found this book very helpful- clear, concise and plenty of examples.

5 comments about Acrylic Revolution: New Tricks and Techniques for Working with the World's Most Versatile Medium.

1. I don't know where to begin praising this book. It is like a candy store of ideas and new things to try.



2. I haven't actually used any of her techniques yet, but the book is beautifully put together with excellent instructions, illustrations and materials lists for each project. As a silk painter who also paints on canvas, I was delighted to see she even had a technique for painting on silk. The spiral-bound book binding is an added plus. I'm really glad I bought the book - it's opened new doors for expression.



3. I didn't know I wanted this book until I had a gift certificate to spend. I am a mixed media painter and always want to add any books to my library on acrylic painting techniques. I really like the ideas in this one, and most of the descriptions and demos are pretty well explained. I was glad to see some information provided on different substrates, and processes as well as the basic techniques!



4. Looking to make the switch from oils to acrylics, I wanted a text that was a kind of "user's manual" for the medium. This book was very useful in this regard. I believe Franz Kafka said, "Art needs craft more than craft needs art." This manual can't make you a great painter... but the simple, reference-style layout and generously illustrated, "how-to" text will strengthen your familiarity with the paint. Some of the example art is a little kitschy, but it serves to illustrate rather than enlighten. Also, the book is spiral-bound within a hard cover, so it is both durable and will lay flat... very handy for reference while at the easel. Anyone starting out in acrylics, looking to see their possibilities and limitations, will gain from having this reference in their library. Experienced acrylic painters, or people looking for inspiration beyond technique, should pass on this book, however.



5. This is a great book focusing on the tools and techniques used in creating acrylic artwork. The techniques are easy to follow and the tools used are simple enough to find. NO obscure or artist-patented colors forcing you to buy into their personally-branded, over-priced products.
   
   I only wish that after each technique is covered,there were some step-by-step projects/lessons to follow along with for trying out the techniques.
   
   An excellent, must-have guide for all aspiring acrylic artists.

5 comments about Carlson's Guide to Landscape Painting.

1. I am a novice pastel artist and particularly interested in painting landscapes. When I first got this book, I was disappointed and set it aside. All the pictures are in black & white -- not what I expected from a book about painting. But after my pastel teacher recommended it in class, I took a second look & read a few pages. This book is a real gem. I've been frustrated when instructors have told me to change something in my work, but not WHY I am changing it in a certain way. This book helped to answer a lot of my questions. The black & white illustrations are actually ideal, because they convey the information about correct values without the visual confusion of color. And I finally believe that you can use any colors you want if the values are correct. If you want to make your landscapes more believable, this book really helps. Now I have some concepts to give my landscapes depth and dimension. I think I might have avoided a fair amount of frustration if I'd found this book earlier. The language is a bit old fashioned, but it's a quick read and it contains immediately useful information. It may be too basic for some, but for beginning artists, it's wonderful.



2. I bought this book based on other reviews... what a great purchase! As a teacher and artist this will be a vital book for me. This book is helpful to put vague, arty ideas (such as composition and handling of edges) into crystal clear language with visual examples. This is not a how-to multi-step book (yawn -- too many of those already!). Other reviews cite the text as a bit 'dated' for language (printed in the 50's) and only black-and-white illustrations, but that is of little concern. Color pictures are not needed to understand the ideas presented. I did not find the text too dated. This book contains ideas for beginners through advanced artists, although I think it will likely confuse the beginner who is just starting to paint. I'd still recommend getting this for the beginner however -- just know that you will only understand certain ideas as you practice painting.



3. The author takes you through the steps needed to create a landscape but covers extensively the basics first. These basics are so important to creating paintings - very, very good book.



4. One of the best books on landscape painting. I highly recommend it for any artist.



5. This is one of the best books for artists I have ever read. I will reread it many times. Thank you

5 comments about Imaginative Realism: How to Paint What Doesn't Exist.

1. "Don't judge a book by it's cover" might be a cliche, but I find it quite relevant for this book. I own James Gurney's 2 books "Dinotopia" and have followed his blog and I can say that I am a fan of his work. However the cover on this book, to put it mildly, was not quite what I'd expect from him. Fortunately, thanks to my friend's persistence, I browsed this book at my local bookstore and was impressed by what I saw, so much so that I purchased a copy from Amazon. When I got the book, wow! I was even more impressed, it's one of the few art books that I have read with gusto from cover to cover.
   
   James covers many topics and shows many illustrations to support the ideas. The balance of text and pictures was just right to keep me interested in reading the book. It's not a step by step book but more of conceptual reference book. He narrates the thought process behind the paintings and gives insightful advise on the topics covered.
   
   I showed it to a friend of mine who is an accomplished illustrator in his own wright, and he was well impressed and inspired by this book. Highly recommended.



2. This book is a great read and a must have for anyone interested in learning from a true Great modern day illustrator. Mr. Gurney is best known as the illustrator and writer/creator of the Dinotopia Book series, however he has done many works both historical and fantacy. The book features many examples of his work and how he came to arrive at his conclusions. I enjoyed the book very much and would recommend it to anyone interested in Art that is rooted in fantastic worlds and imagination.



3. A great book for letting you see the process of how to get the most out of your painting.



4. Very helpful, with good tips to draw and paint what you see in your own imagination. There are many books that tell you how to draw from life, or how to draw THEIR designs and images, but this is the first I have found that really helps to draw your own way.



5. I bought this for my boyfriend who just graduated from art school this past May. I was a little skeptical since he's pretty picky about what he thinks are "good" art books, but I knew he was a big fan of James Gurney, so I bought it for him as a present. He loves it! He references it often for his fantasy work. I totally recommend it, especially for fantasy artists.

5 comments about Gardner's Art Through the Ages: The Western Perspective, Volume II (Gardner's Art Through the Ages: Volume 2).

1. Received this product quickly and in excellent condition. Very reasonalby priced. Will definitely use them again!



2. the book was exactly as it was described. shipping was descent. I'm pleased with my purchase!



3. This is an expensive book, but it explains once you open it. It's an Art History book and the sectioning of time periods is on par. The pages are nice and glossy and colors vibrant!



4. The text is well-written, holding the reader's attention--assuming that s/he is interested in learning about the history of art!
   The artworks chosen for reproduction with the text are plentiful, sharp, and are all in color.
   The only drawback in my particular copy is that due to a production error at the printers, a few pages were bound waaay out of sequence!



5. I received the book within days and have been using it for my art course.
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   

5 comments about Painting Abstracts: Ideas, Projects and Techniques.

1. I tend towards ambivalence when reviewing such books, as on the one hand paint-by-numbers sort of structured instruction will not bring the aspiring artist to fruition creatively. At the same time, there is something to be said of the converse view, too. This ambivalence has in part to do with the fact that didactic means vary because artists especially vary so widely in their means of learning. I, for instance, found that simply could NOT study under academic conditions - deadlines, other people in the ROOM, even - the feeling that you are all there to create a product can take away the self-suggestion with which we state to ourselves that the problems we busy ourselves with - as unnecessary as they are to the world-within-time (the everyday rat race world) - are actually as pertinent and important as are great corporate mergers, technological breakthroughs, and political intrigues. Others, however thrived in such an environment, bolstered by competition, cooperation, convention, commerce - and, let's face it, copycatting (lol).
   
   That being said, the art of the abstract expressionist (or whatever other nomenclature one feels comfortable with) is a very personal and private art. On the one hand, I can readily agree with the reviewers who admit to an enjoyment of by-the-numbers structured courses of instruction in a book. This attitude is admirable and not at all "wrong" - for those of us who quest alone but long for (perhaps ache for) formal instruction, these kinds of books make up for all that expensive "education" in art colleges. For these aspiring professionals, that sort of self-reliance and resourcefulness, faith and (one hopes) determination, is admirable indeed. For those, on the other hand, who decry this method of learning to paint, they too are correct, and this book would not be satisfying whatsoever. While I am of this group, I can see the perspective of the others.
   
   I am reluctant to call the latter point of view a more advanced understanding, because there will no doubt be future successful painting careers that begin the way of this book. Yet, I myself could never be satisfied with such a book. And YET what I WOULD recommend, even for the people who desire structured instruction as given in this books - "projects" and the like - is finding a book to accompany one's learning that concerns the student PURELY with the medium. Consider Pollack's statement that "paint is paint, surface is surface". This is something to bear in mind about what abstract expressionism is all about - because this book purports to get the aspiring painter to that point. Pollack, Rothko, Morris Louis (my personal fav!), they all began not as Mondrian did - that is, they began at pure abstraction, rather than gradual deconstruction of a visual phenomenon, an object. Kandinsky is the father of true "expressionism", whereas Mondrian was more, um...formulaic, expressing mathematical structure.
   
   The book I would recommend for the purist is simply something like "The Artists Handbook", because it gets down to the nitty-gritty, the information concerning the nature of the medium. There are others which specialize in an aspect of your chosen medium. These are even more desirable, as the best will explain the source and behavior of each pigment and its interaction with various other pigments. Why is this important? Well, you may have an intention, but you choose ultramarine over a less stringy pigment, you use it with a glaze of, say, cadmium anything, and you find that either your mixing or maybe an undesirable texture results. Now in this situation, as hack would wing it, compensating for the technical ignorance by over-painting - but note: the most masterful abstract canvases in any museum are so because the artist makes it looks easy, and the colors amaze the viewer because they didn't have to muddy up their palettes with all sorts of clumsy mixing or application. There are literally TONS of subtleties to paining in any medium. So while an inspirational book may get the juices flowing, it will still be a long way from providing much in the way of that elusive thing we call "expressionism."
   
   I'll venture here to suggest an American-born art form (some say the only) as an example: jazz. The spirit of this musical form has inspired any number of painters in the last century, just as classical did the century before. Pollack, however, was the first to really successfully attempt the same freedom. Listen to Bird's solo, one of his really virtuoso performances, and you may find it evokes a Pollack-like abstract graffiti feel in your soul. In the movie "Pollack" with Ed Harris, note the part where, at the kitchen table, Pollack beats out a Krupa drum part with his utensils. I think that's suggestive of the spirit inherent of American expressionism. My point here, however, isn't at all about WHERE you get your inspiration - for all I know, you get yours from Patsy Cline or Stone Temple Pilots or Stravinsky's Firebird Suite! BUT, to learn about painting abstracts, I think there's a key lesson to be learned from jazz. Great jazz players are the objects of many a musician's envy - WHY? Because the seem so free an ABLE to do whatever the hell they want to any song, coming up with improvisations seemingly out of thin air. Most other genres of music are constructed of and /or derived from a set number of conventional riffs and chord progressions - this is something the jazzman (or woman) knows, and they use this knowledge to add yet more knowledge of harmony to add yet more harmonic interest to an otherwise static I-IV-V structure, for instance. But this freedom comes from knowledge of music theory. Since the advent of Bebop, it is almost imperative that they are theoretically savvy. One cannot imagine, unless they actually play, the amount of time these musicians have spent going over the basics - scales, chords, arpeggios, interval ear training, etc, etc. What we hear when we listen to a wicked Coltrane solo are structures built up of just such simple elements (and let's face it, some really SICK chops!). So jazz improv, that freedom, comes from disciplined knowledge of the medium - sound - to arrive at free-flowing form. Note that tired old riffs, or doing anything over and over again just would not do and the musician that at in and did this would be kicked off the stage quickly - because that's not jazz. Similarly, the abstract expressionist, in seeking forms seemingly from think air, must use disciplined study - sometimes making s**t that looks like, "WTF???" because it looks like "something a kid could do", right?: It's that old cliche reaction of less sophisticated viewers to seeing the great postmeodernists, just as one might perceive a jazz solo (not that dentist chair, elevator, Kenny G crap, either, lol!). But in fact, such exercises are necessary - remember that addage: "paint is paint, suface is surface." That's the ONLY way to truly develop as a painter. You take deep masterful theory of art theory, and you then look within - some people meditate, some listen to music, some...the stimuli, the inspirations are endless. Composition is key, but so too is freedom. I can spot a hack or fake right away these days, so long and arduous has been my quest for understanding these past 10 years since finding myself swayed towards abstraction as my "dialect." You want a book for abstract expressionism? Not one really out there. Study instead the artists you admire instead. Find out what moved them. For instance, many studied the Eastern philosophies, some studied music. If you really search with insight, you may find that the Western insistence upon elevating figurative work above calligraphy might be your biggest roadblock. It may require a paradigm shift. In China and Japan, and in the Arabic world, calligraphy is the higher, more subtly profound work. Painting is the hand and the eye - even CIA handwriting experts know this - that the emotional state and other psychological traits of an individual can be discerned through the calligraphy. Alphabets the world round actually find their origins in pictographs first. Thus writing is the most highly evolved abstract art that there is - and the most ancient. Oddly enough, graffiti still hasn't gained the acceptance in the art world that it seems it should have. Surely Asians look at this phenomenon and wonder about this fact. So then, just as with jazz, more than with any other kind of painting, abstract work is a highly intellectual movement of last century. When one reads these painters' notes, one is left with the impression that none of these artists were ignorant individuals. And the question of whether or not they can paint "real" things is moot - when you've mastered an understanding, at least, if not a personal practice, you will be able to see in an abstraction whether or not an artist is capable of this. But does it matter? Let's say you find a musician can play "Twinkle Twinkle, Little Star" or "Old McDonald Had a Farm." Are you impressed? It's the equivalent of slapstick comedy, where the viewer does NONE of the work, compared to the more subtly wicked humor of, say, Vonnegut or Voltaire - abstract really CAN be deep like jazz or philosophy (imagine, Picasso, Jean Paul Sartre, and Miles Davis all hung out together - the greats don't get work by reading how-tos, but by living thoughtfully and richly within the intellectual world - not necessarily books, but learning and then questioning the S**T out of convention to arrive at you OWN way).
   
   But it begins by giving up hope in books like this one, and instead learning from your world, from the things in life that really MOVE you, whatever they may be. We artists are sociopathic in that we rarely regret "blowing up the outside world" to find that source. Good luck and excuse my verbosity, folks, LOL (my passion is boundless and now it's time to PAINT!). PEACE!



2. This book is an excellent introduction to abstract art of all types. The problem of course is her writing which is cryptic like it was going thru a tweeter interface: Move this. Do that. Fill in here.
   I didn't care for the disjointed writing style personally; but OTOH the methodology of making abstracts works though I must admit it is a lot of work.
   
   Its true some of the paintings can be monotonous in presentation, but there are so many exercises it would be hard to believe that she would make a painting for each exercise -- instead she reuses paintings and highlights the parts that show that exercise. I think that makes sense actually as no painting is just one exercise -- its the right combination of different exercises, looks and techniques to get that look.
   
   It really isn't much of a technique driven book. For that I would recommend Nancy Reyner's Acrylic Revolution and Rheni Tauchid's New Acrylics for understanding acrylic paint. If you don't do acrylic you could use Nancy's book in your venue for the most part while Rheni's book can easily be forgotten as it is much more specific.
   
   If you want a more intermediate/advanced book with no rules just thoughts or should I really say guidelines but of course still in the tweeter style of writing, you would like her next book, which is not as precise, vague and with less steps to make the "look". Again its low on technique so for the intermediate book I would recommend Patty Brady's Rethinking Acrylic book as a companion.
   
   So depending upon your journey into abstract art Rolina has a book for you. But I would still prefer it to be better written.



3. Excellent book for beginners or people with some art background, whom want to get into the abstract painting field, but required discipline and patience to do one painting after another with variations of techniques but not of designs. I am working already on page 29 and I have to push myself through it because of lack of motivation and inspiration. I got that tired feeling when you do the same thing over and over.
   Maybe is just me and I will get over it by the end of the book. I will let you know.



4. A great book. I follow the exercises, leave off and do my own thing, go back and do some more of her exercises. She has transformed the way I work. I moved away from representational painting in oils, but had several to finish off before totally commiting to acrylic abstract and I can see how this book has improved even those paintings, I just see things differently. I will always be thankful I bought this book.



5. How-to art books are written to make money. They sell because either they give excellent instruction one can learn from, OR they present their material as a one, two, three, you too can create a lovely painting following these simple instructions, no experience needed!. This book offers "... instructions for 65 abstract paintings that you can get to work on straightway, with no previous experience." You'd really need to have some experience to understand these very brief instructions. It's more like a little gallery with some very nice, sophisticated pieces of art.

5 comments about Creative Paint Workshop for Mixed-Media Artists: Experimental Techniques for Composition, Layering, Texture, Imagery, and Encaustic.

1. One of the best collage art books I have read. She gives step by step examples along with creative ideas and tips. The collages are beautiful and creatively inspiring ... you can't stop yourself from running to your studio to get started! If you have struggled to get your collages to come together cohesively - this book will show you how.



2. A bit of this and a bit of that. Some interesting techniques, mostly having to do with capabilities of materials. Also, the author is big on mixed media, with emphasis on collages of one sort or another. If you're the adventurous type, you may find an idea or two that takes your fancy. A worthwhile investment for your art library.



3. This book has a lot of explanation on how to create collages. It is a starting point when this is not your usual media to express yourself, though the projects that are included are very alike to each other and lack of creativity. I liked to read this book rather tan try the different examples they illustrate.



4. " Creative Paint Workshop for Mixed Media Artists" was a ood book with many examples and projects to get you started. Especially appreciated the links to websites of artists who work in that style. Sender was responsive to problem that original book was missing a chapter - probably a misprint- and promptly purchased another copy from Amazon and sent it to me. Great company to deal with. Barbara



5. Creative paint workshop was just what I needed to get me started in collage. It gave lots of examples and was easy to follow allowing me to feel comfortable jumping in and giving it a try. I highly recommend it!

5 comments about Classical Painting Atelier: A Contemporary Guide to Traditional Studio Practice.

1. Classical Painting Atelier is almost useful. Unfortunately, far too little space is devoted to real information on practical methods and techniques. Aristides primary focus is in self promotion repeating again and again that the information she mentions in passing here is discussed more fully in some other of her books.
   Some pretty reproductions of other artists' works who may or may not have ever set foot in her classes. Interestingly her own paintings, though pleasant enough are among the weakest examples shown.
   Unimpressive didactics, uninspiring, with thankfully brief allusions to studio life, limited value to a student of painting...you're better off watching someone on You Tube.



2. I am a fan of realist painting so I had high hopes for this book. There is so much information that is just Art 101 and no demonstration of the method of starting, working through and finishing a painting. It really is a huge pamphlet for painting atelier programs with not much information to improve your painting. It describes atelier programs without imparting much practical knowledge. Daniel Greene has some DVDs on painting that are really good and there are other realist artists making DVDs now as well. I'm losing faith in these books.



3. The quality of the prints are solid and her explanations are quite good. If you have already have classique atelier training or had some classes similar, then this will serve to consolidate those experiences.



4. The issue with this book is that it is filled with classical works and references to it, but very little practical info.
   
   Anyone who has studied a minimal amount of painting could have written this and the info you do find in it is scattered within pretentious bla bla bla about old masters and contemporary artists. About their style, their work, their life, the school they went to, you know the drill, but 0 practical info you can use.
   
   Calling this a "guide" is ridiculous. It read like an encyclopedia of arts, nothing to do with studio practice.



5. i cant understand why no one can write a book showing how a painting is made from start to finish i must of spent hundreds of pounds over the years buying books that claim that they can show you how a classical portrait is done and non of them do.most of these people teach art in there own classes and i think they leave gaps out of there projects in these books so you have an insentive to get the rest of the info buy paying for there classes.being painters them selves they no what info is needed when learning how to paint a portrait so why the hell dont they put it in.you would not be happy with a cookery book that leaves info out so how can people be happy with a painting step by step book that does just that.there is just not enough info to complete any thing here.to any other artist that wants to make a step by step book -instead of filling the book with incomplete projects why not just do one and make a good job of that

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

1. Not a whole lot of additional information about painting in general. Is great as a broad overview, lots of examples. It just didn't go into too much detail about anything, and technique was hardly covered.



2. Great guide for the budding artist. I'd work with acrylics in the past, but needed a refresher course - found this book very helpful.



3. I love this book. I bought it based on the reviews, and I'm glad I did. I'd definitely recommend it, especially at such a low price.



4. This was the book my teacher had us buy for an Intro to Painting class. Gives you all the basics, i.e. what materials to buy and how to start. Thank you to my teacher for finding a reasonably priced book that did the job.



5. This is a great book as a basic staple for reference and for ideas.
   I've been painting for over twenty years and I still thought this was an excellent guide for color and style as well as being a refresher of basic techniques.