5 comments about The Sierra Club Guide to Sketching in Nature, Revised Edition.

1. I was looking for a book to go through all aspects of nature sketching and journaling. This is the book! I have lended the book out to other sketch artists and they found it very useful as well. Lots of pointers on different types of sketching and FANTASTIC illustrations. It it worth purchasing just for the illustrations alone. I would recommend this book to ANYONE who is interested in sketching nature.



2. I loved this book. I am a beginner and it was an excellent resource.



3. I am a novice artist and need all the tips and help I can get. This book is a big help and I refer to it frequently.



4. This book provides a tremendous amount of information on sketching in nature but don't let the title fool you- this is a terrific general sketching and drawing book. Johnson covers topics that are rarely covered in other books. The use of pens, watercolors, pencils and colored pencils (both water soluble and not) are covered. This is an invaluable book and is an asset to both the beginner and more advanced student. I'm on Amazon right now trying to find other books by Cathy Johnson- I'm that impressed.



5. This is a very refreshing book. Cathy Johnson not only makes it look easy to draw and paint loose, yet accurate, watercolor sketches outdoors, but she tells you everything you need to know. This book will actually teach you how to draw and paint what you see, without making things overly complicated. Best of all, her supply list is well within the means of most people. I really enjoyed this book, and learned a great deal from it. This summer, I caught Lyme disease. It's nasty. For months, I could hardly walk, let alone hike and garden and do stuff I used to love. But Cathy's book has helped draw me back outside, and I'm learning to love nature all over again, one leaf, flower, and bug at a time. This book would make a great gift.

4 comments about Expressive Portraits: Creative Methods for Painting People.

1. This is by far the best watercolor book out there. I've learned so much from it. I love the color pallette Jean recommended in her book. I highly recommend this book to all levels watercolorist. Thank you Jean for sharing your talent and knowledge with us.



2. I have had the pleasure of taking classes with Jean and feel that the book admirably projects her lessons. I especially like her information on using different medias. She has given me the courage to break all rules and experiment for myself. I think it is a very good book on painting portraits and a good addition to an artist's library.



3. What an amazing artist. I love her contemporary take on portraiture. I'm hoping to adapt her techniques to acrylics or oils on board and/or canvas, rather than watercolor and gouache on paper. She does use some acrylics however, and overall I give this a thumbs-up. Very inspiring!



4. This is a nice inspiring book. I just don't give it 5 stars because i was expecting to find skin color recipes and the step by step demonstrations are not too specific to follow them.

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

1. 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.



2. 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.



3. 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.



4. 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. The first thing that struck me as I browsed the book is the woeful quality of many of the images, with some being out of focus. This problem is also apparent in the other two books by Watson Guptill that I think compliment this one well. Kreutz "Problem Solving for Beginners" and Cateura "Oil Painting Secrets from a Master". If you are looking to paint in a realistic style in the vein of Caravaggio, Rembrandt etc. then you will find plenty of information in these three books.
   
   However all three deal with technique and for me the ability to discern the brushstrokes is a critical part of the learning exercise i.e. is the artist using impasto or thinned paint? With these images it's impossible to tell. Hopefully WG will revisit each of these books and bring the images up to scratch.
   
   Joseph Sheppard provides "how to's" allowing the reader to emulate the techniques of: Durer, Titian, Veronese, Caravaggio, Rubens, Hals, Rembrandt and Vermeer. Information on how to create specific paint mediums used by that particular artist, mixing paints, painting surfaces etc. He makes no claims that any of the information offered is absolute. As well as conducting his own studies on how to achieve a certain painterly effect he has also drawn on technical information published by the various "art experts" (listed in the bibliography).
   
   Results of recent studies of old master paintings indicating that the current thinking on techniques might be wrong. The old masters would typically have a team of apprentices working alongside them, mixing paint, painting parts of the painting that the master was probably too bored to bother with (as well as good training for the apprentice) etc. The Master/Apprentice setup allowed for a continuous stream of knowledge being passed along the generations. However as oil paint technology advanced, in particular the ability to buy premixed paints off the shelf, the painter no longer needed a team of apprentices. He could pretty much get by on his own. Hence there was no longer anyone for the painter to pass on his knowledge to. This resulted in a considerable amount of technical knowledge being lost. (A good example is the recent theory promulgated by David Hockney that the old masters were able to paint such realistic paintings as they used rudimentary projection techniques to place a guide image on the canvas, overwhich they painted. No one knows if he is right or wrong).
   
   From the 1800's on, technical experts such as Charles Eastlake ("Methods and Materials of Painting") and Max Doerner ("The Materials of the Artist") began to impart their wisdom on how the old master paintings were created. But the techniques thay had available were very rudimentary, more often than not being a case of the expert trying to reproduce a certain style and looking at the painting surface close up. The experts proferred their theories and techniques, often with much aplomb leaving no room for doubt. Unfortunately they were often quite off the mark - they could emulate a style somewhat but never 100%. There are too many variables involved even for a discerning eye. It has only been with recent advances in scientific analysis, chemical and visual, that a truer understanding of the old master technique is finally being determined. Van Wettering's excellent "Rembrandt - the painter at work" book details the findings of extensive research carried out on a number of paintings considered to have been painted by Rembrandt. The book is 340 pages, and they still haven't got all the answers. But what they have done is to throw in to doubt the theories and techniques of the 19th/20th C experts.
   
   There is a welter of information in this book, but if you are trying to perfectly replicate a certain old master painterly technique, and failing to do so, then be warned the experts might not be such experts afterall.
   
   All said and done, I do recommend this book for the wealth of information it contains. Numerous recipes for mediums, varnishes, mixing paints, painting surface etc., along with a well presented demonstration of each painters technique. This book might not quite get you to a 100% replication of the desired technique but it will certainly get you close. And as science uncovers more knowledge about the "real" techniques they can be applied here accordingly.
   
   It is not a book for beginners - a rudimentary understanding of the oil painting process is reqd at minimum. Beginners might want to check out Brian Gorst's "The Complete Oil Painters" also.

5 comments about Big Art, Small Canvas: Paint Easier, Faster and Better with Small Oils.

1. This book was just OK for me. I was expecting more detail and refinement in the paintings which I strive for in my work. The small paintings make a nice price point when you are doing various sizes.



2. I found this book to be very inspirational. I wish I had thought of it!



3. This book is not only instructional, but a complete course in painting miniatures -- and fills a vast void in that area. The author not only provides excellent reasons for painting on a small canvas, but gives practical advice on setting up space and equipment, preparing the panel (canvas), and staging & lighting the props for a still life. She goes on to review elements of color theory, and presents her favorite complementary palettes. She discusses methods of 'seeing' in order to get the underlying drawing right, and outlines the most important elements of design: composition, perspective, balance, focal point, and texture. Additionally, several methods of creating depth in a painting are covered. Thereafter, Washor presents a series of step-by-step still-life and landscape demonstrations, each of which illustrates yet other enigmatic features of art. She even discusses framing! This book is packed with practical, useful, and instructive advice, and is filled with gorgeous, painterly examples of the author's work to inspire us. What a find!



4. Overall, the book was good. I liked the intro and the chapter on equipment. I would have liked more step by step pictures to show the development of the painting. Also, some better descriptions of painting techniques would have been helpful. The book does inspire me to experiment on my own but it doesn't give enough insight to avoid common mistakes.



5. Disregard the size of the paintings if you like, and just look at the gorgeous colors and brushwork!!!!! So sensuous. The author is very generous with her information. Her color palette is unusual, and the color schemes she uses are really, really lovely. This is one of the top oil painting books around. I highly recommend it.

5 comments about Painting and Experience in Fifteenth-Century Italy: A Primer in the Social History of Pictorial Style (Oxford Paperbacks).

1. I really can't add more to Robert W. Moore's insightful review. However, I feel a need to counterbalance the ranting reviews posted by others on this page.
   
   In particular, the one-star reviews listed here are simply embarrassing. Clearly, these reviewers do not represent the intended audience for this book. It's not Michael Baxandall's fault that these reviewers were unable or unwilling to engage themselves with the depth, detail, and scope of his book. Ignore them.
   
   Here's a useful litmus test: If you would consider taking an art history course because you think it would be an "easy A," avoid this book. On the other hand, if you hold a genuine interest and enthusiasm for art history in general - and for Renaissance art in particular - this book should be well worth your time.



2. This book is what I would call hard to read, unless of course you already have a masters degree in Florentine art. As a student in an art history class that required this as one of our reads, I can say this book is crap, yes I mean crap. I have read many more well written books covering this subject in an easier to read format. I would defiantly not recommend this overpriced piece of firewood.



3. This is the kind of book that History of Art departments throw at you early on in their courses to instil the right respect and awe for the whole academic ritual. When I first saw this book I was duly impressed and intimidated into thinking this was somehow a classic. In this work Baxandall is the exemplary academic, slowly building up a case from painstaking research and cleverly interpreted trivia. This approach is fine and dandy until you reflect that at the end of it the conclusions Baxandall has laboured so hard to arrive at are perhaps a little banal -- i.e. Renaissance painting was influenced by such contemporary phenomenon as religious practices, dancing, and (oddly) the ability to judge quantities by eye. The reason this book works is that the Renaissance is such an attractive period that Baxandall's painstakingly dull technique receives a charming counterpoint in the endearing trivia of the period. Unfortunately this effect is not replicated in other works by Baxandall that I have looked at. To college students getting a dose of this, I would say, 'Enjoy the period, but think about how relevant this kind of hairsplitting really is.'



4. ... this book was tedious. there are very few books that make me say, "i'd rather be working!"
   you have to have a really high tolerance for italian art, or even art in general. a passing interest simply will not allow for an enjoyable read.
   ...



5. I find it strange that many people find it strange that one might read a book like this one for fun. Twice in one day I had people approach me and ask me for what class I was reading this, as if there are books one reads only in school and books one reads in real life.

   I did read this in real life, and I read it for three reasons: 1) I knew this is a highly regarded book in art criticism, 2) it deals with a period of art history about which I wanted to know more, and 3) it looked like it would be a fun read.

   My primary reaction to the book upon reading it was: how did the author fit such a huge book into so few pages? There are books that cannot be measured by page count. PAINTING AND EXPERIENCE IN FIFTEENTH-CENTURY ITALY contains 153 pages of text, with illustrations taking up around a third of those. Despite that, Baxandall is able to pack an amazing amount of information in a very small number of pages. Yet, as dense as this book is, it never becomes anything less than completely readable. It is a very fast read, and not merely because of the small number of pages. Baxandall's contention is that the visual experience of a Quattrocento person (or what he eventually comes to self-mockingly comes to call "a church-going business man, with a taste for dancing") is not one to which we any longer have conceptual access. He laments that we too often approach these paintings with our own conceptual categories in the forefront, and impose these upon the paintings, instead of judging them and perceiving them, as a contemporary would have. His goal in this slender volume is to attempt to reestablish some sense of the pictorial concepts with which a Quattrocento person approaches a painting. In this I believe he succeeds admirably. While visiting one of my local book superstores, I spent some time glancing through a number of books on Renaissance art, especially Hartt's well-known tome. I found that I was indeed responding differently to the paintings than I had before I read Baxandall. This is a book that capacitates its reader to enjoy a fuller participation in the appreciation of the visual world.

   On a completely nonliterary note, I want to add that this is an extraordinarily attractive book. I am sure that no publisher ever decides to make an ugly, unpleasant book, but Oxford University Press with this one certainly managed to make a gorgeous one. The book is far more attractive than the price of the book would seem to support (good paper, pseudo-signature binding, high-quality four-color cover), which leads me to believe that this must get a great deal of adoption as a college text.

5 comments about A Brush With God: An Icon Workbook.

1. I love this book! I created the icon of St. Nicholas using the books instructions, and got positive feed back on it from my "extremely honest" family and friends. The materials required are readily available and the directions are clear. Most importantly, the spiritual experience during the process was incredible. I can't wait to do the other two icons in the book. However, I do believe you need to be confident in your artistic skills to be successful and avoid frustration. My only criticism is the lack of pictorial examples. I had to refer to another book to understand the difference between the Greek and Russian style.



2. A background about icon painting and projects to get you started.



3. This nice little volume gives enough background to get you started on both creating and appreciating icons. Whether you just want a deeper appreciation for the artistic aspects or a deeper appreciation of the spiritual disciplines associated with icons, this is wonderful place to start. It includes several colorful plates in the center to provide good examples or starting points for you own artistic exploration.
   
   The text is well written, concise, and clear. Chapters are arranged to first give you an appreciation of the spiritual connection icons can help fulfill. It is a brief introduction to a vast topic but one you will want to gain deeper understanding of their purpose. Then the author briefly describes some of the artistic nuances and differences in Russian, Greek, and Coptic styles that will give you more to ponder as an artist. With that brief overview of background information, the author then takes you through the technical aspects of creating several icons youself. The instructions are clear and step-by-step so they are easy to follow. Ultimately, practice will yield results. You will not likely create a priceless gem on your first try but the instructions are enough to give you a good start. And the more practice, the better you will be.
   
   There are several little tidbits of added information in the Appendixes for further study and appreciation. All of this in so few pages might seem impossible. However, this thin little book is loaded with a broad view that does not sacrifice too much in depth. It is a perfect introduction to the topic and very well done. The author clearly loves the topic and conveys that passion in an infectious manner. An enjoyable read even if you never pick up a brush. The understanding of the spiritual, artistic, and technical aspects will provide greater appreciation of this art form enriching your life with beauty.



4. I own this book but this book is not that good.
   The first thing I have to say is that the author is not Orthodox christian, but catholic of the latin rite born and former benedictine monk. The book suggest you to use Acrylic paint and say nothing about Egg Tempera! Well, if I am going to use acrylic paint, why hand painting? I would prefer an inkjet printer! If you have only this book then you will have to buy one about egg tempera.
   In page 11 he says that his first teacher recommended (just!!) abstinece from meat and alcohol but then he complete change the meaning of fasting.
   Say nothing about the use of Holy water and natural hair brushes, his brushes are acrylic as well.



5. I was pleased to receive the book in a timely manner, new, and exactly as I had expected it to be.

5 comments about Bob Ross' New Joy of Painting.

1. The instructions are clear and easy to follow with beautiful results at the end of each project. I reccomend this to anyone interested in the wet on wet technique.



2. As I have said before with Bob's white cover book. Bob has a step by step approach. His books are wonderful. If you have never picked up a brush or know how to read. You can follow his book. The book gives you that little push to design & make your own master pieces. He was a great great guy.



3. I have started painting after seeing bob ross pbs episodes. All the books are good for learning and improving.
   
   Very happy.



4. I purchased used copy. It was in excellent shape.



5. As before,each book is full to bursting with ideas and instructions to complete images.All are individual and well thought out.An excellent book yet again...!!

5 comments about Mythology: The DC Comics Art of Alex Ross.

1. From story board to stunning completed product, an overview of Mr.Ross' DC comics work, focusing particularly on the big three; Superman, Wonder Woman and Batman, with loving attention to the rest of the JLA as well.
   
   Lots of beautiful 'work in progress to completion' pictures and even a few that never got to see the go light of editors.
   Inspirational for the new painter or seasoned storybook artist - makes quite the case for gouache!
   
   Please note! this is NOT an 'origins' book or even a story, this is meant to specifically address the artwork itself and the processes by which it is done.
   
   By the by, many a comic book irritates me no end with its sexist imagery -this book is a rare exception in supehero comics.
   None of the women are bimboes and the men are, dare I say, as beautiful as the ladies.
   
   For my part, the explanations of the new Kingdom Come versions of the classic DC cast were the finest aspect of this book.
   If you're at all a fan of Alex Ross' incredible way with a brush, you must own this, if only for the most drool worthy versions of beloved heroes.
   
   If you love the classic DC pantheon, you need this book, 'nuff said!



2. Mythology collects the stellar art work of Alex Ross showcasing the worlds finest images of the major DC characters such as Superman, Batman and Wonder Woman. This book highlights key points of the characters beginnings and evolutions with clear and informative writing. Gorgeously illustrated by Alex Ross coupled with wonderfully laid out design work the reader will find it quite difficult to put down this handsome book.Mythology: The DC Comics Art of Alex Ross



3. An amazingly illustrated montage of Ross's work. A beautiful book for fans of comic book art and art in general.



4. AMAZING. Totally worth buying. If you like Alex Ross, you will not regret this purchase. The book includes Ross' comments on inspiration, collaborations, thoughts, insights, and much more. Truly inspiring.



5. It's a great work, detailing all the work of Alex Ross in DC Comics. In this book, we get the notions of how he figures out the characters, their concepts and ideologies, etc. Moreover, with this book we can see how the Art is transported from the artist's mind to the paper.
   There's just one book better than this one: it's hardcover version, much more beautiful.

3 comments about The Art of Portrait Drawing: Learn the Essential Techniques of the Masters.

1. The "Art of Portrait Drawing", a hard cover beautifully printed book, is a fine addition to any beginning or intermediate artists library. Joy Thomas is a highly skilled artist and the book is filled with "hands on" demonstrations and practical tips on approaching this subject. Personally
   I find portrait drawing/painting to be an extremely challenging and intimidating task. Indeed there are many "celebrity" artists in the top galleries who couldn't paint a good portrait if their life depended on it.
   While this book may not be the definative work on Portrait Drawing, it is very well done and well worth the investment.



2. The author works from life and covers most the kinds of things you'd want to know about successful portraiture. The step-by-step was most interesting to read as she takes you through a process and how to resolve some issues you may run into. It doesn't offer a lot to beginners because she assumes you know how to see and do basic drawing and toning. I'd say this is a book for the intermediate artist who needs to reenforce existing knowledge with some very useful tips you probably never thought of, particularly for drawing from life.
   
   I only have a few small critical things to say here. Although she reviews some basics on composition such as the golden ratio, she doesn't actually seem to practice them much in her examples. For example, she shows you how to "center" the head and says the "full face" portrait is the most common. Well I've heard alot of arguments against centering and full face views so it seems a contradiction to talk composition then not practice it in reality. I believe the 3 quarter view is most common, and you do not want to center the head for reasons I can't give here because it is too detailed. But perhaps she didn't want to overload the reader with composition theory since that's a much more complex issue.
   
   But this is very worthwhile to read and she seems to have done a great job with the structure and language of the book.



3. I just watched the video that comes with this book. I would higly recommended both. As a beginner it was inspiring to watch an artist actually doing the technique described in the book. I can only imagine that if someone has more experience, it would be very usefull to see someone highly skilled perform their technique. I have read many books on this subject and find this to be the best.

5 comments about Luminous Landscapes: Quilted Visions in Paint and Thread.

1. Luminous Landscapes exceded all my expectations. I was fortunate to attend Gloria's workshop in 2004 in Durban, South Africa and enjoyed every minute. It is wonderful to have the book now to refresh my mind, to give more inspiration and to learn new techniques. The book is very good worth for money and very well and clearly illustrated. Instructions are easy to follow. I can highly recommend it to fellow-quilters.



2. Just as the title describes, this book is filled with luminous, georgous quilts and every secret you need to know on how to make your own. Gloria has given detailed instructions and methods on how to create every aspect of landscapes, backgrounds, forgrounds, sky, oceans, animals along with details on how to combine fabrics, apply paint and she has even included patterns. This book is easy to understand and recommended for beginners or advanced quilters wanting to take their creative abilities to a new level.



3. I like this book because it shows me lots of different ways to make designs on fabrics. I can use them in my own designs. Don`t have to make copys of others designs.



4. 
   
   This book is one of the best I've seen. There are some well written and well-organised sections dealing with the principles of composition, colour and stitching techniques. Gloria usually starts her landscapes with a painted background, so she gives a short well-illustrated section on fabric painting. Most of that stuff is available elsewhere, but it is assembled and illustrated particularly well.
   The second half of the book contains details of her construction methods. One of those is using freezer paper on the right side of the fabric for appliqued shapes. The second - her signature style - is pieced sections on point, blended into the applique design. She gives clear diagrams
   and inspiring examples of this technique. She then gives some examples of how to achieve different effects for trees, water and reflections. There is a gallery of student work, and two fully illustrated projects with paper patterns included at the back.
   In my view this is excellent value, a perfect blend of practical tips and inspiration.



5. If you love Gloria's quilts you will love this book. I have done two workshops with Gloria and it is very useful to have this book to put everything she covered in the workshops and more as a permanent resource. It is very detailed so is wonderful for people who have not had the opportunity to attend a workshop.