No comments about Painting Abstracts: Ideas, Projects and Techniques.

5 comments about Painting Flowers in Watercolor with Charles Reid.

1. This is a good book which teaches step by step how to paint flowers and other still life objects. It starts off with easier projects and works up to more difficult ones. Each project lists what color of paints to use, along with pictures and instructions. Charles Reid also talks about what kinds of papers, paints, brushes, palettes and other materials you will need. Best of all his book is filled with beautiful full color pictures of his paintings. He is not a watercolor artist who uses many layers of transparent glazes, so if you are looking for that kind of instruction it is probably not for you. Highly recommend this book.



2. Looks great, haven't had time to read, but is similar to one he wrote (currently out of print) loaned to me by my art teacher.



3. I first met Charles Reid and his wife Judy in 1988 and it was the beginning of an endless learning process ever since. I have learnt so much about watercolour from his books over the years since then. Charles' books are amazing in that he holds nothing back and just discloses all his knowledge in a wonderful style that is easy to learn from. Invariably there are step by step demonstrations to illustrate his methods. Even if the reader doesn't particularly like his style but would rather paint in a more classic sense with lots of glazes and so forth you will still learn so much about how the colours interact with water and on the paper. Charles' workshops are a great delight and if you are fortunate to attend one you will find that he is a friendly man of great warmth and charm which is reflected in his books.



4. I discovered Charles Reid at my local library and was smitten with his loose, colorful, gorgeous pictures. This book is a clear, helpful guide to making juicy watercolors of still lifes that sing with color. He has practical tips on brushwork, contour drawing and composition that are easy to follow and clearly explained. He also has step-by-step instructions for several of his pictures that show you how he goes about making his own pictures (often from everyday objects and flowers on his kitchen counter). I'm fairly new to watercolors and I found this book invaluable to improving my pictures and getting me to loosen up and feel creative and find beauty in simple objects.



5. I wish I had had this book years ago. It contains exercises to enable the reader/student to experience and learn direct painting techniques that bring freshness, spontaneity, bright vivid color and realism to one's paintings--inspite of an "untidy" style. If you're serious about watercolor, Reid can take you where you really should go. Reid embodies the principles of the best of watercolor and painting teaching of the past (particularly Hawthorne, Henri, Manet). He puts it all together into what I call a meditative painting style (stroke on color and pause to consider, then soften, add other color wet-in-wet, and so on. Doing the exercises in this book can revolutionize your painting and will, at the very least, bring immediate and important improvements to your technique and approach to watercolor. If you like Reid's paintings--flower, figures, portraits, etc., do yourself a favor--get the book and the two corresponding videos.

4 comments about Stencil Pirates.

1. Awesome book, Highly recommend it as a must buy for anyone into the street art scene, It has a detailed guide on how to make & use your own stencils & gives a history on the subject & also introduces the reader to a few of the best artists that use this medium. Great book, A wonderful addition to my collection,and anyone who gets it!!...



2. In the flood of recent books about graffiti - this is one of the only books to seriously take on the 'function' of illegal public markings in society. There must be 50+ well-distributed books about graffiti that manage to suck out most of the political implications of graffiti in exchange for ego boosting. Additionally, the descriptions and history of graffiti in the global south make it quite unique and equitable.
   
   From page 36 " At their best and most cryptic, stencils are signs that are both hollow yet simultaneously pregnant with meaning. They are signs without signifiers, images or statements with no clear or fixed meaning..."
   
   MacPhee infuses the graffiti research process with the semeotic and anthropoligical tools that are necessary for interpreting urban space. I highly recommend this book



3. From my New York Press review of Stencil Pirates, 11/04 (vol. 17, issue 45):
   
   A FEW YEARS AGO, while walking down a sparsely traveled block in my old Brooklyn neighborhood, I came across three-foot-tall, carefully rendered cursive on an otherwise blank red wall: "Cap'n Jazz" in silver spray-paint. I did a triple take. Who'd bother to apply the name of a little-known early-90s punk band from Chicago to a Brooklyn wall in 2001, and why? I didn't much care; those shimmering letters brought on a surge of memories from my years in DC punk; it was as if a long-lost friend or secret admirer had left me a note. Though "Cap'n Jazz" swiftly vanished under a fresh coat of paint, those same memories slip into mind every time I'm there, three years later-that block, to me, transformed.
   
   The power of street art, namely stencils, to shape public space, and the ways in which it does so, is the subject of Chicago artist Josh MacPhee's Stencil Pirates, a handsome publication that both documents and casts a critical eye upon a thriving art form. Early on, MacPhee quotes artist Russell Howze: "Traditional art is usually a static experience... Most traditional art is found in galleries, chosen by someone else and viewed by a select group of people... Even when thousands of people see larger exhibits, traditional art's exposure is still limited by the price of admission at the door."
   
   Stencils, however, to the joy of some and consternation of others, are the great equalizer: With the help of basic, affordable materials, the same work of art can reappear throughout a city, cities or countries, meeting with a broad audience and reception. Some stencils remain for months or years on a sidewalk or wall, insinuating themselves into a neighborhood's character and landscape. What prompts residents or city workers to paint over some and not others can be as intriguing as the work itself. (What causes some stencils to fade before others, on the other hand, is a simple matter of paint quality, which MacPhee discusses in the practical, informative "How-To File" section.)
   
   MacPhee parses out Stencil Pirates according to several dozen themes. In "It's Official," he explores the influence of industrial stencils; in "Argentina," the revival of the stencil as a tool of communication and political expression after the country's 2001 economic collapse. Intentionally succinct in narrative and commentary, MacPhee devotes page after page of Pirates-quite a few of them full-color spreads-to more than 1000 images. Plenty of the work in Pirates, if noteworthy in message or placement, is rudimentary, skill-wise.
   
   But just as much of it is gorgeous, sometimes awe-inspiring in its intricacy. "Are We Free Yet," a collaboration by JSO4 and Sevenist, is a painstakingly executed multicolor mural of telephone wires, tiny birds, two bright kites and a placid, curly head on a floral pillowcase. Upon the sleeper's torso, this text: "Only in my dreams is my memory restored, so I sleep all the time so I don't forget how 2 live." In an example of "stenciling as civic duty," artists Scout and Stain created moving color portraits of neighborhood children on abandoned buildings and boarded-over windows throughout decaying downtown Albany, as, according to Scout, "an offering to the people who live there."
   
   One section presents snapshots of stenciled poetry-reproductions of well-known verse as well as stenciling as self-publishing. And all over, from Argentina to San Francisco, stencils have a vibrant history as public service announcement, whether it's "Dyke March 1996, Market & Castro, Saturday June 29, 7 p.m.," or markings from the 1989 Anti-Nuke Port Stencil Project, which organized a team of stencilers to create anti-nuke images that included their exact mileage from a proposed nuke-equipped Staten Island Navy base. Pirates shows that even a single word or phrase can adorn a wall, lovely, depending on factors such as placement or use of typography.
   
   For MacPhee, all of this is "liberatory." Decrying the highly regulated state of public space in America as a forum where homogenous, calculated corporate messaging rules, MacPhee says that "encouraging people to think off the conveyor belt of work, shop, eat, sleep, work, shop, eat is downright revolutionary." Indeed, the book overflows with stencils that shout their message as loud as the paint allows. Other images are subtler, even cryptic. Anton van Dalen, who worked mostly in the 70s and 80s, shot for the subliminal, aiming for his stencils "to operate as traffic signs, you absorb the meaning before you even know it."
   
   Of course, not every stencil artist is inhaling toxic fumes for the sake of art, political beliefs or to convey any particular message. Shepard Fairey has used his Andre the Giant stencil to launch an industry of "Obey"-branded clothing and posters; he also designed Radiohead's noxious "Hail to the Thief" stencil campaign. MacPhee explains corporate forays into stenciling as an attempt to garner street cred for their products-and of course, to move product. Even when corporate patrons have been revealed, the ensuing hubbub "is better exposure for their advertising than money could possibly buy."
   
   MacPhee doesn't delve far into the history of stenciling; his focus is on modern-day work. He does, however, outline its past-from Egypt and China and Greece to the Soviet Union and Nicaragua, South Africa, Mexico. Over thousands of years, the basic technique of applying paint over a design cut out of a solid material has endured. The word "stencil" has its roots in the French estenceler, "to decorate with bright colors," which in turn comes from the Latin scintilla-"spark."



4. highly recommended! this book is beyond your pretty picture book. the author's essays give an excellent overview of stencil graffiti, and his list of bibliography and end notes provide the best starting point ive found for further research.
   
   it's missing one star simply because i find tristan manco's "stencil graffiti" more interesting in terms of the art work selection.
   
   these 2 books are essential for stencil graffiti lovers!

5 comments about Photoshop Studio with Bert Monroy: Digital Painting (Voices That Matter).

1. As T. J. Riley said, some of the material in this book does look a lot like what's been presented in past issues of Photoshop User, and for a long time subscriber, this book may not be anything special. I do seem to recognize some of the techniques. Yet, it's still a useful compilation. The wonderful examples are inspiring. The example workflow is solid. And, it doesn't hurt to have a series of disconnected tutorials compiled, and coordinated along a theme. As a long time NAPP member and consequently a subscriber to Photoshop User, I wouldn't say that the book is a revelation but it is useful and it never hurts to go over a technique or two that I don't use often again. It also never hurts to feel like I'm looking over the shoulder of a master displaying his craft, and Bert Monroy is a master, not only of Photoshop but also at teaching it. If you're interested in Photoshop as a painting tool, you could do a lot worse than getting this book.



2. If one word sums this book up its "Amazing". Some other reviews say it is a rehash and I can't address that, but if this is the first of his books you have read it is very well done. His work is unbelievable. You swear you are looking at a photograph. His techniques are easily explained and the reference pictures are perfect for the material. It is a quick read. There are also downloadable pdf files that go into more detail but the book stands on its own to me. Great Work!!!



3. Once again, Burt has hit a home run. This book takes you through some of his methods of creating portions of his art in his projects. There is some repetition to his other books, but who in this world of digital art can't use a little refresher on certain things once in awhile.
   
   I highly recommend this book to anyone that wants to move up to another level of using Burts' ideas not only in Photoshop, but also Illustrator and how they work hand in hand to save you time and yet increase your knowledge in both.
   
   HollywoodBob



4. When TechTV and the Screen Savers were around I always looked forward to the segments with Bert Monroy doing a Photoshop tutorial. So, when I had the opportunity to review his new book, Photoshop Studio with Bert Monroy: Digital Painting, I jumped at it.
   
   The book may not be what you'd expect. It was not what I expected. It is not a book of traditional how-to lessons, although you will learn how to improve your Photoshop skills. Instead, it is a book by an artist describing the process he goes through in creating his digital paintings. This process not only includes how he made a table cloth with a particular pattern on it, but also going out and taking the right photographs for reference.
   
   In his Introduction Monroy explains how the book started as the traditional how-to book, but he was encouraged by several people to make it about how he paints and works. This decision was made after he started writing the book. As a result, the how-to chapters are available online as a downloadable bonus. Directions for accessing these chapters are in the book.
   
   The beginning of the book describes Bert's process for starting a painting, finding reference materials, and how he determines lighting in a painting.
   The book then moves on to its heart, the paintings. There are seven chapters describing the process of creating seven different paintings. Each chapter contains descriptions of how to achieve the same effects in your paintings.
   
   The end of the book contains a chapter full of tutorials. These tutorials might be considered your traditional how-to section of the book.
   Overall, this is a fantastic book that presents digital painting in Photoshop in a very creative way. As an artist and an art teacher, I really enjoyed reading the process and thinking that went into these paintings and other painting Monroy works on.
   
   The book is not for the Photoshop beginner. It will not teach you how to use Photoshop. In fact, it assumes that the reader is familiar with Photoshop and many of the tools.
   
   At a price of $[...] (U.S.) it does seem a bit pricey. I would be more inclined to purchase a book like this at the $[...] range. However, if you are a digital artist and a Bert Monroy fan, and you want to drop $[...] down on a book; you won't be disappointed.
   
   MyMac.com rating: 4.5 out of 5
   Originally Published at: [...]



5. I sorry Monroy fans. Although Bert's books have certainly been influential. This one, is a rehash of old tricks and just a few new ideas to pepper the pages with incongruent images. The tips and tricks are enough for the uninitiated but can be found in backdated pages of Photoshop magazine and other adobe branded periodicals. Save you time, save your money. That is unless you would like to buy my copy...
   
   T.

2 comments about J.J. Pizzuto's Fabric Science Swatch Kit.

1. The shipping was very quick and the kit was complete and in good condition.



2. the book helps out a lot for a fabric and textiles class

5 comments about Three Thousand Years of Chinese Painting.

1. With one exception, the essays in this compilation suffer from a problem that seems to crop up in many books on art history, namely the essays move from fact to fact saying little in between about the ideas behind the art. The exception is the last chapter which is on Chinese painting in the 20th century. I greatly enjoyed this essay as its author talked about the ideas and techniques behind the art as well as giving a fact based history of Chinese painting in the 20th century. I recommend this book for the last essay and also for the stunning full color reproductions of the Chinese painting that populate the book.



2. I was looking for a book on Chinese painting with plenty of illustrations. In the Amazon reviews this book was praised for it's ample examples of paintings. I ordered this book and the pictures did not let me down.
   But the essays written by five experts were a surprising bonus of enjoyable informative commentaries providing concise but comprehensive introductions to painters and their works. This is just the book for a new comer to Chinese painting.
   One book hasn't made me an authority, but I now know about the southern and northern schools, recognize some Daoist and Buddhist influences on painting, and I've seen an example of Guanxiu's distorted visages, have wondered at Gou Xi's 'Early Spring', have seen Fan Kuan's massive mountain reduce humans to paltry piddling beings verging on non-entities, have appreciated bird, animal, and delicate plant portraits and Liang Kai's distinct images as well as many other worthies.
   Some of the most fascinating and aestheticly moving paintings to me are Wang Shen's 'Serried Hills Over a Misty River', Ma Lin's 'Sunset Landscape' and Xia Gui's 'Twelve Landscapes'; all paintings that elevate emptiness to an integral part of the scene giving outlined forms a vulnerable lonliness. These paintings take Miles Davis's advice a thousand years before he spoke it "Don't play[paint] what's there, play[paint] what's not there.
   After being introduced to some of the artists and their works, I wish more of their art had been included, but then what better accolade can an introductory book receive than it leaves you wanting more.



3. THE BOOK IS VERY DETAILED WITH LARGE LITERATURE, VERY USEFULL ALSO FOR COLLECTORS, BUT THE CRONOLOGICAL INDEX I ONLY ORDERED
   BY CHINESE DYNASTY AND NOT ALFABETIC.



4. A wonderful addition to my library...a real "keeper" although I originally purchased this book to augment the required reading for my Asian Art class.



5. This book cannot be avoided if you are studying Chinese art history, however, since each section is written by a different author, the result is not homogeneous in quality, readability, or helpfulness. It's a nice resource for images of Chinese painting you might not otherwise find elsewhere. Which chapter you prefer will vary according to which author's style you prefer. The book does provide a sort of timeline of Chinese painting from its origins until the Qing dynasty, however since each chapter is whole unto itself, there is a gap in continuity from one section to the next.

5 comments about Dear Theo: The Autobiography of Vincent Van Gogh.

1. It is not as easy a read as Stone's van Gog biography Lust For Life, but for fans, it's a deep book.
   
   Vincent tells of how he went into the fields to paint, and then a rain storm came. He sought meager shelter behind a big tree while it lasted, and then resumed. And because he had started with a low vantage point, he now had to stand on his knees in the mud! He seems to merely mention this to point out why he considers common workman's clothes to be the artist's best friend...
   
   He also tells how he went out to paint the sea, in a storm so strong he could barely stay on his feet. One painting got so full of sand from the beach that he went to a nearby inn and retouched it... and then went back out into the storm to finish it with fresh impressions!
   
   Today, most of us: "Go out with the camera today? Nah, it's a bit nippy, and I just got the Sopranos on DVD..."
   
   Irving Stone edited Dear Theo, and while he may have done a good job generally, I think it was a disservice to the material to not indicate where he cut it. It is just one long text, no dates and no indication where each quote starts or ends.



2. I, like the many reviewers of this book, was enthralled and inspired by this collection of letters when I first read it 25 years ago. I have recommended it to many friends. At the time I would have given it five stars or even more if they were available. Irving Stone writes in his preface "My aim has been to edit the 1670 pages of material down to a swiftly flowing, continuous normal-sized book..." He succeeded but even 25 years ago I was a little disturbed by the complete absence of indications where exactly Mr. Stone had done his cutting, or his editing. Today, in the age of internet we can now do some easy checking. The unabridged letters are on the net and reveal that basically what this Dear Theo is, is another novel written by Irving Stone. There is almost no resemblance to the original letters. The novelist has used his talents and the raw material to create a beautiful saga. Worth reading, but let the reader beware.



3. These letters speak the truth of van Gogh. This book opens a window of knowledge on a man so misunderstood to the world. At 14, I absolutely am in love with this book. "Dear Theo" has ignited a fire in my soul, a burning desire to study art and the men behind the works.



4. Vincent Van Gogh was a great painter, but not a writer. So these letters are of interest in terms of history and painting. The life of Van Gogh is better exposed here than it would have been in a "real" autobiography, because Theo, his younger brother, was the only real friend Vincent ever had. He was his supporter, admirer and listener, and in fact Vincent had an emotional dependence on his brother. People interested in the process of artistic creation and creativity will find this book of enormous value and interest, since Van Gogh speaks a lot about that process in himself, one of the greatest painters of all time. But it is true, as one reviewer said, that these letters include, each and every one, eternal whining and begging from Vincent to his brother. He was, of course, always out of money and, as a genius really disconnected from the common world, unable to make a living by conventional activities. So he depended almost entirely on Theo. I would like to insist in that, although by no means a literary accomplishment, these letters are worth reading, since they expose naked the soul of a great artist and an extremely sensitive man, certainly a tortured and twisted soul.



5. here's your unadulterated chance to see just how screwed up van gogh was. letter after letter after letter sitting on the pity pot writing to his younger brother whining for money, crying for assistance, guilting his brother into supporting his art...his art habit...his art addiction. ya know, after reading this book my perspective on van gogh changed. he struck me as an ultra-martyr (in the icky sense of the word), so big into self-pity. now, having since read a little more of his history - screwy parents, etc. - i have some more compassion for the guy and for why he was so screwed up, but these letters are honestly nothing short of tedious. one after the other, whining for money, then waxing eloquent about his art, which actually struck me often as quite manipulative - like he was justifying his existence and his productivity to theo.

   anyway, i still think van gogh is a wonderful artist, but what a messed up life - can't miss that from these letters. but god, i wish they'd been even more edited. and one other thing - irving stone (the editor) thinks van gogh is one of the world's greatest writers and philosophers of all times, in addition to being the honcho primo artist. well, as for philosopher, sorry irving, no. the guy was miserable and depressed and lonely, and seemed to philosophize in his letters to just keep contact with the world, but his philosophy gets under my skin.

5 comments about The Art of Trompe Loeil Murals.

1. I ordered this book, hoping to gain insight into the "art of trompe l' oeil" as suggested by the title. Instead I found myself bored with a book full of the same looking gaudy murals and images, with the same drab earthy palettes for each one. The "how to's" and I use that phrase lightly, are nearly nonexistence, except for the last 15 pages - which basically demonstrate the same faux stone relief technique, only using different motifs. I found this very useless! It almost feels as if the "how to's" were an after thought, or thrown in to fill the pages. Purchasing this book, with the understanding of it being a "how to", instructional guide to trompe l'oeil painting - I found it extremely dissapointing! Though the artist's work is OK, there was nothing new revealed here that isn't thoroughly covered in Grahm Rust's marvelous books, which I highly reccomend. Rust is an obvious matured muralist who graciously reveals his inspirations and knowledge on the subject with elegance.



2. I loved this book and although I would have liked more instruction on painting some of his illusions, I am quite happy with what the author did include. Great photos of his completed works.



3. I found this to be a wonderful book and will give it often as gifts.



4. I mistakenly thought this was a Graham Rust book. I don't buy this type of book thinking I will be a grand muralist. I buy them for high-end decoupage images. I rip the book apart and use the images. This book did not meet my needs. I found the images bland. Again, I do not buy these books for the intended purpose so keep this in mind



5. This is a very nice coffee table book, and for a beginning art novice there are some "secrets". But, for artist with general high school level education this is little more than a nice picture book.
   There is no discounting Yves Lanthier's skill or excellent creative ability but the few tips he gives are not for creating the Trompe L'oeil ceilings he exhibits in the book. Rather he shows simple stone / marble technique, a basic wall effect and basic light shading in the last fifteen pages of the book.
   This is not a book the speaks to basic line and eye illusion of ceiling depth which I was looking for.

5 comments about Turner in His Time, Revised and Updated Edition.

1. Arranged chronologically the book is divided into six chapters; chapter one covers the first twenty five years of Turner's life with the other five chapters covering ten years each. Well written and very readable the text provides an insight into Turner the man and Turner the artist, and includes numerous quotations from Turner and his contemporaries; it succeeds among other things in bringing alive the artist as a person.
   
   Concluding the book is an extensive Chronology; Inventory of the Late Residence of J.M.W. Turner; Turner's Library; Bibliography; a detailed List of Illustrations and an Index.
   
   The book is fully illustrated throughout, with the images usually on or close to the page on which they are discussed. In total there are 186 illustrations of which 164 are in colour. The illustrations not in colour are mostly engravings and the like, period photographs or the work of other artists. The majority of the illustrations of Tuner's work are full page (or as large as the picture format will allow on the page with a margin), with some full-page or page-and-half bleed images along with a few double page images. There are a few actual-size details of paintings; very informative. The quality of the pictures is excellent, often revealing the texture of the paint, and the colour very good. Very usefully each picture is accompanied by a brief description or commentary, but irritatingly not with the details of the pictures dimensions; surely with the great range in size of Turner's work these should be included alongside the image, (there are of course to be found in the List of Illustrations).
   
   This is a large handsome volume, almost square in format, which provides a very good survey of the artist and his work. It covers all aspects of Tuner's output, including his oils, water colours and examples from his sketch-books. The choice of work ranges from the very well known to the "I didn't know Turner painted that!" Very interesting are the few examples of his very early work, including a water colour produced when he was about eleven years old. Providing as it does a comprehensive overview of the artist and his work, this is a very worthwhile publication.



2. I was very satisfied with my purchase. I was also impressed by the speedy delivery time from Amazon.
   Regards,
   Craig Taylor



3. Beautiful Turner book with many colour reproductions, excellent chronology. Flawless work! Highly recommended Thames & Hudson art monograph.



4. I checked this book out at my local library. It is so good, I'm going to buy it. While I knew who Turner was and had seen one or two reproductions of his work in books about other, later artists, I had seen little of his work and knew nothing about him before reading this book. It has been an absolutely wonderful introduction and has spurred me to look for more about Turner's art. There are something like 168 reproductions of oil paintings, watercolors, and drawings; most of them are large and in color; all of them are outstanding. I have looked at them in awe. The great landscape painter is himself a marvel. His prodigious talent revealed itself very early (by age 11 at least) and was recognized by his father, a London barber. He hung his son's paintings in the window of his barbershop with prices attached. Thus, Turner was a professional from childhood. In as much he was blessed with a reasonably long, healthy, and extremely productive life as well as extraordinary creativity which increased, rather than decreased with age, Turner left the world with a huge treasure-trove of great art. Stylistically it spans the period from the Old Masters of the seventeen century to the Expressionists, and in my view, towards the end of his career, it verges on Abstract Expressionism.
   
   This book is a biography of the artist as he was perceived during his life. Thus, it is filled with an abundance of quotations from contemporary sources, which serves to make Turner a very real and likeable, though very prickly, man. However, the emphasis is on the pictures. Wilton is a Turner scholar. His discussion is well-informed, without being pedantic or impenetrably academic. He has appended lists of the contents of Turner's house/studio and the contents of his library, which were made after his death, a bibliography, and an index of the pictures included in the book, which identifies their locations.



5. Excellent reproductions that will knock your socks off. Also, interesting read.

2 comments about The Flower Painters Essential Handbook: How to Paint 50 Beautiful Flowers in Watercolor.

1. A wonderful addition to my art bookshelf. I found The Flower Painter's Essential Handbook easy to follow, well illustrated in full color throughout and detailed.



2. This is an excellent book to learn watercolor flower painting with, and I love the loose, relaxed style of the 50 flowers you will learn to draw and paint. It is different from some other watercolor books I already own, and fills a nice gap in learning to vary painting styles.
   
   I really like it for it's simplicity and loose relaxing style, while at the same time, presenting about 50 different types of flowers to paint in a step-by-step fashion. It's a great book. It has drawing instructions for each flower, pointing out the details and things such as a folded or twisted petal, and how the bud attaches to the stem. Arrows explaining where the light and shadows fall and how to paint that are easy to follow. The palette for each painting is between 3 to 6 colors, which I also found nice. The washes and layering are also taught in an easy to follow manner.
   
   The book is almost completely devoted to 50 two-page exercises on painting 50 different flowers from letter A to W, and does not spend much time on presenting such things as color theory. I really like this book and recommend it to anyone who wants to learn and practice flowers in watercolors.