5 comments about Step-By-Step Guide to Painting Realistic Watercolors.

1. This author is not only an artist, but more importantly a WRITER and a TEACHER! She assumes no knowledge on the part of her reader, to make sure that her instructions cannot be misunderstood. It's possibly the most readable art instruction book I've ever owned. I sit and read it, like a novel, and can't put it down! The descriptions and illustrations are so thoroughly detailed, orderly and accurate, that I feel like I'm there doing it. I haven't even tried any of them yet, but I'm so impressed with the writing of the book, I must commend the author on THAT! Also, the subjects chosen as paintings to demontrate may very possibly be the most appealing examples of beautiful watercolors at their finest that I've ever seen in a book like this. They make me WANT to learn the medium! Unlike other books, where I may buy it, only for one or two pictures in it that I'd like to paint...this book is loaded with pictures that I want to paint ALL OF! I've gone through every page of the book, to check the paint color list of each painting, and have already ordered them, exactly as described and recommended. I can't wait to get my art studio properly lit, and my paper ordered to produce the paintings that are in this book! I can't even pick a favorite!



2. I have been circling around watercolour painting for some time now and had gone so far as to buy some paints, brushes and paper, but was at a complete loss as to how to actually start.
   I bought this book sight unseen on the basis of reviews, and I think it is the best possible book I could have bought. (I have several other 'beginners' watercolour books which have left me more, rather than less, inhibited about starting.)
   This book concentrates on teaching specific watercolour techniques in a step-by-step manner, with very precise and detailed instructions on how to load your brush, how to use it, how to mix each colour, and how to do specific techniques such as laying a wash (best description I've read, by a country mile, and it worked - a perfect wash second time), softening edges, lifting out colour, adjusting your work if it isn't right first time, and so on. She takes the guesswork out by providing a series of interesting drawings to copy and step by step instructions on how to paint each, and by specifying exact paints and (cheap but good) brushes, which I bought. The exercises are graded - before I started each one I was sure I would make a total mess, but each time the results were very good (would have been excellent if I'd had the patience to do a quick trial of each technique on a scrap piece of paper before going for it).
   This is not a fast-and-free approach, but an interesting and fun book which teaches you the basic techniques you will need even if the fast approach suits your personality better. I wholeheartedly recommend it.



3. Not for the beginner. Choices of projects weak.



4. --------------
   As a young chap, I visited my local Art Gallery here in Bolton (UK) and although I had virtually no interest in art, I found myself mesmerised by the watercolour paintings of Thomas and Paul Sandby (c1700's). Twenty five years later and I still haven't taken a brush to paper - well, not until recently.

   Browsing through a bookshop a short while ago, I thumbed through scores of watercolour books and made mental note of how simple the paintings seemed to be. Can't be that difficult can it?

   And then....I picked up Dawn's book and was simply amazed by the fine paintings contained therein. Wow! The "Strawberries & Lace" knocked me sideways! I figured that even if I couldn't follow the lessons, my money wouldn't be wasted, because I'd cut out these fine pictures and frame them! :-)

   Seriously though, I'd agree with one of the other reviewers and say that this book is perhaps not the ideal beginner's choice. Having said that, this book does serve to inspire you and that's worth more than any amount of "basics".

   Don't hesitate....buy it now!

   ...




5. This was one of the first watercolor books I ever bought when I first wanted to learn how to paint. First of all I'd like to list some of it's stronger points.

   1. The projects are beautiful with the subjects being mostly still-life (although there is one animal project of baby ducklings
   2. The author lists exactly the colors and brands she used in each project, the specific mixes of each colors and step-by-step directions for you to follow at each stage. Each project has stage-by-stage photos so you can see what your painting-in-progress should look like at the end of each stage.
   3. The "Critique Your Work" tip section. She lists some questions to ask yourself as you examine the finished painting to see what you did well and what can be improved.
   4. The "how moist is moist?" examination of loading a brush with color. This is one technique most other watercolor books either don't mention at all or if they do they don't explain it. The author gives photos and a detailed description of exactly what she means by a phrase such as "loaded brush", "moistened brush" etc.
   5. The section on values and painting a controlled wash. There is a page devoted to common problems that beginners can run into when trying to paint washes - complete with examples of some of these problems (streaky wash, backruns, etc.) and how to correct them or avoid them.

   It helps to buy the paints she recommends because it will eliminate one variarable that might make it harder to lead to a satisfying result. It is possible to use other brands (I did) but I recommend at least try to use the same pigment, if possible, as she lists in the book. For some people who are on a limited budget or don't want to invest in a lot of paint to be used only for this book's projects they might consider this a drawback. Also, this book doesn't cover painting portraits, wildlife, landscapes, seascapes, etc. It will be of most interest to fans of still-life subjects. Overall, I'm glad I own it as it is a big help to further development of techniques with watercolor.

5 comments about Acrylic Landscape Painting Techniques.

1. This particular book is one of the least helpful books around. The reason for this is simple. The book seems more about how "Golden Fluid Acrylics" are better than anything else, and makes several other references about how brand-a is better than -b. While it is true that artist acrylics are better than "student" brands, I've achieved similar results with Liquitex, Grumbacher, and Holbein products. I think it was unneccesary to promote Golden as much as the auther did. I also think he had a lot of nice paintings in the book, but as far as how to achive those results I think you might be better off using one of several other acrylic books listed on this site.



2. I love love love Hugh Greer's paintings. I'm new to painting and to acrylics so am a rank beginner.
   
   He goes thru the materials that he uses and why, the supports he paints on, recommends a limited palette of colors and then demonstrates various techniques that he uses to create his paintings.
   
   There is a wealth of great information here and the photos are very helpful. My only complaint is that there are "gaps" in the steps that left this beginner shaking her head as to what to do next.
   
   However, Hugh Greer has 3 videos that I have purchased and watched and they, together with the book, are a great course in painting with his techniques. It really makes a difference to watch him actually painting on the videos.
   
   I will be reading, rereading and reading again. And watching the videos dozens of times.... It's well worth the effort !!!



3. Hugh Greer is a master of landscape and architectural painting. His innovative techniques are unique; the result of his former career as an architectural renderer. I can't recommend this book enough...



4. I like the book. I like the way Hugh Greer paints and I would like to go out and do likewise. The beginning starts out with full explanation - then he gives you ways to use what he wants to teach you - but he does it with very complicated examples and not much explanation. He skips a lot of steps. I am still trying some of his ideas and hope that I can learn them because I really like his results. This book is much, much more helpful if you get his DVDs, he has three -first is very basic, but the next two go a long way to explaining some of the steps he left out.



5. I appreciate the complexity of nature and the way this book relates to the observing and using your inner feelings to paint. Thank you for such a good book to paint from and use often.

1 comments about Drawing Made Easy: Lifelike Heads: Discover your "inner artist" as you learn to draw portraits in graphite (Drawing Made Easy).

1. This is the best portrait drawing book on the market. It is the only instructional book on classical portraiture that covers both the basics of proportions, anatomy, rendering as well as more advanced tips and techniques. The step by step examples are easy to understand, and the writing is witty and sharp (actually, hilarious at times).
   
   As an art student, the instruction really clarified some of the confusion and frustration of trying to make a portrait look realistic without looking flat and stiff.
   
   Whether you're a beginner or an expert, this book is a must have!

5 comments about The Ultimate Picasso.

1. For many years I've been a great admirer of Pablo Picasso's work. Whenever I travel I always look for Picasso's museums or General Art Museums where Picasso's works are displayed. As a result of these trips I've gathered panflets, brochures and many books focusing different phases of the artist. However something was missing! And that would be a comprehensive overview that could be able to explain and make sense of his imense and brilliant lifelong work and at the same time to show magnificent reproductions! congratulations to the author who was very successful in her enterprise!



2. This is a great book. It's chock full of illustrations--so many that they just quit offering text every few pages to let the images catch up. It goes through his entire life, showing the art he created for each section. It's great, insightfull, a huge folio-sized book and just an all around great read/see.



3. I took this book out of our university library to have on hand while reading Françoise Gilot's "Living with Picasso", in order to see representations of the artwork to which she refers throughout the book. "The Ultimate Picasso" proved invaluable. Not only does it contain Picasso's complete major works, they are also presented in chronological order which made look-up easy despite Gilot's often describing an artwork and the process used to create it but not always giving its title (she always gives dates). I ordered "The Ultimate Picasso" before the library due date because I couldn't bear to not have the book in my house!
   The photos of the artwork are brilliant and crisp, and the accompanying text is informative.
   You will not be disappointed by this book.



4. this book rocks so much it breaks the very laws that govern physics!! so much information, so many beautiful pictures, so dense. it seems to capture the very spirit of pablo picasso. it was give to me as a valentine's day gift, and it is one of my most prized books. this is a MUST purchase for any picasso fan.



5. To see tons of Picasso works in one book is nothing short of breathtaking. This is easily the best Picasso book that focuses on his paintings. What's incredible is to see the prolific amount of work he was capable of, and just what a inventive genius he was. Without a doubt the greatest Artist of the 20th century. Not all the works make sense, or are even recognizable as anything, but that was Picasso; his art was how he viewed the world, and how his own heart felt inside:confused, and out of place. His Cubism is nearly mathmatical, and very intriguing. IF you're interested in Picasso as more than that weird guy who made all those paintings i just don't get, come and check out this book to see all of what he was made of. You'll be amazed and inspired.

1 comments about Looking at Paintings: A Guide to Technical Terms (Looking At...).

1. You would like to think that every Student of painting would already know this stuff, but...

5 comments about The Art of Handpainting Photographs (Amphoto Crafts).

1. "The Art of Handpainting Photographs" provides detailed instructions for handcoloring black-and-white photographs with Marshall's Photo Oils, which generally impart somewhat muted colors. Colored pencils are often used in conjunction with the oils. Author Cheryl Machat Dorskind briefly mentions other media that can be used in handcoloring photographs, but she does not discuss them. Although there is a chapter on landscapes, Dorskind is primarily a portrait artist, so this book's emphasis is portraiture.
   
   Chapter 1, "Selecting a Good Photographic Print" makes suggestions in how to best photograph for handpainting, including choosing appropriate film and photographic paper. This is the book's weakest chapter. The advice could be confusing to beginning or intermediate photographers. For example, it recommends bracketing exposures, but does not explain that, unless you tell the lab, they will try to print them all the same. And there is not much point in bracketing old chemistry black-and-white film by just one EV anyway. It's better to vary the exposure in printing. The author doesn't mention chromogenic black-and-white film at all, which is less expensive, easier for amateurs to obtain, and would be fine if printed on a fiber-based paper. Dorskind doesn't recommend T-grain films or high speed films, but doesn't explain why. Her suggestion of infrared film is interesting, however, as its characteristic white foliage (when used with a dark red filter) is well-suited to handpainting. A handy chart lists texture, tone and contrast for recommended fiber-based and resin-coated papers. The option of toning prints prior to handcoloring is mentioned, but no instructions are provided. Oddly, I have never seen a book on handcoloring photographs mention digital prints. Most ink jet prints are unsuitable as the ink will run, but I am curious as to how permanent inks and dye-sublimation prints fare. No answer is forthcoming. The information about papers for conventional printing is very good, though.
   
   Chapter 2, "Materials and the Work Station", explains supplies you will need and what conditions provide the best working environment for coloring photographs. Chapter 3 is dedicated to "Basic Color Theory". There are explanations of the color wheel, complementary colors, hue, value, intensity, color temperature and advice on how best to choose the most appropriate color to convey your intentions.
   
   Chapter 4 discusses the five steps involved in "Preparing Your Photograph for Color Application": Spotting the photograph (retouching spots and scratches), masking the border, making wood/cotton skewers, arranging your color palette, and priming your photograph with Marshall's P.M. Solution.
   
   Chapter 5 provides a step-by-step explanation of "The Basic Painting Process". The example the author uses is a portrait. She explains how to mix colors, paint the photo, and use pencils on top of oil paints. These instructions are very good and would be invaluable if you are handcoloring a portrait, as there are specific suggestions for how to achieve the correct skin tone. Chapter 6, "More About Portraiture", provides further valuable advice to portraitists by explaining how to best paint red, blond, brown and gray hair. There is also some discussion of painting portrait backgrounds for various effects.
   
   Chapter 7, "Focusing on the Environment" is about handpainting landscapes. The author discusses color, tone, and composition in rural and urban landscapes, but there are no detailed instructions. Chapter 8, "Presenting Your Artwork" gives advice for how to store, mat, and frame your painted photographs. Chapter 9, "Special Assignments" mentions some specialized uses of handpainting, such as vintage photographs. There is a list of Resources in the back of the book.



2. I have researched and bought everything I can find on this subject and this book is by far the most helpful that I have found. It is easy reading. The photographs are inspiring. Even people who aren't interested in the technique love looking at the beauty of this book. I am a professional hand colorist and I use this book almost every day as a reference tool and also as inspiration. Anyone who wants to learn this technique should own their own copy of this book.



3. This wildly popular and highly comprehensive treatise on Handpainted Photography has become the bible for its genre. (A big seller in Michigan art stores) I noticed that competing publishers (see the phony review by Photobuff) have tried everything to stop this giant, but quality always succeeds. I learned the art of handpainting from Cheryl Dorskind. Great work! Can't wait for your next book.



4. While the subjects of the photographs in this book may be a little too saccharin for everyone, the author makes up for this in content. There is much useful information on techniques, supplies, and use of color. Of the three books I have read on the subject, this is the one I would recommend -- regardless of whether the subject matter appeals to you or not. The information provided can readily be transferred to the subject matter of your choice. If you can only buy one book, buy this one!



5. Highly sophisticated images grace the pages of this unique guide to an otherwise complicated craft. Professor Dorskind's compassion for the beginner and respect for the expert shine in this brilliant work. In addition to step by step instruction, she generously shares her personal photopainting struggles. Her college teaching experience and fine arts background help define "The Art of Handpainting Photography" as the outstanding work (and probably the best) in the field.

   A must buy for the true "photo buff."

5 comments about Light and Mood in Watercolour.

1. The print quality is terrible for the paper version. All the colors are washed out and flat. It is shame that you have to strain your eyes to appreciate beautiful paintings due to such poor print quality. I return the book.



2. This book is a beautiful watercolor text with helpful demonstrations. David is a terrific artist and the book is filled with tons of his paintings which are breathtaking and amazing. He gives great technical advice as well as inspiration for creating your own masterpieces.



3. I was very impressed with David Curtis' work. He is a master with watercolor, and has some good step by step examples which help to show how he completes his pieces. It is very helpful to see samples of landscapes from different places, seascapes, villages, interiors, and many different countries. I have another of his watercolor books which was also helpful. I now want to look at his oil painting books.



4. I love this book! I bought it at a Borders while on vacation because I wanted something to look through in my free moments and I was blown away! David Curtis' painting are incredible and truly inspiring. The book does not have a lot of instruction, but makes up for it in beauty and general encouragement to get out there and paint! Also, there are at least four demonstrations of paintings from sketch to final version which are very helpful. I highly recommend this book for anyone who paints or simply loves watercolors!



5. Don't get me wrong: David Curtis is an excellent artist
   but his almost photographic style may send the wrong
   message to young, aspiring art students.
   
   He captures light with slavish realism. Highlights on
   the water, on the edge of boats, and the sides of buildings
   are impeccable, flawless, dazzling. Curtis is the master
   of his craft, technically that is.
   
   But gazing at several of his works over and over, one
   detects a bit of photographic mechanical rigidity to
   his subjects.
   
   I disagree with one reader who compares Curtis to JMW
   Turner. Turner was a pre-photographic and much more
   impressionistic in his interpretation and much much
   more stylized like Rembrandt and other old masters.
   
   Fine art painters and watercolorists need to know
   how to compose a painting, not just copy from photos
   and reality. This book will not teach composition
   (i.e. what makes a painting pleasing from a design
   or style perspective)
   
   Get this book for its technical mastery. I would
   love to have D. Curtis as my instructor.
   
   But if you are interested in going beyond the
   techical to gain compositional instincts and a
   sense of creative style, I recommend you pick
   up a monograph on Rembrandt, Turner, even any
   impressionist and you will in time develop an
   eye for good composition and style.
   
   For classic watercolor from a pre-photographic
   perspective pick up the Tate Gallery's monograph
   of Thomas Girtin's watercolors.
   
   Other excellent, more freehand, interpretive
   watercolorists would be Australians like
   Zbukvic, Castagnet, Pekel.
   
   A wonderful, impressionistic, highly stylized
   watercolorist, and a great favorite of mine
   is David Taylor.

1 comments about Gruppe on Painting: Direct Techniques in Oil.

1. Outside of Richard Schmid's book Alla Prima, this (and the other 2 books by Gruppe) is the best book available for learning about alla prima painting. Yes, it's pricey. Yes, it should be reprinted, but if you can get your hands on a copy you won't want to part with it.

   Gruppe takes you through the details of how he produced his paintings. It's not just a presentation of his paintings with a few comments; this is a serious how-to book. Be prepared to learn a lot.

2 comments about Maxfield Parrish: A Retrospective.

1. The book is a lovely companion to my Maxfield Parrish print. The color plates are very close to the actual art work.



2. A definite must if you want to be inspired

4 comments about Journal of Delacroix (Arts & Letters).

1. In reading this work it could be said that Delacroix's writing was as insightful as his art. He was not one to hold back his interpretation of the world around him and my empathy towards Delacroix strengthened the deeper I read into his journal entries.
   
   I strongly recommend this book to anyone with a creative spirit; or if you're just curious about getting inside the mind of one France's greatist painters.



2. In order to get something worthwhile out of reading Delacroix's Journals, the reader should know something about Delacroix other than that he was a 19th century painter of the first rank. Ingres found Delacroix's work execrable and cast aspersion upon him by saying that: Delacroix was an apostle of ugliness who had come to 'end' painting as the French and the Europeans in general knew it. Today, Delacroix's work occupies a huge chunk of the Louvre's halls -- outstripping Ingre's portion. The fact that Delacroix in fact did fulfill Ingres' curse/prophecy may say something about the nature of death/life and rebirth/resurrection in art.
   I read this wonderful book over ten years ago and so powerful was the impact of Delacroix's insights into the nature, perception, creational origin, and fate of art that much of it still remain with me. Delacroix in his day was not revered as he is today. He did not have people knocking down his doors to see his work, nor did he always have it easy trying to show it publicly. One day, after a bad review, to console himself, he wrote that (I paraphase) a great work of art in history is like a plank of wood held under water -- it is kept down when the powers-that-be hold it down. But that power ('political agenda' in contempo art-babble) does not last forever and must sooner or later let go of the plank whose nature is to float to the surface for all the world to see. He seem to have had the same intuition about the nature and fuction of art as the Greeks did: that art is light, that which shines of its own, and by which power that which 'sheds lights' and 'explains' what is around it rather than something that needs to be explained.
   He never married but was looked after by a doting housekeeper. Not exactly a recluse, but most certainly a man of breeding descended of a noble stock who was careful about the company he kept, Delacroix spent much time, as artists and thinkers do, with his own thoughts and feelings, and expressing them. He was famous for his cordiality and urbanity, and among his friends in town (Paris) were Chopin, Georges Sand, and other individuals who would leave a mark (or in some cases, a mountain) in the arts one way or another. In other words, Delacroix was an agreeable man and as sociable as any thoughtful man would be but no more. Delacroix's social life is visible in these pages as is the Parisian milieu in which he lived and worked.
   But the really great thing about Delacroix's Journals is that one gets to see something about how a great artist sees and feels things. Although he is over a century removed from us, his work and thoughts serve as a reminder that art is not always about anything socially or politically itchy; that art is just art; and that art is not something one needs to get hysterical about or merely a medium to carry an agenda. The fact that, historically, art was always commissioned by the aristocracy, and executed by those who were aristocratic in feeling and sensibility is one that is largely ignored today. Read this and see the significance of this fact, and why the term democratic art is ultimately an ugly oxymoron. Those who would champion the 'demos' sometimes think too highly of art and the need for "the people"'s participation in it.
   In my humble opinion, if Delacroix were alive today, I think he would have loved Rauschenberg's and Jean-Michel Basquiat's work and their strong democratic origins but he would detest the democratization of art as such as found in Van Gogh umbrellas and calendars so loved by those who "love" art. He wouldn't go to Mozart Festivals either.



3. Critic Roger Kimball called Delacroix's Journal "perhaps the greatest literary testament any painter has left." See Roger Kimball, "Delacroix Reconsidered," The New Criterion, Sept. 1998, p. 10.



4. This journal is a surprisingly accessible account of Delacroix's life. It has been well edited and covers a time frame spanning his early years, then his later life. Within these pages he includes his observations of Paris and the French countryside in the mid-nineteenth century, the people he knew like Chopin and Georges Sand, as well as his passionate reviews of works of art that influenced him. He offers sublime meditations on the nature of creativity and ruminates over ideas he has for new works. His outpourings capture the essence of the romantic movement. As an artist, even though separated from him by over a century, I found him to be a kindred spririt.