Customer Reviews:
Not impressed..........2007-06-08
I purchased this book because of all the great reviews it received. I was not impressed. Everything was way too simplistic. If you're an intermediate or professional painter, you will not learn anything from this book that you don't already know.
REAL help for a struggling painter.......2007-05-12
AWESOME book packed to the full with inspiring paintings & photos, really practical tips for the would be painter, and help over all those overwhelming and sometimes insurmountable difficulties confronting the aspirant oil painter. Replaces mystery with method. I'm really thrilled to have discovered Kevin Macpherson's approach to painting "plein air" and am already seeing the fruits of applying it.
Fill Your Oil Paintings With Light & Color.......2007-01-28
Good reference book; should be in all artists library.
Excellent Advice and Technique.......2007-01-13
I used to use a pallete of 10 colors but took the author's advice and tried using 3 plus white. Within one day I learned I can mix most colors. The important thing is the pure simplicity and fantastic range of colorful grays you'll generate while mixing. Try it. Later, he says to add a green and gradually others.
His advice on simplifying shapes is wise. The eye averages images. Your intellect wants to paint detail everywhere but that's not what the eye actually sees. To create realistic scenes it's necessary to see color correctly and avoid the urge to sketch with paint. Viewed closely, great paintings often show blotches of color and heavy brush strokes but viewed as a whole it all works together and conveys harmony and an emotional pull.
As for materials, I agree with the author's selection of hardboard-like supports. The Mona Lisa is painted on board and I'm not about to criticise DaVinci.
North Light Books publishes many good painting guides and this volume is one of the best.
Great for the Beginner.......2006-12-04
I took an art class at the museum and our teacher had this book, she let us practice using this book. It is time consuming, but worth it! I've never painted using this technique before and I was suprised at how good I did. It's well worth buying and adding to your library!
Customer Reviews:
Wonderful addition to any Artists library.......2007-05-13
I found this book a valuable addition to my library. As an Artist it proved to be a wonderful learning tool, with detailed explainations, examples, and a number of practical step by step learning project. It has added great depth to my paintings. I would recommend it to both experienced artist and beginners. Beautiful colour photos!!!
Excellent Book on Color.......2007-01-25
This is an excellent book for learning color theory. You can tell she loves teaching because she doesn't hold back. She is really trying to help you learn the concepts. She paints in an impressionist style, but her methods would work no matter what your style is.
I liked it.......2006-09-01
It just didn't motivate me like I wanted it to.... so I sold it. But, it does have some good steps to getting that impressionistic look. I suggest trying out the book by Susan Sarback, Capturing Radiant Color in Oils (Paperback)
ISBN: 1581800614. I've been on her website, and she has some remarkable paintings as well.
awesome.......2006-08-26
This discussed painting in a way I needed to hear. It was easy to work with and inspired ideas for me to try. Great book
Good source of info!.......2006-07-07
I learned so much from this book. I started painting about 3 years ago and I just painted a little bit more realistically and now I can actually paint in a more impressionist way! Very informing... satisfied + customer
Book Description
"Everything was alive, pulsing with light and color."
--Susan Sarback
This is more than a how-to-paint book. It's a how-to-see book ... specifically, how to tune in to nature's glorious subtleties of light and color.
Forget complex theories. "Full-Color Seeing" is based on direct observation. It's about overcoming preconceptions and perceiving true color based on the colors that surround it, the way light hits it, time of day, season, weather conditions, and too many other factors for a mere formula to incorporate. You'll learn to see your subject--any subject--just as life truly presents it to you. This is the secret to capturing the living, breathing sense of atmosphere so celebrated in the works of the Impressionist painters.
A revision of Susan Sarbacks' illuminating Capturing Radiant Color in Oils, this book offers twelve more years of fresh insights, new paintings and expanded coverage on soft pastels. The concepts explored here have been handed down through generations of artists: Sarback was taught "Full-Color Seeing" by master painter Henry Hensche, who learned it from Charles Hawthorne, a contemporary of Claude Monet. This step-by-step approach will add greater vitality to your artwork and forever change the way you see.
Customer Reviews:
Capturing Radiant Light & Color in Oils and Soft Pastels.......2007-04-10
This book is excellent and very helpful. There are many tips and stages presented in a carefully thought out way. I have Susan Sarback's earlier book and this is a stellar update! She shares much of her immensely improved talent and knowledge. Although I am a beginner, I believe this to be helpful to artists of all experience. I highly recommend it.
A serious book.......2007-03-05
In my opinion this book must be compared with "Painting the impressionist landscape", from Lois Griffel; the focus of both books is the same: explaining a simple step-by-step method to paint with full-spectrum color.
In Sarback's:
-The "block studies" (painting colored wood blocks) are not so well explained. Griffel gives a lot more insight in the selection of colors, and the cloudy day example is completely missing in Sarback's.
-There are more step-by-step "real landscape" demonstrations, but they are not so well explained as in Griffel's. Just 4 pictures of preliminary states of the painting. Nevertheless the final pictures of these demonstrations are much better in Sarback's.
-There is a comparison of different color approaches to painting that is interesting: expressionist, abstract, local, etc.
-She does not explain how to select colors (which warm? which cool?) or how to compare their values. There is nothing similar to Griffel's idea of a chart for comparing values.
-She gives tips about brushstrokes or using different types of edges. These subjects are not included in Griffel's.
-Portrait and figure paintings are not covered at all. Griffel's at least shows some beautiful paintings of this kind.
-The pages are almost full of text and beautiful paintings. There are no quasi-empty pages.
-The soft pastels coverage is minimal, but oils coverage is also lacking. The book talks about general principles: do not expect low-level (paint layering, I mean) advice.
A "must have" book? I am not sure, but I think that if you follow Sarback's tips, you will paint beautiful "masterpieces". If you are a beginner consider buying Sarback's DVD "The difference a day makes". The DVD is too short (30 min or so) and a bit dissapointing, but if you want to observe the way she paints wet-on-wet, may be it is cheaper than a trip to California to attend Sarback's workshops.
A Must Have.......2007-02-27
Detailed teachings from a master painter -- can it get better? This is the absolutely best how-to book on painting in the Hensche/Hawthorne tradition that is out there right now. It is a bit surprising that it is called a revised edition, as, IMHO, it is a new and even better book. The method is explained clearly and logically, easy to follow. Many step-by-step demonstrations with clear explanations teach how one can see and paint one's own still-life or landscape.
Although, in honesty, a book can't beat studying with a master in person, I'm convinced that Sarback's new book is so clearly written that a beginner in this method can learn as much of it as is possible. For those who already paint with the light-and-colour method, it is invaluable, and can take you steps and leaps further on seeing and painting light.
My impression is that master painter Sarback does gives it all, and does not "keep secrets". The very best teachers encourage students to become even better than they are, and does not hold back on advice and teaching. This book is a cornucopia of principles, method, and practical advice. I will wear it out, as I progress as a painter of light-and-colour.
Book Description
Artists constantly tell us that they need guidance for rendering skin tones in their portraiture. This book helps them overcome this elusive challenge by providing a clear set of easy-to-follow principles for painting a variety of skin tones in three major mediums--oil, pastel and watercolor. The first chapter is rooted in the basics, showing artists how to recognize and use the five major elements of painting: drawing, value, color, composition and edges. From there, artists learn how to work with light, shadow and color to effectively capture the beautiful skin tones of various ethnic groups, including Caucasian, Asian, African-American and Hispanic. Next, artists discover how to execute the principles learned, using detailed instruction for color selection, mixing and application. Four mini-demos, three long demos and many examples illustrate the lessons. Artists will benefit from advice on shooting and choosing photographs to paint, how to edit their compositions and work past their limitations.
Customer Reviews:
Found the way.......2007-02-04
Great work for painters...
The book was ordered to find out what I did wrong in painting portraits in oil. Clearly instructed by the book I now improved my skills dramatically, especially painting eyes... with the look of love.
Not as useful as I had hoped.......2007-01-21
I happen to think the pictures in this book are beautiful. I wish I could achieve the same level of competence with color. By buying the book, I hoped to improve my ability to quickly make sound color choices, but try as I have, I just can't get the needed information from this book. I have purchased quite a few books on painting, and some have really helped me. The really frustrating thing is that it's obvious she knows what she's doing, but equally obvious she has a hard time communicating it.
If you already understood the topic, I'm sure you would get some comforting reassurance from seeing that which you have grasped reaffirmed. If you are not already a good artist, it's pure misery to try and figure out what she is saying. I have read every word and studied every picture in some cases 3 to 5 times, and I have taken little away.
I'm sure that if she were watching me paint, I would eventually understand what she is teaching, but I was not able to get much from the book. I did enjoy looking at the pictures, but the text is pure torture.
A need for an oil painter........2006-11-13
A very excellent reference book. A must for a novice painter.
Painting Beautiful Skin Tones: One of the Most Misleading Titles Ever.......2006-10-23
I agree with several of the previous reviewers. I believe that some of the writing on skin tones offers great insight. I also believe that most of the portraits in the book are garish at best. If there were Sears Portrait Studios around before the invention of photography there is no doubt that their portraits would look like these paintings. I would even be okay with that if it weren't for the fact that the book does not even begin to discuss skin tone until halfway through the book. I would say that 1/5 of the book is actually about skin tone. The rest of the book is just like any other beginners How-To. The basics of painting. Unfortunately there is little about skin tone.
Painting Beautiful Skin Tones a must for the portrait painter.......2006-08-18
This book is excellent. Well written, easy to follow. An abundance of information. Good color information and color wheels. I refer to this book in the planning stage of each portrait.
Book Description
Roland Roycraft's watercolor paintings are highly regarded for their sparkling, atmospheric qualities. Artists can bring this glowing quality to their own work by experimenting with the masking and paint pouring techniques that make his art unique. They'll see first-hand how to capture the glinting light of snow, the glow of a sunset or the sparkle of sunlight on water.
Roycraft's pouring technique is perfect for capturing subtle color variations found in foliage, skies or water. And because pouring causes the color to tint rather than cover the paper, the colors remain brilliant--even when as ten to fifteen layers have been applied. Watercolor artists will be delighted with how his masking techniques allow for an even greater freedom in their paintings.
* More than 65,000 copies of the hardcover edition sold
Customer Reviews:
Light up your paintings big time.......2001-12-24
Wow! Where was THIS watercolor book hiding? The techniques Roland Roycraft shares here are seemingly easy; splashing or flowing paint onto paper, masking and more. He also gives some very good hints for composition with clear details. Also value sketches (black and white, showing the density of darks and lights. This is a valuable technique for painters.)
I may not choose to imitate Roycraft's style, but I sure will be incorporating these techniques into my next paintings. If you want to improve your watercolor, I can't recommend this book and his other book on nature enough. They are just great.
Great Atmospheric Paintings.......1998-10-27
This is a good book for seeing what effective use of masking can do for a painting. Mr. Roycraft's use of masking is an integral (if not THE prime) technique for creating the numerous paintings demonstrated in this book. The other technique he uses is pouring the watercolors onto the surface rather than painting most of it with a brush.
This is not a painting method for anyone not willing or able to know precisely all the places to mask. The sparkling waves of an ocean in one of his paintings must have taken quite some time to mask and most likely needed a detailed pencil sketch beforehand. While the pouring is imprecise the masking is not.
The book has 1 chapter that gives a step-by-step demonstration of his pouring method. One can tell from some paintings produced that this can be a time-consuming method of producing watercolor paintings if the subject matter is intricate or detailed although the results are breathtaking.
I would like to see more demonstrations from Mr. Roycraft and perhaps more details about the masking as part of the process. Statements such as "I masked only the light areas before beginning the painting. This is negative painting in reverse and makes a beautiful abstract pattern." show the thought that guides the final results.
Most of the book shows paintings in a semi-finished state with the final result and some comments on the process and thoughts in creating it. I liked this book very much and would recommend it to any watermedia painter because it helps thinking in terms of positive and negative shapes and light. It also introduces a unique way of painting with watercolors which I suspect would work with fluid acrylics as well.
wonderful atomshere, superior technique.......1998-10-16
The book amazes me a lot. I particularly like the effect of the pouring. It seems difficult to learn, how to control the color flowing smoothly across the desired area? Is it time-consuming to prepare the masking(questions for Mr. Roland Rycraft) I would like to know some details of the procedure.
Book Description
Through an array of demonstrations and inspirational images, a respected and successful painter reveals all his secrets for depicting light and mood, and bringing out the rich color of oils. Many artists don't realize exactly how to use oils to create colorful and expressive paintings. These pages show them the way, with invaluable advice on materials and equipment, painting techniques, mixing and harmonizing colors, and capturing landscapes, still lifes, flowers, gardens, interiors, and townscapes. Especially invaluable is the intimate glimpse into a professional's working methods, on location, planning his composition, producing preliminary sketches, and following through every stage of development until a beautiful painting is done.
Customer Reviews:
Just to set the record straight.......2007-10-01
I studied with Stash back in the seventies. HE is a wonderful painter and a terrific teacher. I have seen his Big Book of Oil Painting and think it is wonderful. Lots of material and many many paintings. I am surprised you could not find anything to like about any of them......
A very pleasant surprise.......2006-06-20
I've owned all of Allyn Schaeffers big oil painting books. I really didn't care for any of them. Not only was the painting style not realist enough for me but the bland ugly subjects that she chose to illustrate turned me completely off the books.
This book is a different. There are far fewer examples but they are much better. There are compositional sketches, multiple illustrated steps, and often the colors used are detailed and located in the paintings. Most important, the works and illustrations are of much more attractive subjects. Instead of fighting myself to try and look past the bland illustrations to try and understand her points I actually enjoy looking through this book to study it.
Even with the impressionistic feel this is a huge improvement over her skys, trees, and water books and I like it a lot.
Product Description
This is a AIR FORCE INST OF TECH WRIGHT-PATTERSONAFB OH report procured by the Pentagon and made available for public release. It has been reproduced in the best form available to the Pentagon. It is not spiral-bound, but rather assembled with Velobinding in a soft, white linen cover. The Storming Media report number is A542943. The abstract provided by the Pentagon follows: The behavioral response of mosquitoes to different wavelengths of light and an evaluation of sugar meals was studied for several species of mosquito found in north central Florida. Gas chromatography (GC) was used to analyze dietary sugars of Anopheles quadrimaculatus, Coquillettidia perturbans Culex nigripalpus, Culiseta melanura and Psorophora ferox. GC was also used to determined whether carbohydrases are present in the mosquito diverticula. A wide range of sugars was found in wild mosquitoes including fructose, glucose, sucrose, maltose, turanose, melezitose, raffinose, erlose, arabinose, rhamnose, and several unknowns. Laboratory time course studies with Aedes albopictus showed rapid hydrolysis of sucrose within 2 hours of ingestion. Conversely, melezitose remained relatively unchanged after 8 hours. The frequency of wild mosquitoes containing sugars ranged from 10-11% in An. quadrimaculatus and Ps. ferox to 48% in Cq. perturbans. All species tested contained honeydew sugars including An. quadrimaculatus (55%), Cs. melanura (33%), Cx. nigripalpus (15%) Cq. perturbans (10%) and Ps. ferox (7%). Light trap capture numbers for woodland mosquitoes were evaluated using light emitting diodes (LEDs) of different colors. Analysis of data by species showed significant differences in color attraction (green and blue best) for Ae. atlanticus, Ae. dupreei, Ae. infirmatus, An. crucians, Cs. melanura, Cx. nigripalpus, Ps. columbiae and Uranotaenia sapphirina.
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Books Index
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General
| Instructional & How-To
| Arts & Photography
| Subjects
| Books
Landscape Painting Inside and Out: Capture the Vitality of Outdoor Painting in Your Studio With Oils
Problem Solving for Oil Painters: Recognizing What's Gone Wrong and How to Make It Right
Carlson's Guide to Landscape Painting
Painting the Impressionist Landscape: Lessons in Interpreting Light and Color
Brushwork Essentials: How to Render Expressive Form and Texture With Every Stroke
