Book Description
Offers down-to-earth advice on painting gorgeous outdoors scenes through 10 step-by-step demos Teaches painters how to master the art of observation Shows readers how to translate field notes and sketches into fully realized studio paintings The overwhelming beauty of the outdoors is one of the most inspiring - and elusive - subjects for painters. With Landscape Painting Inside and Out, Kevin Macphearson first shows readers how to see like an artist, then teaches them how to recreate their vision into stunningly realistic outdoors scenes. His insightful process encourages readers to focus on the small details to achieve big results.
Customer Reviews:
Excellent examples.......2007-09-19
This book gives practical, specific advice on improving your landscape painting technique. I especially like the illustrations. The paintings are beautiful and "fresh." Not your average landscapes. They inspired me.
shadows.......2007-09-10
Great book Good information but Kevin seems to lose his separation of the lights and shadows in some of his demos in the back of the book He talks about it but then shadows start getting to light in value and too much detail. This could be from the reproductions of his painting
Not as much "color and light" in this one........2007-08-11
Having read this author's previous book on putting color and light in your paintings, I was a little disappointed with this one---I expected more. The book was well organized, (had, once again, pages of stuff about selecting your brushes, etc.); the author set forth his view of a limited palette, and said that you needed to be excited about your painting---but I don't believe that he was excited when he wrote this. If he was, he didn't convey it well. Had a number of exercises, some reasonable, others only for the wealthy (use an entire tube of cadmium red light on your painting (That is, really thick!)
Anyway, having read through the book, I would not buy this book again --- that's the bottom line.
Wonderful instruction for the Plein-Air artist........2007-06-27
Kevin Macpherson gives thorough instructions in his book from colors used to composition. A beautiful book with many demonstrations. I would highly recommend to the beginning or advanced Plein-Air painter in oil.
A "Must Have" Resource.......2007-05-23
If you are an oil painter or even if you are a want-to-be painter, Kevin MacPherson's book is a terrific reference. Personally, I'm a Plein Air painter and Kevin is a master at painting on location. He covers what supplies you'll need and techniques in painting. I've had this book for some time and still refer to it often.
Customer Reviews:
not for an advanced artist.......2006-01-23
While Leslie writes beautifully, the only real information I learned from this book was which pastels held the best lightfastness rating and one technique of scratching I hadn't yet considered. Other than that, this book is geared very much towards beginners of oil pastel. All of the beautifully colored pieces he has pictures tend to lean towards abstract and illustrative ideas and expressions vs. more realistic interpretations of things. Additionally as a result there's really no other meathod to learn from in this book. He brushes against the ability to make realistic pictures via one artist, but goes into no detail as to how she accomplishes this task. The other great disappointment to me was Leslie's work itself. All of his works shown throughout could have been created by a High school student. He shows no real ability or understanding of how this medium can be worked. I would not recommend this book at it's original price of $32 and especially would not recommend spending double that for a used out of print copy. Save your money and check it out at the library or look for more informationon the internet.
Oil Pastel: Materials and Techniques for Today's Artist.......2000-03-28
This is an unusually thorough book. If you can get your hands on a copy, you should do so. Unfortunately, it is out of print. The publisher is Watson-Guptill and the book was originally published in 1990. The ISBN No. is 0-8230-3310-4. Here's why the book wins my vote:
It has a ton of pictures of finished art works done in oil pastel and in mixed media, using oil pastel and other media. There is a section which tells of the lightfastness of different brands of oil pastel currently on the market so readers can see actual pictures of brands exposed to sunlight for 3 months and how the sunlight does/doesn't alter the colors. There is also a "nitty-gritty" section describing the characteristics of each major brand available on the market currently, as of 1990 when the book was written, but these are the same brands available today (creaminess, hardness and what you can do with each). There are detailed diagrams of different methods of using oil pastels, broken down into steps, so readers have step by step directions of how to use oil pastels in a variety of ways. There are many ideas for composition using oil pastels. The author, Kenneth Leslie, makes it a point to tell readers exactly how each of the many works shown were developed in oil pastel (e.g., by direct observation of objects such as in a still-life, or by using photographs or collage, etc.) and on what kind of supports (e.g. which grounds to use on paper, museum board, masonite, wood, etc.) There are just lots and lots of pointers about using the medium of oil pastel. Many ideas of using oil pastels in concert with other media serve as a springboard for individual ideas. For example, I read a section of explanation and then, quite easily, I could mentally figure out how to apply the techniques shown to my own work. This will be my bible for doing oil pastel painting.
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:
good for basics or beginners.......2007-07-08
ok for beginners and those who paint in an impressionistic style. could focus a bit more on materials. some good basic tips.
Great Foundational and Advanced Book.......2007-06-15
I'm a professional in the business and make my living as an artist. This book is a wonderful reference and is always close by on the shelf. The work in it is excellent and the principles are straight forward as well as solving lots of the problems artists and painters encounter. Love it and recommneded it many times over.
Physician, heal thyself.......2007-05-30
Sorry, I didn't like the book. I don't know how to say this kindly, but Kreutz' paintings seem to need some improvement, especially the portraits. He may have very good advice to give and should be commended for giving it, but I am reminded of the saying, "I always pass on good advice, because it never does me any good."
Finally, a book worth more than the price.......2007-02-13
I LOVE this book and keep by my easel. His checklists keep me on track.
"What are the attributes that can make this a better painting?" .......2007-01-19
As any true artist can attest, real art does not just arrive from the soul of the artist. Rather it is more often than not the result of hard-won struggles with all sorts of problems. Art in its creation is not linear. It develops by answering questions like, "What makes form look dimensional?" "How does light flow?" "How can air be represented." If the content is too dominating and the technique too finished, the painting can look impersonal. It the artist is too dominating, to expressionistic, the painting can look self-indulgent.
Gregg Kreutz in his "Problem Solving for Oil Painters" has assembled many of the questions that have occurred to him during his years as a painter. He examines the characteristics of a superior painting and shows through examples what makes one picture better than another. Some of those qualities include richness, mystery, simplicity, and focus.
Kreutz appreciates individual expression and knows that each painter develops in his or her own way. He knows that painting is not a mechanical act. When it is, the end product will be unconvincing. Painting requires creativity, insight and empathy. He builds on these attributes which vary from individual to individual with the questions that painters frequently face. He answers these in a straightforward, agnostic manner that will be useful to all painters.
This is an excellent book that will serve the intermediate to advanced to professional painter well. Kruetz's paintings have been represented in many juried shows, winning many high honors. The book is chock full of his work and I, for one, am glad. His work is inspirational and, with this book, he has forced me to raise the bar for my work by asking one question when I paint, "What are the attributes that can make this a better painting?" I no longer have any excuses - he provides plenty of answers.
Customer Reviews:
The only book you need in painting........2007-03-23
Everything I know about painting? Well, not exactly, not everything. Don't expect to learn everything. Many reviewer on this book maybe expected too much. This is not a step by step painting book. This book does not show you the magical short cut to become a better painter either. But this is the best and only book you'll ever need in painting. I've never seen any book or any artist that explains better in terms of Edges, Values and Colors. The most important 3 ingredients of painting. His teachings on these 3 ingredients are so easy to understand and if you apply them to your work.... you're much better artist/painter already. Invaluable information on chapter 4, 5 and 6. This book will change the everything you know about painting.... well... not exactly.
LOVELY AND ENLIGHTENING.......2007-01-24
This book is full of instruction from edges to contrast techniques. It is such a wonderful book that I bought one for my artist friend. Invest in this one and not the black and white one by Schmid.
Learn how to observe, and how to do DIRECT PAINTING.......2006-02-19
I can hardly praise this book enough. It is full of experience and concrete knowledge.
The text is made of 10 chapters, plus an introduction:
1. Good ideas and free advice
2. Direct painting
3. Starting
4. Drawing
5. Values
6. Edges
7. Color and light
8. Composition
9. Technique
10. The magic
It has 193 pages, and is full of Schmid's paintings, almost all of them oils.
WHAT THIS BOOK TEACHES YOU:
It teaches you how to OBSERVE 3-D REALITY AND TRANSLATE IT ON A FLAT SURFACE AS DIRECTLY AS YOU CAN. The way of achieving it is to paint LIGHT ITSELF (what you see), not the very object with descriptive minutiae (what you know). Meticulous and painstaking painting tends to be naive in most hands.
Schmid asks you to clear up your mind and trust your instinct. THE HOW BECOMES OBVIOUS ONCE YOU UNDERSTAND THE WHAT AND THE WHY.
Some of his most insistent advices are: keep it SIMPLE; don't overwork; don't use ostentatious techniques; don't make random guessing brushstrokes; do a minimum of trial and error (correction wastes time); rather be BOLD than shy, but do it without hurrying and without any thoughtless bravado. Also, EXCESSIVE BLENDING IS LIKE MUMBLING WHEN YOU SPEAK.
He teaches you that, as you start, you sholud focus on one specific problem. Set a GOAL and do it in the time available. Limiting your time helps to SIMPLIFY your works. Simplify values by SQUINTING. If edges remain sharp when you squint, paint them sharp; if they go fuzzy, paint them fuzzy. Trust your squinting.
Schmid insists on the fact that, unlike common belief, most mistakes happen with drawing, not with colour. He says there is no comprehensive colour law; but there's something close to it: COOL LIGHT PRODUCES WARM SHADOWS, AND WARM LIGHT PRODUCES COOL SHADOWS. His palette has as many as 12 colours, not one more, because more than that is unnecessary (and often, the fewer colours, the better), as we can see in the colour charts--a perfect way of mixing all colours with one another until exhausting all possible combinations of two colours plus white. (Besides, don't overmix too many colours, or else you'll obtain MUD colour.)
He recommends: Cadmium Yellow Pale, Cadmium Lemon, Cadmium Yellow Deep, Yellow Ochre Light, Cadmium Red, Terra Rosa, Alizarin Crimson, Transparent Oxide Red, Viridian, Cobalt Blue Light, Ultramarine Blue Deep, Titanium White. There is no black, since he uses different mixtures of browns or reds with blue for getting a substitute for black.
He says what good lighting is for painting.
His ideas about colour harmony and composition are very down-to-earth and full of common sense. No mystic babblings or over-intelectualized theories.
WHAT THIS BOOK DOESN'T TEACH YOU:
It doesn't deal with technical intricacies about different kinds of canvases, papers, grounds, turpentine, brushes, easels, palettes, and materials in general. (Pigments do have his full attention.) It doesn't ignore technique, but it's not the core of the text. (For that subject, you can read Ralph Mayer's book on materials.) Since the book deals with painting in general no matter what medium you use, it doesn't speak about classical Old Master examples (no Leonardo, Velazquez, Rembrandt, Hals, Rubens or any painter in particular). You can apply the lessons to oils, acrylics, tempera, gouache, or even watercolour. By the way, there's a very brief part about using the palette knife, which obviously couldn't be applied to watercolour, for instance. Since the book focuses on Direct Painting the way Sorolla, Sargent or many late-19th century artists did (without mentioning them much), you will find no details about Renaissance or Baroque ways of applying paint. There are not many words about glazing, for instance. There are no words about perspective or anatomy, either, for this is not a handbook for painting specific subjects, but about how to observe light and colour in general.
I love this book! Had I found and read it a long time ago (despite its high price), I would have saved years of an agonizing, careless and method-less hit-and-miss process that had no sense at all in my learning.
Schmid has a very specific method. Maybe it's not meant for all painters, but if you love Sorolla or Sargent, this is THE METHOD for you, no matter whether you are a mere beginner or an experienced artist. And even if you aim at a very different style than that of the artists just mentioned, this book can help you a lot. Trust me!
Book Description
The whys and hows of the various aspects of landscape painting: angles and consequent values, aerial and linear perspective, painting of trees, emotional properties of line and mass in composition, light, unity of tone, plus information on canvas, palette, brushes, more. 34 black-and-white reproductions of paintings by Carlson. 58 explanatory diagrams.
Customer Reviews:
No color in a painting book?.......2007-09-23
It is a good book from an excellent artist. The book would have been more useful if it had colored pictures and lessons in color mixture and schemes.
Text good but all in black and white - no color!.......2007-07-23
the text is good, but it's hard to visualize a painting when it's all in dark and lite tones. Would not recommend this book even tho an artist recommened it to us.I suppose it's good for composition of your painting!
Fantastic review for any artist.......2007-06-29
This is one of my favorite books. In one of our moves - I lost it! How delighted I was to find it on Amazon. Thank you.
great information.......2007-04-05
I got this book from the library first to make sure it was helpful and now I understand why it is reccomended by every art teacher. It was dense with information and if the pictures were in color it would have gotten 5 stars.
Very Informative book on landscape.......2007-01-25
I really liked the information presented in this book. I finally found some of his color examples online. A good reference to have in your library.
Average customer rating:
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Alexej Von Jawlensky: Catalogue Raisonne of the Oil Paintings Volume One 1890-1914
Maria Jawlensky ,
Lucia Pieroni-Jawlensky , and
Angelica Jawlensky
Manufacturer: Philip Wilson Publishers
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Alexej Von Jawlensky: Catalogue Raisonne of the Oil Paintings: Volume Two 1914-1933 (Alexej Jawlensky)
ASIN: 0856673986 |
Book Description
One of the most original and powerful Russian twentieth century artists, Alexej von Jawlensky worked for most of his life in Germany with early spells in France. After he had come to terms with the impact of Gauguin, Cezanne and Matisse, his work went through Fauve and expressionist periods in the development of a highly personal style, In 1909 he helped found the Neue Kunstlervereinigung in Munich, and along with Kandinsky was an outstanding member of that group. He became one of the great twentieth century explorers of the soul, for whom art was 'nostalgia for God.'
This, the first of three volumes that will catalog nearly 2,000 oil paintings, covers the period up to his enforced departure from wartime Germany, during which he developed his brilliant use of colour. Pioneering introductory and end matter to the volume includes an authoritative biographical outline and a full list of one-man and group exhibitions, with Jawlensky's illuninating brief memoir of 1937.
The artist's inventory of his work, carried on after his death by his son Andreas and his wife Maria, was continued after Andreas's death by his wife and daughters Lucia and Angelica, now keepers of their grandfather's archive in Locarno.
Book Description
Oils are perhaps the most versatile of all paint mediums. Yet for many artists oil painting is either shrouded in mystique or considered very difficult. Filled with clear, step-by-step instructions and surefire strategies, The Complete Oil Painter is an essential, one-stop guide to becoming an expert in every aspect of this medium. Artists will discover everything they need to know about materials (pigments, supports, canvases); tools and equipment (palettes, brushes); paint application (wet-into-wet, alla-prima, glazing, impasto); form and color (light and dark, expression, color mixing); exploring themes (still life, portraiture, figure painting); and much more.
Customer Reviews:
highly recommended book.......2007-08-20
This book is well organized, and offers practical information on the tools of oil painting, as well as organization and application.It does not give step by step lessons, nor does it suggest any particular style of oil painting. It is designed to aid the reader in whatever style or level. As a teacher of oil painting this is one of my most used books, and the one I recommend to my students.
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.
GjS.......2007-02-16
I was not sure what to expect having purchased other art books, but this is definitely a good book and I would recommend it to new and intermediate skill level artist. The Complete Oil Painter is well laid out and has much better example art than most books. I would highly recommend this book.
Fancy dabbling with oils? Get this book.......2006-11-09
Gorst does an excellent job in walking the beginner through what they need and need to know to get started. It's promoted as being suitable for professional artists (I presume professional oil painters) - I'm not sure that an experienced painter will find much of use here. The images are good, providing an array of styles available with this medium. The subjects he chooses for the step-by-step practices are of a level of competancy not usually found in a beginner's book. Typically I've found the examples in other books to be rather bland - if you can reproduce the examples in here then you'll certainly have some paintings worth hanging.
My library of art books is approaching something like 250 items, covering all sorts of media as well as art theory, appreciation, history etc. The one thing that has struck me while pulling that collection together is, for the most part, Watson-Guptill produce an excellent range of books. The WG range aims at getting the beginner to an intermediate level ASAP and produce some quality art in the process, as opposed to the standard amateurish twee fare that other publishers, namely North Light Books, have folks churn out.
An excellent introduction to the world of oil paints. 100% Recommend.
great book.......2006-11-02
I found all the information to be usefull. Well worth the money.
Book Description
Knowing how to use a brush properly is essential for effective oil painting. Brushwork Essentials shows artists everything they need to know to render a variety of elegant strokes, along with other exciting techniques like paint mixing and brush shaping.
Weber makes mastering each technique easy. He provides detailed, easy-to-follow instructions, step-by-step demonstrations and complementary artwork that highlight each brushstroke as it appears on the canvas. Readers will also learn how to use different strokes to achieve specific effects, such as lighting, shadowing and more.
Customer Reviews:
Ok ... I Guess.......2007-04-27
This is a tough book to review. I give this book 3 stars (the above is inaccurate) I like the idea of learning how to apply paint to the canvas (or whatever) but somehow looking at photos and reading the text leaves something to be desired. In my opinion this would have been better as a DVD where a person could actually see the process taking place.
The review of materials (in every Northlight book) gets tedious. The author seems to assume the reader hasn't painted before; however, I doubt a beginner in painting would purchase a book on brush technique.
Brushwork Essentials does cover a lot of territory and it does demenstrate the importance of knowing what your combo of brush and paint can achieve. A lot of learning is included in the book. The problem is visualizing what the author is talking about. A couple of photos with text doesn't carry the ideas forward very well. Many people will benefit from this book, but it isn't something that is all that easy to grasp.
After buying and reading numerous art books I have become disappointed with Northlight books. They publish a ton of books on every conceiveable subject; however, they are very repetitious and often do not manage to put the ideas forward very well. Northlight should switch to DVD or other types of presentations because their books are not cutting it as far as I am concerned.
If you want to buy this book I suggest getting it used because I do not think it is worth the full price (which I paid). Cheated again by good advertising and poor execution.
AD2
Rare information about brush work........2007-04-11
There are few, if any, books describing brush work for painters so it was helpful to get some instruction. It seems so simple but the use of different brushes as well as brush strokes is essential.
As helpful as a class.......2007-02-19
I am a new oil-painter and have found that this book is an invaluable source to have as a reference. The easy to read instructions and beauful photo's of paintings make this pretty goof proof and encourages one to try new techniques and brushes.
A must have for your library.......2007-01-25
I have a huge library of art books. This is one I particularlly appreciated because it is a topic that is not covered in art classes. The only class that might come close would be calligraphy or Sumi-e.
Don't Brush This Off.......2007-01-02
Mark Christopher Weber, artist and author, in his "Brushwork Essentials" provides the beginner with generous amount of information and examples related to the use of the brush. He covers:
Types of brushes and what they were designed to do
Choosing and purchasing a brush
Choosing and shaping a brush for use
Mixing paint with a brush
What consistency of paint to use with a brush to get the desired effect
The mechanics of using a brush and results
Wet on wet painting and blending
Caring for the brush
And, putting it all of the essentials together for landscapes, figures, and still life.
This is a great step-by-step book for the beginner or for those who need a refresher on the use and care of the brush.
Books:
- Painting the Impressionist Landscape: Lessons in Interpreting Light and Color
- Perspectives on Argument (5th Edition)
- Plane Image: A Brice Marden Retrospective
- Play Therapy: The Art of the Relationship
- Pretty Little Things: Collage Jewelry, Trinkets, Keepsakes
- Raw Colour with Pastels
- Santa Cruise: A Holiday Mystery at Sea (Holiday Mysteries)
- Say Good Night to Insomnia: The Six-Week, Drug-Free Program Developed At Harvard Medical School
- Schmucks!: Our Favorite Fakes, Frauds, Lowlifes, Liars, the Armed and Dangerous, and Good Guys Gone Bad
- Secrets to Drawing Realistic Faces
Books Index
Books Home
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- Lifelike Drawing With Lee Hammond
- Good Night San Francisco
- Alkene Metathesis in Organic Synthesis
- Blind Willow, Sleeping Woman
- Caliban Cove
- Feynman's Lost Lecture: The Motion of Planets Around the Sun
- Coping with Psoriasis: A Patient's Guide to Treatment
- Image and Spirit: Finding Meaning in Visual Art
- Art Market Research: A Guide to Methods and Sources
- Mushrooms in their natural habitats
Classic Still Life Painting: A Contemporary Master Shows How to Achieve Old Master Effects Using Today's Art Materials
Landscape Painting Inside and Out: Capture the Vitality of Outdoor Painting in Your Studio With Oils
Discoveries: Chardin: An Intimate Art (Discoveries (Abrams))
Still Life: A History
The Rhetoric of Perspective: Realism and Illusionism in Seventeenth-Century Dutch Still-Life Painting
