A painters’ fantasy
If you’re shopping for an island.
http://www.privateislandsonline.com/areas/philippines
Loomis A In The Eye Of The Painter and the elements of beauty
This is a must have to the classic collection. I know I rave on a bit but when I find something I want to share but Andrew Loomis’s contribution to art can’t be under estimated-all his books are good and this one particularly. It is hard to keep hold of a diamond without sharing it with you. This is the oil painter’s compass. Here are the chapters.
1. Seeing with the Painter’s Eye
2.”What Shall I Paint?”
3.Unity
4.Simplicity and How to Achieve It
5.Design
6.Proportion
7.Color
8.Rhythm
9.Form
10.Texture
11.Values of Light
12.Beauty of Subject
13.Technique
When I first read this book I felt as if someone was finally communicating something that was intangible.When I re-read, it’s like talking to an old friend. This is a comprehensive book and includes basics too, for example perspective, but they are seated in a world of know-how, that the author possessed. To add, don’t be fooled by the chapter topics as they are expertly and extensively handled. The illustrations are plenty as well. As close as you’re likely to get to sitting in a Master’s Studio.
Cirrus
A digital paint board
My daughter plays this for hours.
click here
Crossword
CROSSWORD ART
This opens in word document (RTF) after downloading.
For those wanting to test their art knowledge.
Cirrus
Solution
Solution one
Greevy B.The Oil Painting Book: Materials and Techniques for Today’s Artist
This is a book that teaches the “other” aspects of painting and then some. Things such as stretching a canvas, applying layers and varnishing are covered. It is a good book to have in the collection. It is something that you can always return to and access. It is just that most painting books today include some of this information – others do not. Information that’s an added bonus is glazing techniques, scumbling, old master type information and conversely it is pretty modern, in that new mediums are included such as oil sticks and alkyds. To add, paint suppliers and manufacturers are given, brush types, and painting with palette knives. So for value it is a reference book at heart and is an easy read and well written. Not bad for the beginner and still a nice reference for the intermediate. Probably the best on the market.
Good Choice,
Cirrus.
WOW
This is amazing http://www.stumbleupon.com/su/2EZq4b/www.dailymotion.com/
/www.dailymotion.com/video/xcv6dv_pixels-by-patrick
-jean_creation/
Kessler M Painting Better Landscapes: Specific Ways To Improve Your Oils
The consideration here is that beggars can’t be choosers. There are not a lot of Landscape books on the market. This could be due to the Plein Air reputation that Landscaping has, but really this book fills a void in the market place and that’s what makes a book lot more memorable. This book is very memorable. The set-up of this book really gets down to Value, Composition, Eye line and Paint Preferences, not to mention Color Harmony. Creating Depth is discussed too, and is one of the most under rated skills one can have. It is one of those books that you can return to time and time again and pick something up in your own work to improve on. I particularly love the color plates and the one on the cover is my favorite-it says so much. It reminds me of art class all over again-which is NEVER a bad thing. Having this one on your shelf won’t lead you astray and you can only improve your world window by having it. It’s a yes from here,
Cirrus
Wetering, Ernst Van. Rembrandt-The Painter at Work-Review
This book is a cracker. It details thorough analysis of the logical techniques of Rembrandt and the pictorial aspect is excellent. Rembrandt always comes up in the top lists of Painters and the purchase of this book will dispel any myths you may have regarding the “missing ingredients” of the Master. They just don’t exist, although that is not to say innovation’s do. Wetering’s analysis reduces that myth that Rembrandt was some sort of magician. He was trained and studied in the technique of painting of the day and the results are amazing. It takes analysis of Rembrandt’s work and constructs that knowledge into a great academic piece of writing. Well worth the price and one you won’t want to give up quickly.
Cirrus
Bridgman G. Bridgman’s Complete Guide to Drawing from Life – Review
This is such an honor to review this book in the collection as it has had a recognised influence on Frank Reilly. A note from Wikipedia states,
“Frank Reilly’s teaching heritage is linked to the French academy of the 19th century. His drawing instructor, George Bridgman, had studied with Jean-Léon Gérôme, a student of Paul Delaroche. Bridgeman also studied with Gustave Boulanger.”
The above point is relevant in that Bridgman’s life work went into the production of this book. True, he died in 1943 but the publishers saw to it that his legacy lived on. Praise be the Heavens! The above book was first published in 1952. It is a compilation of based on Bridgman’s extensive authorship. Constructive Anatomy; Bridgman’s Life Drawing;The Book of a Hundred Hands; The Human Machine; Heads, Features and Faces; The Female Form; and The Seven Laws of Folds.
Containing 1000 illustrations within you couldn’t have a more thorough and succinct book for learning. I am astounded as to the traceable links to the greats above, (it is such a thin line that barely managed to survive). I have no doubt you will be up there with them, if following their footsteps. The only thought is that if you are after the female form (despite its’ reference above), it is not included. The anatomical names are impressively given, and could scare some people off, but really the importance of knowing these “exactly” is probably unrealistic – I know of Doctors who can’t memorize these.
I love the fluid movement that is shown in the illustrative work and you can’t but help admire his skill in delivering the substance so easily. For price it is a great buy and if you obtain a copy of this and work through it, your drawing and painting ability is bound to improve.
Take Care,
Cirrus.
The eBook Reader review.
I am amazed by the amount of mushrooming the ereaders are going through. Recently as a present I recieved a MIGEAR ereader. It retailed for around $70.00.
It reads PDF,TXT,EPUB,RTF,HTML.
It supports JPEGS and BMP Photo formats, music files, MP3,WMA. and color.
But it is not a touchscreen.
http://www.migear.biz/
One issue I’ve found is that windows doesn’t always tell you when you insert the USB plug into the PC’s USB port. (Although it still loads the files you request onto the reader.)
Wikipedia maybe a bit out of date (the market evolves so quickly) but here is a comparision of the others on the market to help.
http://en.wikipedia.org/wiki/Comparison_of_e-book_readers
I am sure everyone is familiar how Amazon Kindle has gone through a few developmental stages but if you like the ability for lots of support and enjoy everything at your finger tips, I have placed the link here. It looks awesome.
Goodbye to paper 
Cirrus
An Interview with Janet Shearer – Author of The Art of Illusion Trompe L’oeil Painting Course
Janet I have just finished reading you book – The Art of Illusion and what strikes me is the gift you have given readers. There’s nothing left to chance. How did the book come about? Did you have to find a publisher first or were you approached?
In 1999 I had for several years been running a five day ‘how to tackle a trompe l’oeil mural course’ with great success. I had literally hundreds of visitors to my studio from all over the world and had had some wonderful media coverage. The course took you through all the stages of planning, designing and painting a trompe l’oeil mural, as you say, fairly pedantically! Co-incidentally, at that time, a photograph of one of my paintings had been included in rather nice book about murals and the painting had been accidentally credited to the owner of the house in which I had done the work. Because the book was so good, I was furious that such a mistake had cost me some excellent publicity, and so contacted the publisher for the purposes of having a good rant. I was put through to a charming lady who was the commissioning editor for New Holland Publishers, Yvonne McFarlane. We agreed to meet as she was very interested in my work and extremely apologetic for the mistake. I think meeting me was a way of saying sorry to me, and as such, I never for one moment thought that it would lead to the commissioning of a book about my five day course….. But it did, followed by a second book as the first was a big hit!
Another thing that startled me is the range of subjects you paint on a daily basis. It is rare for an artist to have mastery over so many design elements, and to carry them out so well. Did this come naturally for you?
I like to think of myself more as a crafts-person than an artist! I simply love to paint. I actually enjoy pushing paint around with a paintbrush. I sometimes think it doesn’t really matter what you paint. Everything is interesting and the more you look, the more you see. All subjects interest me in terms of light, colour, movement and texture and so I become absorbed in all that I do and I think you will find, use the same sort of technique all the time.
As an artist (and if I can say it, as a woman), too, you must of faced many challenges when it comes to the sheer practicalities of your work. As one example, setting up scaffolding, lorries, and finished paintings & transport come to mind. Can you tell readers the challenges you have faced – and was there a time when you ever thought of quitting?
There used to be a television ad for the AA featuring someone (I can’t remember whether it was a man or a woman) trying to mend a broken down car…. I think the poor person eventually admits that he/she can’t mend the thing but then brightly a voice says ‘ …..but I know a man who can.!!….’ I have very much favoured this policy during my thirty-five years painting murals, some of which have been as long as 75metres and most of which have involved a team of people including myself to solve practical issues. Sometimes I work with just one assistant to paint but often there are background people who make frames, help stretch canvas, put up scaffolding and solve other related problems. I am, however, quite a practical person so I am not afraid of physical or practical trials. Quit? I was a single parent and for many years it was such a struggle, juggling children, work and animals. I don’t think I ever had time to think about quitting! I was just doing the only thing I know how to do to make a living!
Other artists would love to know if the demand for interior art fluctuates, as with the economy, or have you found a consistent business model that is stable?
I think people commission murals when they feel secure, financially and emotionally. Inevitably when times are hard, less of us feel that way so I think in a recession there must be less work available, although in this respect I have been fortunate not to have suffered too badly.
Do you find clients know what they want from the start, say from publicity of previous works or your website; Or do you need to shape what can be done realistically within limits?
I always listen firstly to the clients own ideas, which I may add to, enhance or try tactfully to divert attention from! Sometimes people have the seeds of an idea and that’s all I need to start the design process which I love! I find it easy to visualise things as they will look and realise now that this has helped enormously.
It’s no good trying to describe an idea to clients verbally. One has to get it down on paper so that they can share your thoughts. Detailed painting takes time and what I tend to do is give people examples of similar work, probably visible on the website, and tell them how much the project cost so that they have some idea what can be achieved for their budget. If someone wants you particularly as an artist to do the job, then it’s pretty important to know how much money they are going to be able to afford so that you don’t frighten them away with grand schemes which they can’t possibly pay for. I estimate how long something is going to take and charge accordingly.
Your work is so diversified. Do you diversify with techniques as well to get the job done?
All my techniques were learnt in the film business, in the days when painted scenery played a huge role. You can fill huge spaces with not very much detail (sea, sky and landscape) but the onlookers eye is immediately drawn to the perfectly painted detailed bits which might be quite small!
You teach as well? How do you find the time and what do you require from the students that present to your course? In fact please explain your course-it looks a great place to recharge as well.
I don’t run a structured course as such any longer, but invite people now to do three half-day sessions, continuing to work in the studio for the other half of the day on their own if they like. Typically I start with some drawing exercises to get visitors using the ‘right hand side’ of their brain, quickly moving on to perspective (light-heartedly as in my book!) mixing colours and of course, painting. People usually end up with at least one small painting they can feel proud of to take home! Loads of people come down to Cornwall to enjoy some time away from home, see some beautiful countryside, and many say they haven’t painted since they were at school but would love to give it a go! That’s the sort of person I really like! I also get professionals who find me and want to experiment with new techniques or just find out how I do what I do.
I’d walk straight into your wall, they look so real. How’s the clients’ reaction when they see the final results?
Usually pretty pleased and excited thankfully!
Can you tell us a moment when you felt really proud of an achievement with your work?
There are obvious moments like the unveiling of something big involving mayors, TV and even royalty! I have done some pretty big commissions over the years, but the greatest kick I get is when I accidentally fool myself while I’m painting – reaching out to touch something which of course isn’t there, pick up an object which I have just painted or lean on something which doesn’t exist!
Your book The Art of Illusion – A Trompe L’oeil Painting Course is great piece of work (The Artists Guide to Perspective, on the left is another of good book of yours). Do you think you have enough time or space to fit in another? I’m sure readers would love to see another.
I would absolutely love to do another. I am learning myself all the time and have moved on a long way since the last one so maybe could share what I have learnt if a publisher were to be interested!
Information about commissioning a painting and tuition in Cornwall can be found at http://www.trompeloeil.co.uk/
I am planning an exhibition in Cornwall at the end of the year and this is my challenge for 2012!
Color Palettes from the PC
Here are some interesting palettes that you may find useful the next time you want to experiment or trying to hit the nail on the head.
They are I.T. Palettes but they could be transferred.
Cirrus
Shearer, Janet The Art of Illusion A TROMPE L’OEIL PAINTING COURSE – Review
This is an exciting idea. Painting Trompe L’oeil is definitely in. This book is really designed for the internal decorator who wants to portray amazing murals on their own wall at home or as a business enterprise. The result is captivating and if you have that type of house or client where you can paint an Italian Fresco, and it’d fit in with the decor great, go for it. The benefit of having this book though is that the ideas Shearer uses are applicable to oil painters, and really most other mediums. She seems to use predominately Acrylics which is not a problem, and as for wall painting in this way, I believe a necessary element. I have to say though the effects are stunning – seriously I could walk straight into one of these paintings and end up with a head injury they are so good!
Janet makes the point that she was accidently forced into this line of work due to the mistake her scenic artist made on a T.V commercial set. What a glorious mistake. From there she hasn’t looked back.
Here are the Chapters.
1.Introduction.
2.Design and Perspective (Important when working with large spaces and optical effects).
3.Preparation and Equipment.
4.Painting a Mural
5.The Projects/objects she paints are
6.A Tuscan View.
7.A Tabby Cat.
8.A Guinea Fowl.
9.A Cattle Mural.
10.En Grisaille
11.Changing Rooms.
12.The Monk.
13.A Cornish Window.
14.The White Horses.
15.Painted Furniture,
16.Tiepolo Mural.
17.The Arches.
18.Working to Commission.
19.Addresses.
20.Acknowledgments And Index.
So here’s a link to Janet Shearer’s website http://www.trompeloeil.co.uk/ and the look is fabulous. With a bit of luck we may be able to get Janet to talk some more about the process.
Cirrus
DVD Course Quick Note
Recently and as you may already know, Anthony Waichulis and the ANI Academy have recently released a drawing course on DVD.
Here’s a link for those interested.
http://www.aniwaichulis.com/
Cirrus
Art Book Reviews
A brief note to let you in on a secret; that as a art book review service we are always on the lookout for books that might be in a hidden market or even out of print. The reason is that while some may not be available to you now, in the future you may just stumble upon a recommendation that is exactly what you need to complete a project or a technique you hadn’t come across before. We are always looking for gems in a haystack.
If you happen to find such a source feel free to mention it and we’ll do our best to obtain and review it here. As well, we’ll do our best to make this site entertaining for your time, that we wish will be well spent.
If you have any suggestions for the site please drop a line and let us know.
Cirrus
Ron Rundo Master Craftsman-Interview
Recently I came upon the amazing work of Ron Rundo and couldn’t resist but to get him onto www.artbooklook.com, to discuss how he creates a work, his history, and fascination with art. It is such a great treat to have him on the site.
Ron can you explain how you became interested in art as a profession and if there was any one factor that you can point too that made your art what it is today?
Well, it’s like art (some form of it) has always been with me, from drawing comics to graffiti. And one day when I was 20 years of age, it hit me and I started this journey. After only a year into it I found that I was pretty good at painting portraits. I spent about 10 years working to understand paint… how to really handle it. Basically teaching myself. I found myself admiring the masters, wanting to paint like those guys. I did try school. The Pratt-Art Student League but was unable to get the right fit. It wasn’t until I met a teacher John Fredrick Murray… he changed everything. I studied with him for about a year. With these new tools I set out to find work. Soon I hooked up with Inter-Governmental Philatelic Stamps and began painting postage stamps for about 15 years… portraits a specialty!
While doing this I wanted to get into galleries, representation and all that. I did eventually get that gallery representation it took some time and when I did I thought wow, this is it!.. but timing is everything and no sooner did I make those connections the recession hit. At the exact time I was reaching for that “Brass Ring”…. well, things hit the fan and I lost my shirt. It was a crazy time and I had to do something. I had to re-invent myself, as totally new. This came to that and I had a few sculpting opportunities. I delivered on those opportunities and was able to find a pretty cool niche, sculpting the Bas Relief. I believe that was all those years working (a total of 30yrs and 20 of which I have been living by my work), reaching, learning, and doing art that led me to this place; that darn recession was actually the turning point. Today, I do sculpting more than anything but still keep my hands in the paint.
I think everyone will thank you for keeping up with it.Did you have any one mentor that you can say inspired you to better painting?
My friend Paul was the one person that got me on the right track. He is an opera singer and teacher. It was his message of believing in yourself, your work… dedication, constant, never quitting…. well, of course, trying your best not to quit even when things were upside down.
Your training was through traditional methods but it can be said your work is admirably unique. Would you say formal training encouraged that, or was it more of follow and do it my way?
It was about following that inner voice, that creative something… this “thing”, always pushing, challenging myself wanting to be better, do it better. I have often found myself in “unchartered territory” with only me to find the way through to the other side of some pretty heavy projects… and I did.
The portraits you paint seem to contain some powerful symbolism. Is that intentional or are you aiming for that “something else” achieved in your portrait work?
Some of that stuff I would consider (in the immortal words of Norman Rockwell) a happy accident! Things would happen and I would just follow it…. I would find myself wowed.
Who would be your favorite artist or influence?
There are a few Norman Rockwell, Sir Lawrence Alma-Tadema, John S. Sargent, Anthony Van Dyke, Tiepolo, Francois Boucher to name the most influential.
Importantly which method do you prefer to paint with? How do you paint? Is it a direct technique or do work up a painting in layers?
I always use an under painting I start first with a sepia tone taking a few applications to bring the face to a solid place. I let the painting dry between each application. Then I mix all the flesh tones and build, through a series of thin applications, build up the face until finished. John Fredrick Murray called the beginning phase a “wash-in”.
Does the Munsell color system get used with your work, or is it a more intuitive approach?
It is only intuitive…. kinda just “see” it that way.
Gee, that’s not bad. I suppose this leads to my next question when it comes to organization.
Can you explain your palette? Have you a preference when it comes to paints, type and manufacturer?
I use an assortment of Windsor Newton, Holbein, Williamsburg. I always lay the same colors in the same places on my palette. When the dried pile gets too high I slice it off and continue to squeeze on the new.
What medium do you use? Is it Linseed oil only or do you have a recipe?
My secret recipe is 1 part Linseed, a little stand, drop or two of damar and a healthy dose of turpentine. I have a jar and over the years I can just look at it as I pour these ingredients… always the same. Adding one medium to an invisible line to be followed by the next until I top it off almost perfectly.
Your stamp illustrations are noteworthy and look so perfect, but we are running out of time. Curious? See http:/www.ronrundo.com/. A short question though, with regards to brushes. Do you have some favorites and which brands are your preference?
Escoda brushes are the ones I use today for portraits… they are great. When you take care of them they last forever!
I came across this site. If people wish to purchase your work is your website better or this link ?
http://www.ronrundo.com/ That is the best!
Ron Rundo
516.431.1654
Ron’s site is definitely worth checking out as well.
Before you go I gotta mention this. The Gorilla pictured is one & 3/4 inches wide and two inches high. The Tiger is 2 inches wide and two & 1/4 inches high. Both on natural vellum and both WATERCOLORS!
Ron, all the best and thank you so much for your time,
Much appreciated,
Cirrus.
Jacob Collins Waterfall
This is a landscape that takes my breath away. Remarkable skill!
Plein Air with peace.
Carlson John F, Carlson’s Guide to Landscape Painting – Review
I suppose you can call this book a classic given its’ longevity – I can find in the front cover copyright from 1929 and I believe it has been around even before that. So what we are looking at here is a book of information on landscape painting that has stood the test of time. It is set out well. Carlson seems to convey all he has learned throughout his career. Having said that though Landscape Painting can be a tough gig. It demands a lot and gives back little(oimo). But I’m sure some people just love landscape painting and I don’t want to discourage anyone. If any one person knows of a better landscaping book on the market please let me know as thorough books on the subject seem quite rare.
Although I admit it. I’m terrible at landscape. I find the concept of concentrating on trees and mountains beyond me. But when I see a great landscape I can really appreciate the beauty and difficulty in what has been captured. Through history there have been some notables. I think of Church, Constable, Shishkin, and Turner – the list goes on and on. However back to the book. Here are the chapters where you’ll find some gold.
As Follows
How to Approach Painting.
The Mechanics of Painting.
Angels and Cosequent Values.
Design-A Pattern of Differing Values
Light- Unity of Tone and Meeting edges.
Aerial Perspective-Transitions in Value and Color.
Linear Perspective.
Color-Its’ Emotional Value in Painting.
Trees-How to understand them. (I thought they just grew?)
Clouds-How they Float.
Composition-The Expressive Properties of Line and Mass.
The Main Line and Theme.
The extraordinary and Bizarre.
Painting From Memory.
Of final interest I love this quote from Carlson.
Re Trees
“They stand there, silent and dignified, but never unfriendly. We almost feel that they would speak in a rich, low voice, were we to address them. Closer study of their habits and doings(for both words are applicable) will only enhance this feeling of personality in trees, and increase our aesthetic delight in their form and color.” (pg 98).
The man loved his job and I have never achieved the above, but I hope you can,
Best Regards
Cirrus.
The Old Man and The Sea
This link has the most beautiful animation seen.The artistis Alexander Petrov. He creates these by hand, a combination of finger and brush work doing 12 frames(pics) per second. This has been on the net for a while. The Old Man and The Sea. Adaptation of Hemingway. Please check out this link.
Blake Wendon, Oil Portraits Step by Step – Review
Wendon Blake has been busy. He has about 12 books published on the art market and this one I found basic but o.k. for the beginner. I’ve said it before and I’ll say it again -I really don’t like the canvas weave showing through on a painting. Maybe I’m picky but the subjects such as Blond Man, Blond Woman, Red Haired Woman,Dark Haired Man, Dark Haired Woman, Black Man and Asian Woman would feel better if that wasn’t so obvious. Apart from this minor complaint I have found the lessons in this book good practice. The painting of the facial parts such as eye, nose, and mouth are given separately (although Blake didn’t actually paint any images in the book, George Passantino did). So in all this is an easy type introduction to portrait painting in oils that will get you off the mark-just don’t expect it to be very in-depth.
Happy Reading
Cirrus
Mikami Takahiko, Japanese Brush Painting The Art of Sumi – Review
This book is an interesting one in the collection and the techniques practiced, particularly the brushstrokes for leaves, dry bamboo,wet bamboo and wind blown bamboo will speed up some of your painting techniques. This is a introduction text but by all accounts is very valuable to learning in comparison to some others on the market. The book also includes leaves, birds, and pine cones. An open mind will help and the patience to take the time to practice will have you painting outdoor objects quicker. Personally I can see the romance in Japanese Sumi painting as it has a marvel and beauty all of its’ own. Many paintings use the oriental theme whether obvious or subtle, and throughout time artists from all around the world have be entranced by all things oriental.
Have a fun go
Cirrus.
Wood Christopher, The Pre-Raphaelites – Review
Ye ol’ maidens resting for lov’ that would ascend the highest moment of creation, here it is.The best and most reachable book of the Pre-Raphaelites is here. These paintings are masterpieces of love,obsession, and detail of the highest order, which reveals the artists incredible pursuit of perfection to a point of notoriety. It is true painters and public today, still swoon over their world of valour, knights and maidens;- waiting to be rescued despite the technical mastery and skill that was proved in a time almost forgotten.
Discussed with glossy reproductions are;
Part 1 The Pre-Raphaelite Brotherhood
The Brotherhood 1848-1853.
Dante Gabriel Rossetti.
John Everett Milias.
William Holman Hunt.
Followers and associates of the Pre-raphalite Brotherhood(Ford Madox Brown,Arthur Hughes and others of the 1850′s).
Part 2 The Pre-Raphaelite Landscape.
Part 3 The Later Years.
The second phase – Pre-Raphaelitism and the Aesthetic Movement.
Including later works of Rossetti, Hunt, Morris, Burne-Jones, Waterhouse.
The Last Phase 1890-1920.
According to Wood(pg, 10) The Pre-Raphaelites use a dedication to what was visually of and from nature and, as most artbooklook readers might like to know, is the use of pure colors over a white ground. Today their paintings still shine bright.
Here is Waterhouse’s painting La Belle Dame Sans Merci (1893)
and the most high poem by Keats
“La Belle Dame sans Merci” by John Keats
Oh what can ail thee, knight-at-arms,
Alone and palely loitering?
The sedge has withered from the lake,
And no birds sing.
Oh what can ail thee, knight-at-arms,
So haggard and so woe-begone?
The squirrel’s granary is full,
And the harvest’s done.
I see a lily on thy brow,
With anguish moist and fever-dew,
And on thy cheeks a fading rose
Fast withereth too.
I met a lady in the meads,
Full beautiful – a faery’s child,
Her hair was long, her foot was light,
And her eyes were wild.
I made a garland for her head,
And bracelets too, and fragrant zone;
She looked at me as she did love,
And made sweet moan.
I set her on my pacing steed,
And nothing else saw all day long,
For sidelong would she bend, and sing
A faery’s song.
She found me roots of relish sweet,
And honey wild, and manna-dew,
And sure in language strange she said -
‘I love thee true’.
She took me to her elfin grot,
And there she wept and sighed full sore,
And there I shut her wild wild eyes
With kisses four.
And there she lulled me asleep
And there I dreamed – Ah! woe betide! -
The latest dream I ever dreamt
On the cold hill side.
I saw pale kings and princes too,
Pale warriors, death-pale were they all;
They cried – ‘La Belle Dame sans Merci
Hath thee in thrall!’
I saw their starved lips in the gloam,
With horrid warning gaped wide,
And I awoke and found me here,
On the cold hill’s side.
And this is why I sojourn here
Alone and palely loitering,
Though the sedge is withered from the lake,
And no birds sing.
Check out these links too if you like ancient music from times past. Luc Abergast is first- wierd and wonderful.
The second is STING-Come again by John Dowland. So entrancing.
Zubans Ruth, E.Phillips Fox
This is a biography with the love of yesterday. “The art of Emanuel Phillips Fox was celebrated in his lifetime for all the qualities we appreciate today: his perception of light, the sensuous textures of his paint, the beauty of his patterning and the clarity of his composition”, (Quote from Page V. of E.Phillips Fox 1865-1915. by James Mollison (Director of the National Gallery of Victoria).Published by the National Gallery of Victoria 1994 and written by Ruth Zubans.
E.Phillips Fox was born in Australia, trained in Melbourne, England and France and was awarded a medal at the Paris salon (1984).
The work he created ranges from impressionistic to highly finished representational portraits and has the uncanny ability to sweep the viewer into a time tunnel world of before. Landscapes, beach scenes and brilliantly dressed, fashionable ladies of the time were his favorite subjects.
This book is not high on technical method but I can see most any artist can detect the developmental progress of the artist throughout his career in this book and for review is an excellent snapshot to see how an artistic style can change, develop, and mature over time.
I hope you find it as enjoyable as I did,
Cirrus
Dali Salvador, 50 Secrets of Magic Craftsmanship – Review
Salvador Dali is regarded as one of the greatest painters of the 20th Century. If you ever get a chance to look over his life’s work it is truly amazing. This book I poured over when I first learned to paint looking for the “hidden secret.” The last laugh was on Dali. This book is relevant after you have learned some and then you realise that this was a sort of laugh at the establishments of painting and a way to self promote.His book is full of “read between the line” recommendations or “secrets,” which if followed you realise was his way of returning all what he knew to us, albeit as a secret whisper/shout!
The inclusion of 50 chapters are to aid you here in deciding if you can read through his text as it is rather unorthodox.
The secrets of the five different movements of the five types of brushes.
The secret of the springboard to be used for blending
The secret of the “slumber with a key.”
The secret of the sea-urchin slumber.
The secret of the sleep with three sea-perch eyes.
The secret of sleeping while awake.
The secret of sympathies and antipathies of the painter’s retina.
The secret of the favorable vegetations which the painter should plant around his house.
The secret of the periods of carnal abstinence and indulgence to be observed by the painter.
The secret of the painter calendar, in accordance of which every important work may be realised in 6 days.
The secret of a telescope constructed with the Aristotle lantern of a sea urchin by virtue of which the painter may know when he must stop working at his picture.
The secret of the painter’s marriage.
The secret of why Gala loves Painting and why Painting love Gala.
The secret of a form of an olive by virtue of which the painter may be guided in choosing the woman he must marry.
The secret for reconstructing an araneariums.
The secret of the retrospective utilization of araneariums.
The secret, very simple but important, of a small roof to protect the picture from dust.
The secret of the painter’s pointed moustaches.
The secret of learning to paint before knowing how to draw.
The secret of learning to draw models in reverse by the use of a mirror.
The secret of the nine crutches serving to “fix” the most beautiful aesthetic poses of nude models.
The secret of oil-soaked strings serving to mark the geodesic curves of a turgescent nude.
The secret of the reason why a great draughtsman should draw while completely naked.
The secret for transferring the most immaculate tracings by means of oil paint.
The secret for becoming a great colorist by utilizing solely blacks and whites.
The secret of Naples yellow.
The secret that a painting should dry slowly and naturally, without dryers of any kind.
The secret of using ivory black for the underpainting and blue black for the song.
The secret of the maulstick glued to the “Achilles callosity” of the painter’s hand by means of pitch.
The secret of banishing burnt umber from the palette.
The secret of blanc d’argent.
The secret of Venetian red.
The secret of the Mars colors.
The secret of Veronese green.
The secret of the cadmiums.
The secret of the Vermilion.
The secret of the incompatibility of ultramarine blue with the other colors.
The secret of cobalt blue.
The secret of cobalt violet.
The secret of “dream-veil” imprimaturas.
The secret of the “wasp” medium.
The secret of the artificially pigmented cowrie shells, extremely useful for refining the paitner’s retina.
The secret whereby a paitner may become a very rich man, that is to say, whereby he may produce gold with his colors.
The secret of hanging egg of Piero della Francesca.
The secret of the sea urchin which the painter must have beside him for his meditations.
The secret of utilizing the golden section in perspective in order to obtain very unique and excellent melancholy effects.
The secret of the compass for projecting the golden section.
The secret of the frames for the painter’s models, excellent for guiding the composition of his pictures.
The secret of obtaining the most beautiful models of curves, exceeding in harmony the logarithmic spirals of the nautilus.
The secret of the angel.
Finally his pen and ink illustrations peppered throughout cannot help but be noticed,
and are a marvelous demonstration of skill.
I hope you enjoy the read,
Cirrus.
Very little to do with art
If you regard flight as artistic this is fluid. Gotta see.
http://www.youtube.com/watch?v=YQIMGV5vtd4&feature=g-logo&context=G2ce23ccFOAAAAAAAAAA
Cirrus
Small Snippett of Jacob Collins interview
http://www.newyorker.com/online/blogs/newsdesk/2011/06/video-jacob-collins-drawing.html
He is with high reputation for good reason.
Here’s a link to his site as well
http://www.jacobcollinspaintings.com/
Sacha Cohen, Paint Effects Masterclass – Review
It gives a nice sense of value to be able to review this manuscript as it is, what I regard as an under rated method of learning and a nice acquisition for price and value. Why? The book itself is designed for those who wish to create beautiful, easy-to-achieve interiors; that is for the home. Before you reject this notion consider though the flow on effect to your work.
There’s such a range of fabulous designs in this book, that they can be used to be reproduced on your canvas with quality and ease. The artist displays the decorative uses of painting rooms that will give use, first to your backgrounds and second to your set-ups that will shine with the effect of your choice. I admit this is work of another form and techniques are different but they can be adapted to oils. Some results are polished so as to remind one of a Sir Lawrence Alma-Tadema.
Floating marble,bamboo,leather,bronze,tortoiseshell,and granite are all demonstrated and lots more. It goes to show any texture is able to be painted to fool the eye’s reality. Spattering,Stippling,Ragging,Frottage, and Distressing with wax, are included but you won’t find all of the book useful, but I know of interior house painters who moved to classical canvas art and have done very well. I guess there’s method in the madness.
Cirrus
The Complete Miracle of Life and Death
http://www.vatican.va/various/cappelle/sistina_vr/index.html/
You can enlarge and visit Gods ceiling.
Amazing,
Cirrus.
Gold Fish
Here is a gold fish artist that is amazing!
http://www.youtube.com/watch?v=21bFpgEfDFM
Cirrus
Boime A. The Academy and French Painting in the Nineteenth Century-Review
This one is an academic look at French art teaching system in the 19th century. Honestly when I bought this I thought that a simple explanation of painting was possible, not anymore…
“There were thus in the ateliers two distinct techniques that were interrelated in the production of a picture, but which were conceptually opposed. On the one hand, the transparency of shadows and background rubbings, and, on the other, the impasto of lights and the ébauche in pleine pâte. In the first, the areas are massed in large patches, while the second, the tones are concentrated in smaller and thicker doses. The artist could either combine the two techniques or use the second in conjunction with the glacis. For the neophyte the master generally recommended the former, and indeed, it was the most popular of the two until late in the century.”
I have to say though it makes for an interesting read and if you love the academic tradition it is a good pursuit. This is an academic text worthy of notice. The system was a ranked system that started where drawing skills were checked and considered by the master.
Boime takes a look at the ateliers of Drolling, Delaroche,Gleyre and Couture.
He also Chapters with
The Sketch in Practice: The copy.
The Academic Landscape: Traditional Procedure.
The Academic”etude”: Generative Procedure.
Yes he describes how it is done but, given the price I presume it’s for the serious undergraduate or post- graduate scholar.
Have fun,
Cirrus
Swillens, P.T.A. Johannes Vermeer Painter of Delft 1632-1675 Review
´This one is a bit of a dinosaur but it is a interesting dinosaur never the less. It is a corner stone analysis that is referenced in almost all scholarly works regarding Vermeer today. The reason is that Swillens catalogued the rooms, positions and set-ups of Vermeer which makes it prime time reading even though published in 1950. The historical story of Vermeer is included and makes reasonable assumptions based on the evidence at hand although some are debated to this day. But it is an interesting insight into the world in which Vermeer lived, worked, and died. You can’t help but feel a touch of sorrow at his ending.
His varying signatures are reproduced and each painting is reproduced in black and white plates, at the end of this book. There is a section on technique valuable to artbooklook readers and it was tempting to reproduce the entire 4 pages of small print but I have cut it down for relevancy.
“Careful observation of Vermeer’s painting technique does not admit any other view than that he has attempted to depict space and things as he saw them. Since the distance he was removed from his objects varied each time, in other words since in a given space one thing was nearer and another farther removed from his eye, his technique, too, whether consciously or unconsciously, varies slightly every time.“
“The View of the Delft, a subject seen by him at great distance, teaches us that it is nearly wholly built up of small touches of paint. Observed objects that are close up (Soldier and the Laughing Young Woman-pictured)
was painted in large surfaces , the colors and shades of which gradually merge in each other.In the view of the Delft it is nearly wholly built up with small notches of paint…. dots of paint vary in size according to the light called the pointelle´manner and that these are flattened off in parts such like this .-. “
Gradual transitions of light rather than contrast is seen on walls, recording light. These lights contained yellow, blue, gray, as needed in very small quantities adding realistic interiors. Also the use of rounds and and badger brushes for touches/blending are thought to have been used.
The shadows vary in depth and color-,
“…that he was the first to notice that the colors and intensity of the shadows never are uniform but greatly differentiated and that they are dependent on and decided by the nature and the strength of the light, by surrounding colors… it is one of the most important discoveries in the field of painting in the 17th century.”
One remarkable aspect I found in this post is that, seen in black and white, his pictures have more more capacity to reveal the range of values he used. Mainly mid-range with lighter values over. Obviously he worked from dark to light. I ’ve learned from this post many things and I thank you for your patience in reading this far, but the most important thing I can take away here is to always know where you are in color space every time you touch the canvas. It works,
Cirrus.
Powell W. Color Mixing Recipes For Portraits Review
This 48 Page book on the cover says there are more than 500 Color combinations for skin,eyes, lips and hair. This maybe so but I’d suggest if you had to use this book that you’re probably still learning the “how” of portraits. This is fine, and self help and ingenuity is always a good attribute for an artist. This book will give you a ball park area for you to aim at, and is a good asset to depict nationalities as well. Caucasians, Eurasian, Asian, East Indian, Middle Eastern, Latino, Native American, African, and even Olive complexions are demonstrated with light, middle, and dark/grayed values. However it won’t give you everything. Topics such as paint application, entire values scales and lighting are omitted- but that’s not the aim of this book is it? -Mixing color is.
Methods of combining colors are a little bit complex (most using three colors to mix), but those reproduced in the book can help your head get around these problems. Speaking of heads, on pages 10 and 11 there is a very good diagram on facial planes to emulate. I love this diagram-head and value planes are not always easy to find in books.
A curiosity exists in this one too. It is in the back cover. A 6 X 4 inch plastic mixing palette that is as useful as a black highlighter pen. O.K. This is a good reference book, and I love all art books, but this isn’t one you’d rush out to buy today; unless you have Nicole Kidman or Julia Roberts waiting in your studio - it covers hair type as well .
Best Portraits,
Cirrus.
Weird and Wonderful
You may have already seen this but it is weird and wonderful.
http://www.stumbleupon.com/su/3xm0kb/www.ted.com/
talks/theo_jansen_creates_new_creatures.html/
Cirrus
Loomis A. Figure Drawing For All It’s Worth Review
A classic reprint such as this makes illustrators happy,very happy. This has the lovely feel of the fifties and is an incredible gift from an incredibly gifted artist. Line and Mass, Bones and Muscles, Block Forms, Planes, Foreshortening and Lighting all get reviewed. As well, I really like the section on landmarks-it makes it seem more simple. It is as if Loomis could see 200 more pages than any of us. I marvel at his knowledge and for 200 or so pages you’ll be spellbound too. To add, his illustrations are excellent. He thoroughly thought about the work he presents.
There is progressive advancement through the book and they lead to The Standing Figure and the Figure in Action – turning and twisting plus a lot more. I think this is a learning tool you just couldn’t go past. All his books actually provide incredible value for money and you’d be doing yourself a dis-service not obtaining all his works. Following his guidelines before entering a figure drawing course, and your mind and hand will love you forever. His common sense travels a long way- from 60 years ago, until now.
Cirrus
Far out website
http://www.thisiscolossal.com/
35 years creating art with toothpicks.
http://www.thisiscolossal.com/2011/04/one-man-100000-toothpicks-and-35-years-scott-weavers-rolling-through-the-bay/
This one is a particularly awesome art creation.
It’s a fantastic website for other amazing art too!
Cirrus
Higgins D. The Frank Reilly School of Art – Review
This a funny book, funny strange actually. It is sorted in such a way that it consists of notes gleaned over a few years of study with Frank Reilly. I suppose this book is handy to have but this is not a textbook. It’s a cursory glance. Here are some quotes from the book.
Landscape-Value does all the work-color takes all the credit.
Corners lead the eye out of the picture.Block them when possible.
The sky is a vault which grades darker than 9 1/2 at the horizon Blue Green, to 8 at the zenith Purple Blue.
A hand can easily look like a bundle of sausages (Frank Reilly).
Very simple statements like this are reminders to students. This is really a handy hint book but it does have its place. If you could enlarge and edit it for your customization it would be even better. In fact it prompts me to consider keeping a note book like it myself. The author is a plein air painter and I guess these notes could come in handy in the field. For the price it is a bit steep, given it is 82 pages of rough notes.
Definitely not an encyclopedia but maybe handy never the less,
Cirrus.
Oriental still life
This is a painting I did some time ago now but I would like to mention how sometimes it is not advisable to paint what you see in front of you. This breaks with the traditional wisdom to stay true to your still-life setup. There are three things I can do to improve this painting, that I can think of. What do you think?
The first is to scrape the white paint back in the upper left hand corner of the bowl and reshape it to a more precise structure. I feel it is out a fraction.
The second is the base of the bowl really was this color but doesn’t appear suited to stay as a terracotta color.Some have wrongly thought this is a plate! – not a bowl 
. I am thinking maybe an off white will make it look more acceptable as a bowl.
Lastly I took this painting to an art gallery and their response was” You can put a greater shine on the cheek of the lady.
But “ There was no shine on her cheek to begin with.”
I’m glad I didn’t bother with this gallery (or the changes)- they folded a few weeks later.
What do you think? I am really interested in your opinion and value imput highly.
Feel free to comment if you have a suggestion as I have been resisting to go back and “fix” it. There is always the fear that I could muck it up!
Thanks for replies and interest,
Cirrus
Art by Sheep
This is art by another standard. I’m not sure what standard but fantastic!
Must See.
Can you overdose on Vermeer? Part 2
Any Vermeer addicts here? Individuals registered or unregistered? I highly recommend
Vermeer Studies for those people who can’t get enough.This is the most comprehensive guide available on the market for those serious academic artists who love analysis. Examination is frank and rigorously science based. The articles are direct from 28 papers submitted via two confrences on Vermeer. One in 1995 and the other in 1996 from Washington and the Hague symposia, forming what can be thought of as a giant think tank dedicated to Vermeer.
The most relevant chapters to www.artbooklook readers are in the second half of the book (there are 3 parts in total).
They are,
Part 1 Constructing Vermeer
110 pages surrounding the times and places around Vermeer
Some Articles are
Vermeer: Malice and Misconception.
“To find the Minde construction in the Face.
Utrecht and Delft: Vermeer and Caravaggism.
Recent Archival Research on Vermeer.
Below is where www.artbooklook.com readers will gain the most benefit.
Part 2 The Construction of Vermeer’s Paintings (Pg111-224)
There is some great meat in these.
(Page 111). The Camera Obscura and Painting in the Sixteenth and Seventeenth Centuries.
(Page 125). Perspective, Anamorphosis, and Illusion: Seventeenth-Century Dutch Peep Shows.
(Page 137). Where did Vermeer buy his Paint Materials? Theory and Practice.
(Page145). A Study of the Materials and Techniques of Johannes Vermeer.
(Page 169). Scientific Examination of Vermeer’s Girl With a Pearl Earring.
(Page 185).Painting Light; Recent Observations on Vermeer’s Technique.
(Page 201). Contours of Vermeer.
Part3 Construction of Interpretation
Ten articles describing abstract concepts and historical comment surrounding Vermeer.
There is value and substance on Vermeer in the following articles,
Vermeer’s Use of a picture within a picture
Vermeer’s Art of Painting
The interpretation of dress in Vermeer’s painting
Vermeer’s private allegories.
Overall
The text describes in detail how conclusions can be made regarding Vermeer’s work using the examination of paint, canvas’s and x-rays. This detective work is fascinating reading. Knowing what lies underneath those layers is comforting too. The “truth” in your search, which maybe to learn about Vermeer and his techniques is for most part; great draughtsmanship and brush technique, and that carried Vermeer’s work up to the 21st Century.
Some innovations of Vermeer’s work should be mentioned. A white underpaint mixed with sand used as a way to catch light on the paintings’ surface. The sandy paint was then over painted in following layers, successfully and secretly working to enhance the painting through micro lumps that caught the light. Of course I am talking about the View of Delft, apparent in the red roofs in the background.
Another technical point is that flesh tones through out his development continued to vary-not relying on the same traditional formulas. They changed according to the necessity of model depiction of forms, which is very note worthy when considering the illusion on canvas. More discussion to come in Part 3 on Vermeer.
Unlocking that mystery of Vermeer, and why after 400 years he still captivates an audience? The process and examination of this book Vermeer Studies will have moved you on from that Vermeer addiction, but never the fascination.
Happy New Year
And may the year be prosperous for all,
Cirrus.
Can you overdose on Vermeer ? Part 1
I’m not an expert in Vermeer, although I have a question I’m not sure about. On one hand the mystique, the shadows of his life, and the perfection of his artistry I have found completely mesmerizing, and yet like a well worn path, I find the other hand waving Vermeer away for other, more exacting trails. Realistic images have surpassed the quality of Vermeer, but not the attraction.
The website http://www.essentialvermeer.com/ seems to cover every possible vantage point of Vermeer. From his life, his lifestyle and his death and the surrounding characters have taken on mythical proportions. The movie Girl With The Pearl Earring, serves to fuel our mystery of what is it to produce a Vermeer? Primarily because no real proof of how he actually painted can be given. Like a junkie on a fix, I craved for more. More knowledge, more technique and more substance. I wanted literally to go back in time and stand behind his shoulder as he produced his works which I’m sad, so very sad, that I cannot do.
However one thing is certain. In order to produce the works that he constructed, the man had to be able to draw. And draw like none of his contemporaries! I get the feeling that this point is forgotten when you see his final paintings. His images capture a moment in time where we are overwhelmed by the whisper of his life, which were his subjects. So far, in fact that I was blinded by the reality; the reality that he had to draw these first, and with time, create the finished work.
From the practice of developing an exact blueprint, he managed to pluck an instant that has meaning for the viewer. You can see the depth of space his figures take on and the skill set that became enriched as he grew and improved through time. Swillens catelogued Vermeers’ paintings has having been featured in 5 different rooms, but were similar in many ways. The windows, the floor tiles, the people are repeated, which as an addict I have to accept the realization that at least 10 years of drawing developed his skills and probably more. If you examine his career and paintings you can see his development as an artist in a new light.
The drawings just got so better that his paintings had to improve. Yes, they were technically complex, used perspective, and light to maximum effect, and most importantly he had gained the technical skill to paint with confidence-a bravado that can only come from the practice of drawing and painting, which suggests that this is the overdose of Vermeer.
There are many books on Vermeer’s works but this one I recommend for its simplicity and it is economical. It contains full color images, however there are many on the market to choose from. More to come soon,
Cirrus.
Brutvan C. with entries by Fernandez M. Antonio Lopez Garcia – Review
I admit I am gullable. I believe a Spanish artist can take ten years to complete a work of art! If you do too take a look at the amazing work of Antonio Garcia’s work. I particularly love his urban landscapes. They sort of echo the timelessness of an empty chamber. The book itself is comprehensive and he seems to have moved into sculpture now (which the book explains). Here are some links to his earlier works as well.
Please enjoy.
Cirrus
http://timlowly.com/a/lopezgarcia.html
http://figurativeartlivingmasters.wordpress.com/category/lopez-garcia-antonio/
http://www.mfa.org/exhibitions/antonio-l%C3%B3pez-garc%C3%ADa
Oh, Check this out too. Taken back to Spain and Spanish Art. Amazing.
Narciso Yepes Concierto Arunjuez (2)
http://www.youtube.com/watch?v=RxwceLlaODM
Thanking You The Reader
I want to take the opportunity for thanking you the reader for your support and with the creation of this site.
In a very small amount of time we have managed to review over 30 art books (with more in the works), that without your help and feedback would not have been possible. Getting the technical information to the reader is most important,but I’ve noticed one thing – strengthening the skills of the painter is a worthy pursuit and seeing work grow and develop is beautiful. It gives an indescribable pleasure to everyone privy to that moment.
Gods Blessing
Cirrus.
Kirk J. Christmas with Norman Rockwell – Review
Presenting Amercia’s best loved artist, Norman Rockwell. This book features 50 full-color reproductions of Norman Rockwell’s most beloved Christmas Season Paintings. He has a beautiful old style feel in his works. To give you a wider understanding of the capacity of this artist I have included 2 representative pictures from the book.
Below you can see the lighting used on the Santa and the children.The former toward the light has a shadow at his hand, his knee and his back. That is from two directions. One of the many reasons I think his paintings are so exceptional (without viewing them close-up) is the discrete use of lower value outlines on the foreground models. It is very subtle (maybe a value lower at the most) but it allows the images to stand out against the background. 
In the latter, it is noticable as the overall value of the pyjamas is quite high – the edges circled lower. On the red bow of the dog and on the sofa stool too.
It is a very nice coffee table book ( for only a a song) and comes in hardcover, lasting virtually forever. Other qualities of Rockwell is the number of completed works, superb draughtsmanship, the capacity for humour and his appreciation of family life. It is here.
So it is fitting with this book that I wish you a very Merry Christmas,
and a Happy New Year!
Cirrus
Dorian A. Values For Pictures Worth A Thousand Words – Review
A Manual for Realist/Representational Painters Book Review
A Technical Manual for Artists
This book deserves special recognition. It is one that has been in a hidden market for many years and yet can benefit all painters’ regardless of medium. I count myself as very lucky to have a copy of this one. This book would have to be the most technically superior item for the methodical analysis of painting available. I believe it is the closest you will ever get to Frank Reilly, as he taught and died in 1967. The author, Mr. Dorian has carried Reillys’ legacy on with this work. It was published initially in 1989, and speaks to you on a few different levels. The technical work given in this manual is very important. It is also one of the rare works that talks in reference to Munsell and in that way a language exists between you and the author. This makes it unique, very unique. Hue, value, and chroma are thoroughly discussed giving the painter a perfect pitch on how to think with realism in mind.
It is a life time accomplishment from Mr. Dorian and is self published. A salient script that speaks to painters; it is probably worth a thousand bucks!
Beware though-it is not for the faint hearted. Some of the technical subjects such as light and architectural planes can take a lot of work to get your head around, but it can be worth the trip. I have listed the chapters below for your consideration and posted another link to where you should be able to get a direct copy from the author himself. The book can take a time to be received if ordering (as all the administration is snail mail and self produced) and I ask people to be patient if ordering. It is common knowledge that he is elderly and poor sighted. I believe some have actually received personalised letters upon receipt.
Chapters/Topics Discussed
Hue/Value/Chroma. Munsell’s Invention, Reilly’s Adaptation.
Color Charts. They are Yellow-Red 5; Red 5; Yellow 5; Yellow-Green 5; Green 5; Blue- Green 5; Blue 5; Purple-Blue 5; Purple 5; Red-Purple 5. These are diagrammatic Munsell Charts.
Four Basic Lighting Systems. Front, Form, Rim, Back. This chapter discusses the hue,value, and chroma shifts, and the scales light takes on related to objects.
Transmitted and “Back” Lighting. Transmitted light can only be seen when an object is in shadow. Translucency (which can only be seen on Form Lighting, but cannot be seen on Front lighting), lets light pass through it. Transmitted light is always strong in chroma. Seen also in Rim Lighting and Back lighting.
Transparent to Opaque. Closer objects have lower value-further away higher and more neutral.The light on a sphere, light refraction through glass/mirrors.
Modeling Factors. Accent, Light, Shadow, Halftone, Centre Light, Top Planes, Under Planes in Shadow,Under Planes in the Light,Top Plane in the Shadow,Reflected light, Highlights. Edges and Blurs.
Colored Lights. Atmosphere, Direction of White,Yellow,Red, Green light on objects and more.
Planes: Architectural/Mechanical.The relationship between Hue, Value, and Chroma in planes.
The below chapters are fairly self explanatory
Perspective Considerations.
Planes: Head/Body.
Landscape Values and Neutral Points.
Sky and Clouds.
Water.
Nude: Outdoors.
Drapery.
This is 278 Pages crammed full of technical information.
“Values for Pictures Worth a Thousand Words” – {a manual for Realist/Representational Painters}, may be purchased by check or money order of $49.95 plus $5.00 for S&H sent to:
Apollo Dorian
P.O.Box 31574
Tucson, Arizona 85751
Ye Old website
http://apollodorian.tripod.com/id1.html
This is the website but is not serviced or updated.The address with P.O. Box is where you will find a copy after sending a cheque.
Above are links as to where you can purchase this book. When I wrote this it was currently unavailable on Amazon, but they do come up second hand now and then. If you see it grab it quick-they don’t last long.Here’s to the best representative painting possible,
Cirrus.
Cole Rex Vicat Perspective For Artists With 472 Illustrations – Review
(The Practice & Theory of Perspective as applied to pictures, with a section dealing with its application to architecture)
This almost pocket book has been around since 1921- and for good reason. It is the complete guide to picturing objects so as to show relative distance or depth. Twenty three chapters in all with yes; - 472 illustrations makes it high value for your dollar. Within the pages it discusses everything needed for creating perspective you can think of, and demonstrates the how’s and why’s to be done. How water lilies should appear, cloud displacement in landscapes, and all types of arches; – from Domes to Turrets and Norman doorways.
Bridges, villages, trees, steps, and inclined planes, roads, and shadows all get demonstrations by the artist and the text is relatively simplistic to aid you in your work. Now the book is in black and white but that shouldn’t deter you. Personally I have used this resource many times and find it a good little reminder that has much meaning. The person who recommended this to me is Virgil Elliot and I am pleased he did. If you do have trouble with a perspective problem his suggestion to me, was to practice with Graph Paper first. Once mastered you can attack your canvas with certainty knowing Rex Vicat Cole is by your side all the way! Now isn’t that reassuring?
A best buy,
Cirrus
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Heaven & Earth- by Cirrus
The painting to your left represents 3 idols graced by 3 metals – Tutankhamen, Buddha and Christ. They are Gold, Silver, and Brass objects represented. The jug is empty and barren. The two angels are indifferent to the material world. The world beneath them is barren, despite its superficial beauty- the jug has no water; meaning no life. That was the intention of this painting. Not sure if it works or not? And how many people look for further meaning within a still life? I don’t know but it can be fun trying
Brooker Suzanne Portrait Painting Atelier Old Master Techniques and Contemporary Applications – Review
This book starts off with great promise. The cover is beautiful and my expectation was to be thoroughly entertained by information, techniques, and methods that would take your craft to a universal level, but alas no, I am still here. This is no fault of the author. It’s just that my expectations have increased. I expect as many forms and methods of painting to be included in a major work such as this. Recently publications have reached high standards with Virgil Elliot and Juliette Aristides as leading by example. (Their painting texts are reviewed earlier on at www.artbooklook.com ).
There is one demonstration of direct method, Pg 138, but is very brief. Portrait Painting Atelier suffers from a point of view, which is by no means conclusive and regrettibly acts to the exclusion of direct method, bistre and anything in-between.
The “old master” method is as follows,
Selecting a tone ground
Blocking in the image
Establishing the underpainting
Building the painting from dark to light
Personally I find this method incredibly difficult- you sort of have to creep up on a painting with paint and brush until the final glaze is complete . One point though is, if you were picking up the brush for the first time the information in this book step by step is hard to come by – so all points for this knowledge! Some of the finishes are highly refined which makes for lovely results and the facial planes are given which is not a very common bonus to your collection. I only wish more ways to complete a painting were more deeply discussed. It’s as if a blind spot is in this book which cannot be ignored-otherwise it’s a fine piece of work. There are color nuts throughout and as explained in the foreword, this is really a teaching by practice book, which if you are persistant you would follow, in order to gain competence. It reflects the truth in art, which is that portrait painting requires practice – and lots of it, if you wish to succeed,
Take Solace in that fact,
Cirrus.
Suffudy Mary(edited by), Still Life Painting Techniques – Review
Grabbing whatever “teacher” you have rights to and compiling their previous instruction into one book leaves a sour taste in one’s mouth. Not only are you bound to have the “teachers” other books in your library demonstrating the exact same painting; but you also end up with differing styles and or methods not desired in the first instance. That is the price of this Internet purchase. It is a composite of other art books on the market.
The book features paintings by,
David Lyle Millard-water color.
Arthur Stern-impasto style with oils.
David Lyle-with oils.
George Shook-water color.
Joseph Dawley-oil colors.
Charles Reid-water colors and oil.
Most of these artists have been reviewed else-where on www.artbooklook.com and their books and works are well known, both in method of execution and in style. Watson-Guptill have produced some fine art books over the years and the litmus test is the price and longevity. First published in 1985 and at a $3.00 price tag it’s not a big decision.
Smoothest Painting,
Cirrus
Kahng Eik, and Michel Marianne Roland, – Anne Vallayer-Coster Painter to the court of Marie-Antoinette-Review
(Contributions by Colin B.Bailey, Claire Barry, Laurent Hugues and Melissa Hyde)
This book is for today’s artist. Apart from technical understanding in the method of painting in the 1700′s, it gives insight to Anne Vallayer-Coster’s life and work ethic. Her paintings are incredibly under rated in the scheme of history and this book demonstrates the classic still life set-up to perfection. I was breathless when I first laid eyes on this book and am still in awe of the images. I have Graydon Parrish to thank for the recommendation and for opening my eyes, I am grateful.
Primarily a still-life painter she performed the occasional portrait which are also included. Everyone will fall in love with the color plates shown inside. No-one I know can resist! These number 87 in all, plus black and white copies of other studies which indicate the prolific nature of her work. Am I raving again? Yes, but with good reason. Subject choices range from incredible Flower arrangements, Jugs, Pots, Musical Instruments and Coral in glossy reproductions. Every artist who ever thought of still life as a minor ambition, will take a second look. It elevates your spirit on the subject of still-life, and is another must have on www.artbooklook.com . It is worth every penny!
Savor these, Marie-Antoinette did!
Cirrus0007.
Juliette Aristides The Author of Classical Drawing Atelier, Classical Painting Atelier and recently published Classical Drawing Atelier-Lessons from inside the Atelier
It is a privilege to interview Juliette Aristides for www.artbooklook.com . Getting a first hand look at the Atelier system is important for those wanting to progress to formal art study and Juliette’s contribution to the resurgence of classical art has been significant to say the least. Her book sales have numbered in the thousands and Classical Drawing Atelier and Classical Painting Atelier rank well on Title Z (amazons sales ranking), http://titlez.com/app/main.aspx . I’m sure readers hang on to every word she says and it is without further introduction I present Juliette Aristides.
Question 1: Juliette, what characteristics do you look for in new artists who sign up for training in your atelier?
I look for people who have a strong work ethic. I have found that dedication is worth far more than talent or enthusiasm. I accept many people into my program who are beginners, with no training at all, as long as they have the committed desire to become an artist.
Question 2: Can you discuss how the course is divided between drawing and actually painting? This is usually of concern to beginning artists.
The first year of training is solely devoted to drawing. I spent seven years studying drawing but I try to distill it down into one. You can expect to start painting in the second year through the completion of the program.
- The entrance to our studio
Question 3: How many hours are required in a day or week for that matter to be successful? In the course curriculum, over how long a time frame is it structured?
The Atelier runs 6 hours a day 9:30-4:30. Three hours of life drawing in the morning and another three devoted to studio work in the afternoon. Students keep this schedule for four years. Many students take sculpting on the weekends and attend lectures or additional figure sessions at night. Students have keys to the building and can come and go as much as they wish. This sounds like a huge time commitment but people end up falling in love with the process of studying- it’s a passion not a chore. For example a group of students started meeting Thursday nights to draw portraits. They each take a turn modeling for each other. It has a social and artistic benefit.
Materials
Question 5:
a). Gaining control over materials can be daunting, such as charcoal and paint. Have you found a way to lessen the burden for students or is it something everyone needs to go through to become an artist? For example, Munsell on its’ own can seem to take a life time to master for the student. Is there an easier way forward?
There is a way to maximize and streamline the process of study. In four years students gain a very sophisticated skill set which can be built on indefinitely. In art there is no arriving. The position of being a lifelong learner creates a wonderful state of mind an artist. It is more important to learn and how to study, then it is to master one system. That being said, we pack as much into our program as we can possibly manage.
b). Some ateliers promote drawing value increments each day, and progress to more difficult tasks only once achieved. Is that required? Or do you find today’s student is well informed and well practiced even before arriving?
Do you mean value step scales? I think that learning to render is among the least of a new students worries. I have them focus on block-in drawings, analytical drawing skills and master copy work. Maybe other programs get more advanced students and they can focus on that kind of skill immediately.
Question 6:
a). Can you explain the difficulties you most commonly see when using sight size method by students? Could you explain the technique for readers?
I don’t teach sight-size regularly, I just use it for specific individuals. It is a great tool. I prefer the flexibility of comparative drawing most of the time. It is just personal preference. There is a good description of sight-size on: http://drawsketch.about.com/od/sightsizemethod/drawing_with_the_Sight
Size_Method.htm
b). Is the lighting controlled in the studio using natural lighting or is it controlled with a light source?
In my studio we work mostly from controlled artificial light. A bank of North facing skylights would be far preferable. Maybe one day……
Question 7: Can you tell us how long that took to write and compile, and were you approached to produce the book or did you need to seek a publisher?
I met with the publisher to talk about the idea. They were excited about it so I received a two book deal. Each book took me years to organize and write.
Question 8: The text has quite a large following. It now seems like mandatory reading. Did you anticipate the success like this?
The books were designed for a narrow market niche- the publishers were really surprised how well they did. I tried to make the books inclusive- something that help could help interweave many different schools and artists together.
Question 9: The images are wonderful. Do you have a favorite drawing in the entire book and why?
The book includes many drawings that I wish own- a poor man’s museum of sorts. I have quite a few favorites. The delicacy and the intimacy of the Van Dyck drawings come to mind first.
Classical Painting Atelier
Question 9:
a) This book moved me deeply and other readers too. It communicates to mostly all artists, almost everywhere! Was that your intention?
I created the kind of book I would have wanted as a student. The book is designed as a reference tool focusing on principles rather than specific techniques when possible. I know many people were expecting a ‘how-to’ publication. I am very grateful that the book has found an audience.
b) The images as well are remarkable and sets a new standard in art books. Did the collaboration ever get too difficult, where you wanted to throw it all away?
As a matter of fact, yes. There were a number of times with all three books that I would have thrown it all away if I could. It felt like a trial by fire.
Question 10: Because of the breadth of the subject in Classical Painting Atelier, it seems there is always more to say. Apart from holding the brush for the student, do you think there is more you could have covered? Could their be a part 2. We’d all love to see it?
Absolutely! In many ways it was just a beginning. I could easily expand upon materials, theory, and technique. There is a whole world I could have gone into- but there was not the space.
Question 11: One thing readers at www.artbooklook.com like to know is how different effects are obtainable in paint – the exact technique of painting. Are there one or two techniques that you value more highly over others, as essential strokes?
The only way to begin to cover this would be to write another book!
Question 12: Do you prefer painting or teaching?
I believe teaching is the best job in the world, but my first and greatest passion will always be for the art. Painting is not a job, it’s a calling.
Question 13: What would you describe as your greatest art dream?
I am a sincere art nerd – I think I would embarrass myself by talking about it.
I would love to be part of a larger revival of training in the arts. Helping create an artistic utopia of sorts- a scholarly and artistic community – part think tank, studio, part museum. Basically I just want to be surrounded by art in all its manifestations for the rest of my life.
Question 14: Let’s get onto the new book! I can’t wait - Lessons in Classical Drawing: Essential Techniques from Inside the Atelier. It’s now available on Amazon. All reports in say it’s stunning. Was it harder to write or does it get easier on the third time around? How long did it take to write?
This book took three years to put together. It was just as hard but in different ways. The text came together easier however the design and the DVD component added a new level of challenge.
Question 15: Who is your all time favorite artist? Drawn or painted works for that matter?
I have many loves but one painter that has continually captured my imagination is the Spanish artist Ribera.
Question 16: What’s on the horizon for Juliette Aristides now after you’ve accomplished so much to date?
Mostly painting and exhibiting. I have a number of personal projects I have been waiting to work on- it is exciting to have the time to explore them.
Juliette, thank you so much for your time. I hope this hasn’t been too hard for you and we all look forward to reading your new book, and hopefully one day again seeing you on www.artbooklook.com/ in the future,
From Cirrus of www.artlookbook.com/
Current Work in Progress
Hi Guys,
Just letting you know why the posts haven’t been coming as quickly as before - as I am painting.
I am following Gregg Kreutz from his book Problem Solving for Oil Painters, 106 pg (a good resource too).
The reproduction in the book is not large (about 2 X 4 inches) but I am trying to learn from his instruction where the title of this segment Is There a Color Strategy?
With this painting I am experimenting with color and values. I am aiming to use complimentary colors allowing the painting to appear harmonious to the eye.
Green to Red (Background with Mangoes)
Yellow to Blue/Purple (Mangoes to grapes)
The values will be apart somewhat, which I hope won’t detract from the painting (I’m thinking about that one as I paint), -it may change in the color plan.
In the left hand front I am using transparent glazes to allow the “grapes” to seem closer to the eye. I may make them a warmer blue or cooler-probably the latter.
The background has been done in Windsor green and Ultramarine Blue which aids as the ”base” color.
The goblet serves as anchor to hold it together; I think it needs more work though, and I’ll post some further shots as it progresses.
I hope it helps,
Best of Care
Cirrus.
The highlights are in now and I still have a bit of work to do. The shell, background and foreground need work.
THE END
Below is probably the final I’ll post. I see a lot of improvement that can be made but this was an experiment as mentioned above. I want the goblet to be straighter and the colors in the foreground to be more muted. The background is a bit unreal but it is what I have to work with. The shell in the front to my way of thinking is way off, but that is a planning fault that is mine.
I learnt two valuable lessons.
Trust the modelling form as you work – even though the color seems to be from another planet (the mangoes are black, from the light) the objects seemed real in the end.
Also ALWAYS plan by knowing what you’ll paint -I used the shell as a last minute thought, without even drawing it at all – and payed the price!
Best of care over the xmas season,
Cirrus.
Nuss Barbara 14 Formulas for Painting Fabulous Landscapes – Review
Roads and rivers form a starting point for Plein Air Painters almost everywhere and every time. This is book is no different. This handy book of knowledge for the landscaper and the simplicity is to be admired. 14 formulas are applied to the landscape set-up which completes mostly everything about your constuct.
There is the Cross Format, the L Format, the Balance Scale Format, the O Format, the Diagonal Format and so on until all 14 are reached. The concept is used for the oil painter and the water color artist, but really it runs across the gamut of all landscape painters regardless of paint type.
The author also includes how the editing process is achieved with a view finder, pre-sketches, final completion in the studio, and solutions to design problems. The text is interspersed with nice landscapes performed by the author and if you are into landscapes this is a nice, quick, reference piece to hold onto.
Always take the road less travelled,
Happy Painting,
Cirrus.
Bargue Charles with the collaboration of Jean-Leon Gerome: Drawing Course – Review
To make a comment about this catalogue of plates from my point of view, is trivial. What can I possibly add to a classical resource that has over 6000 comments on http://www.wetcanvas.com/ , 100 on http://rationalpainting.org/ , and at last count 930,000 entries in google as a search term? I can at least fill you in on what this is, as if you don’t already know. It is the combination of a few very special people who were responsible for letting these plates come to life, after a hundred years or more, directly assisting the development of artists around the world.Gerald M.Ackerman with the collaboration of Graydon Parrish were responsible for this endeavor producing 196 plates held by the Musee Goupil of Bordeaux. These plates came from the French Academy of the mid to latter part of the 19th Century.
The value of such a book in practice is exactly this. It teaches the artist to quantify distances, angles, and relationships. Measure again, and again, before drawing a mark on the paper. The methodical matters here.
Should painters purchase this book? Will it improve your finished works? Good question. I say yes, if you were embarking on a serious atelier programme this book will put you right in the field, if learnt, followed and practiced.
I must say I was resistant to using this form of drawing method. I started in on the Bargue book while having a prolonged hospital stay. For me it became a journey of discovery, a remarkable escape from the reality of hospital life. I needed the hospital in order to pick up the pencil, for this was my reality at the time. You need a type of doggedness that borders on time obsession: Which I had plenty of. I seemed to be in touch with the serene angels of perserverance needed to practice these plates every day. Here is two I completed with graphite and I would like to repeat the process again. These became a particularly exciting challenge.
Bargue has the ability of reducing forms down, allowing them to be easier and simpler for the aspiring artist. Using this course is actually a development of skills required to master reproductions of reality, and if anything, flows over to you and your work. That is kudos to you. This book develops the mind to think!
Another consideration is the price. This has been reduced considerably. When I purchased it from the Dahesh Museum of Art it was around the $120.00 mark. Now it is greater than half off at Amazon. Not bad at all!
Perfectionists will love it. I did.
Draw with Peace,
Cirrus.
Maughan William L. The Artist’s Complete Guide to Drawing The Head – Review
This book is up there with the best: This follow-on type demonstration book is not the usual “Oh, I could do that if I wanted – but not today,”on the market.
Don’t be put off by instruction books of this nature. I tried his method and this is what I copied in 10 minutes.
Now if I can do that in 10 minutes I’m sure you can top me easily.
The voice of Maughan is a no-nonsense get down to it type, that pushes you on further which is rather rare and unique. I like the sound of the gravel hoarsed teacher in my head.
The first Chapter is The Drawing Method and Materials.
It is best that I concentrate on this topic for the review. The reason is that the pencil type used is CarbOthello Pastel pencil in “Caput Martuum Red” (Number 645) and The CarbOthello Pastel Pencil in “Titanium White” (Number 100). Easier to work with than charcoal.
They give an awesome power to drawing that reminds one of the greats in art.
Other necessary tools are Strathmore’s “Charcoal” paper in “Velvet Gray.”
An X-Acto knife, sand paper ( for sharpening pencil), and a Kneaded eraser.
Now this method brings beautiful results and can used as a cartoon for a painting where the undercoat is smooth enough. The images in the book he presents here have a sense of depth and beauty that radiates off the coated glossy quality paper. For portrait artists this is a good buy. For beginners it’s an excellent buy.
The substance is well worth the purchase.
Cirrus says Yes.
Jane Jones Interview – Author of Classic Still Life Painting
Recently I had the honor of interviewing Jane Jones and she is a remarkable woman. Her book Classic Still Life Painting is remarkable as well. Please enjoy. This is a fabulous way to learn from a master.
Jane Jones
I would like to first start by asking for how long you’ve been painting?
I have been painting professionally for 22 years.
Were you always interested in art and what training did you receive?
As a child I was really creative and painted, colored with crayons, and made a lot of creative projects. Being engaged in those activities always made me the happiest. But my family knew nothing about art and there were no “artists”, and while it was okay when I was a child, I was expected to grow up and be something “real”. I went to college and got degrees in Biology and Chemistry, but as soon as I was out of college, I returned to creative endeavours to make a living. And then in 1986 I decided to go to art school, which I did and graduated in 1989.
What do you regard as your best painting ever and why?
I hope I haven’t made my best painting yet! I cannot possibly pick a favorite; I love many of my paintings. There have been paintings that were milestones for me because I had new successes with them, those are very special to me. I always hope that the painting I am currently working on will be my best painting ever!
Award of Excellence Blossoms 11: Art of Flowers
Artists know how demanding painting can be. Do you take regular time off and how do you recharge your batteries?
I am a workaholic, there’s no doubt about it. I love what I do, and am driven to do it. To recharge though, I go to the Mountains and hike with my husband and dogs. I live in Colorado and many wonderful places in the mountains are less than an hour away. I also visit gardens like the Denver Botanic Gardens, or sometimes just working in my own gardens. Mostly I love hanging out with my husband and dogs and cats.
Do you try to keep civil hours 9-5 maybe, or work late into the night?
“Civil hours”, now that is an interesting concept! I am a night person and always have been, so I usually begin my day a bit later than the 9-5 ers, and frequently work until at least mid-night, but if I have a deadline, or am really into what I am doing, 3 am happens!
What is the time factor for each of your paintings?
Each painting takes, on average, 3 weeks. I work more than 40 hours each week, and because of the glazing layers and details each painting is labor intensive. That is my choice.
Flirty Girls
Can you explain your technique for new artists?
I use the underpainting and glazing technique with oil paint. I love this technique because it creates gorgeous luminosity. The visual experience is this… light passes through the transparent layers of color and then reflects off of the white in the underpainting, and then travels back through the layers of transparent color.
So the visual experience is of seeing light that has passed through color. Usual painting techniques use opaque paint and the light just reflects off of that color. The difference is sort of like looking at a STOP light vs. as STOP sign. It is more fun to look at, and is way fun to paint.
The underpainting and glazing technique that I use is based on the process that Johannes Vermeer used in the 17th century. I begin with an underpainting, which is usually the same color as the ultimate color of the object, but lightened A LOT with white. So the underpainting looks like a very anemic version of how I want that object to look. In this layer I create the beginning of the form of the object and the light pattern. When this layer is really dry, then I paint on the first layer of glaze, which is the part that I really love doing because the colors are so beautiful. A glaze is a transparent layer of color painted on with medium (I use Liquin). Painting with these layers of color is like painting with stained glass! As the colors become richer with each layer, the visual experience just gets better and better. A light area might only need 1 or 2 layers of glaze, and the darkest areas might need 8 or 9. One of the hardest things for most artists to get into their paintings are the darkest dark areas, and with glazing you can sneak up on them, and if you add a dark that is too dark, as long as it is still wet, it can be wiped off. So painting the darks feels pretty safe this way.
It’s a slow technique, but the result is absolutely worth it. And for a beginning painter it is a great technique because once a layer is dry, you can do pretty much whatever you want on the subsequent layers and can lift off any errors without damaging the previous layers. There are a lot of safety nets as you proceed through this technique…at least the way I do it and teach it.
How long did your great book Classic Still Life Painting take to write?
Did it come from a deep passion for teaching or were you approached by a publisher?
The actual writing and illustrating for my book took about a year. But teaching the material to myself took many years. A friend had written a book and really encouraged me to do the same. I had written several magazine articles for The Artist’s magazine, and International Artist magazine, so the book became an extension of those articles. I did a lot of research with paint companies as well as through libraries to make sure that all of the information in my book was correct, and that took a lot of time. But I wanted to be sure that the information was all solid and that I could back it up. That probably comes from my academic background and teaching college level Art History for over 20 years.
I solicited 2 or 3 publishers for my book and got a contract within about 18 months. I had no idea how lucky I was that someone picked it up so quickly and that it was on a first submission.
Writing the book was a wonderful experience because I learned so much in the process.
One issue is the all the variations of how to actually go about painting available in the market place, which can confuse the beginner. Do you find students take time to warm to your method or do they expect it straight from the bat?
This is a tough question to answer. I teach weekly classes at the Art Student’s League of Denver and I teach Luminous Color with Underpainting and Glazing as a workshop. Most of my students seem pretty happy with the experience, but I think that is because they have chosen carefully. I have been teaching my weekly class for 7 years, and I have some people who have been with me the whole time, and others for 3-4 years, and others who come for a few months and then drift away. This is a really time consuming technique, and the gratification is all delayed, so it isn’t for everyone! And those for whom it isn’t a good fit move on pretty quickly. But for those who stick with it, the results are so beautiful and amazing! Some of my former and current students are professional artists who are building their own careers using this technique, which makes me really happy.
Is there one textbook you recommend or prefer?
Part of why I wrote my book was because there just wasn’t a book available with this information in it! So for what I teach, I think mine is the best book.
Ethereal Choir
Paying the bills is usually a great concern for students. Do have any tips for artists wanting to sell their work as they grow?
I’m glad you asked this question! As I teach, I hear my students talking about wanting to sell their work and I have a problem with that because beginner’s work is just that, beginning! It takes a long time to learn how to make a good painting, it is hard work, and requires a lot of knowledge and information. I think WAY too much emphasis is put on selling the work. When I was in art school something that the teachers wanted to say was, “After you have made 100 drawings/paintings, bring them to me, and then we will talk.” They couldn’t say it, and I can’t either, but it’s the truth of the matter.
For those students whose work is ready to sell, I suggest beginning in local shows to see how their work compares with that of other artists in the area. Attend the show openings and talk with the other artists and be sure to talk to anyone who is interested in your work. Be ready to answer questions about how long it took to make, what you like best about it, why you made the image. These are all things that should be answered before the painting is begun. Don’t take public comments too seriously!!!! Try to have a Teflon coating so that their uninformed remarks don’t hurt too much! Everyone has an opinion about art, but not all that many really know what they are talking about! Be sure to get registered with local and national art registries to find out about other shows and opportunities.
We’ve seen a resurgence of classical art in the last ten years. Do you think the purchaser has become more keen to embrace classical works than say, modernism?
If I had any idea what collectors think, I would be the richest artist in the world! I do believe though that especially when times are difficult or scary, as they have been for the last decade, people want art that feels safe and that they have a strong and positive emotional reaction to. I don’t say this to be patronizing or judgmental in any way. Collectors’ responses have been very human and rational.
WallFlowers II
What is your perfect dream – art or otherwise?
My perfect dream includes a larger studio with natural light all around and galleries selling my artwork faster than I can make it!
Who is your favourite artist and why?
I taught Art History for many years, so I have a lot of artistic heroes. Michelangelo is my favorite. I love the clarity of the communication in his work, and his unwavering commitment to his vision and his art during times of incredible hardship and frustration.
From Johannes Vermeer I have learned about light in a painting. I appreciate how careful he was with setting up his compositions as well as how carefully he painted. As far as I am concerned each one of his paintings is a perfect jewel.
There are two 17th century Dutch women who were incredible floral painters; Maria van Oosterwyck and Rachel Ruysch. (I included them both in my book, Classic Still Life Painting. The beauty of their flowers is breathtaking. And they made those paintings without the opportunities, conveniences and comfort that I take for granted. Again, they had visions for their work and realized them, no matter what!
What would be your biggest pointer you could tell a newbie artist?
Make sure that every aspect of your life supports you as an artist. It is best to live below your means so that you do not have to worry so much about finances. That worry can really eat away at creativity. Make sure that the people in your life completely support what you are doing. This is a life with a lot of hard work, unusual hours, and requires a huge commitment and anything that takes your energy away from that should be very carefully considered.
Challenge yourself with new things and don’t be discouraged when they don’t work out. One of the great things about being an artist is that there is always more to learn, which keeps it very interesting and stimulating. Not every artwork will be a success, but the ones that are successful will make you feel so good…..well, that and sales, are the best feelings in the world.
What do regard as the greatest threat to art globally at the moment?
Without a doubt the worldwide economy is the biggest threat to art. In good times, being an artist has a lot of risks, but in today’s world, it is even harder. I know many artists who have had to take jobs to pay the bills. Each painting sale buys more time in the studio, and the more time an artist is in the studio, the better and more creative their art can be. And that has been diminished for too many artists in every discipline. And ultimately Culture is being diminished as well. Artists and the arts are the mirrors of culture as well as the vehicles and the vessels. The difficult economy is diminishing the output of the arts and by the loss of funding for both individuals and organizations it is diminishing the potential innovations and quality.
Crimson Evening
I hope this hasn’t been too difficult. Is there another book in you for the future? We’d love to see another?
I have most of the work done for a book on Color Theory and Mixing, but just haven’t had the time to find a publisher, or do it myself. If I could be three people I would have so many more projects going!!!!!
Thank you so much for your time Jane, and for those wanting to see more of these beautiful works, Jane also has a great website below.
http://www.janejonesartist.com/
Best Regards
Cirrus
J.D. Hillberry Drawing Realistic Textures in Pencil
This fine book has been doing the rounds for a while now. It was first published 1999 and has had a lot of users on the Internet. It goes to show how something as simple as graphite and charcoal can create beauty simplistically, and at the same time be mesmerising. The artist gives away most, if not all of his secrets, and to be frank dedication is revealed on every page. If you’re like me and have fallen in love with the drawn object this is certainly worth the small purchase price. It will keep you entertained for hours on end trying to create masterworks such as a glass jar,baby,dog, and handbag. Chamois,Frisket Film,Liquid Frisket,Fixative, Compasses, and even Felt are used to nail in the picture (so to speak- you’ll see why when reading), and it is a 128 page journey which most importantly requires values and blending skills (great to have).
Nothing is left to guess work and the chapters are as follows,
1)Materials
2) Tips and Techniques
3)Draw realistic objects
4)Put it all together in a still life.
If this was the book you took to a new planet, the only thing I’d remind you is – don’t forget your sharpener!
Please Enjoy,
Cirrus.
Ames Jim Color Theory Made Easy-Review
I loved reading this. It gave me a sense of achievement to get through the basics (once again) and to feel confident in the capacity of mixing color. I hope you do too.
This may sound a little strange but to orchestrate a painting with the knowledge that you are doing the best you can do with the materials and colors you have at your disposal, is a credible, creative, and worthwhile task.
One element that seems to always come up when discussing color is
1) Naming colors as tubed trade names – which confuses the hell out of newbies.
2)Palette decisions or which tubes to enlist ( or which tube haven’t I got!).
3)Definition/classification of color (I think it’s Red or maybe…Magenta).
In all these points Color theory Made Easy gives easy to follow detail. Pigments are listed as their number and their trade names to reduce confusion, although the purists will point out each color from company to company will be a different value, hue, and chroma.
Cyan,Magenta, and Yellow are the used terms and it makes it pretty easy to understand and follow. It’s the sort of topic that can get bogged down in technicalities and the discussions while comprehensive, flows freely.It is an easy reading style and works well. He also uses some references to color manufacturers, such as Holbein, Grumbacher, and Winsor and Newton making the discussions relevant, but it was first published in 1996.The only annoyance is that the color nuts and illustrations are water colors; which is not really a bad thing- a color is a color, is a color. You could do a lot worse with some of the color mixing books around.
But remember color is a reflection not an absorption, and that goes a long way in putting the theory together-thanks Jim! Munsell is also discussed and really, if you need to learn about color as a beginning artist or just want to refresh the cobwebs this is a good place to start. It stood out in the field.
Cirrus says yes
Speed Harold The Practice & Science of DRAWING – Review
This classic book forms the repertoire of the modern day classical painter. The knowledge of drawing fundamentals taught especially in ateleirs today is essential to understanding the process and development as an artist and painter.
The Practice and Science of Drawing can be re-read again and again, grasping insight which each pass. This is powerful writing.
Line drawing, Mass drawing, Rhythm, Balance, Proportion,Portraits, Procedure, Materials are the main chapters with lots more packed into a great read!
Curiously, Procedure and Materials are left until last, and I have as an inkling it has been done on purpose.The message? You should know the fundamentals before you start serious drawing. Having learned these sections by the text then…,
“Don’t spoil the beauty of a clean sheet of paper by a lot of scribble. Try and see in your mind’s eye the drawing you mean to do, and then try and make your hand realise it, making the paper more beautiful by every touch you give instead of spoiling it by a slovenly manner of procedure.
To know what you want to do and then do it is the secret of good style and technique” (p.265).
So as a general concept drawing is good, and specifically a very good teacher. Harold Speed an even better instructor. The hope is that everyone can learn a thing or two from such seminal works at www.artbooklook.com.
Cirrus
Janson Jonathan How to Paint Your Own Vermeer – Review
Sub-Titled: Recapturing Materials & Methods of a Seventeenth-Century Master
In review, this book could aptly be named a Historical Summary.You know when you pick up a book and the title tells you all your expectations will be fulfilled, and all the problems of the universe will be solved…and maybe, just maybe you’ll learn something fantastic, but you don’t?
The frustration in reading this book is in the title. Paint your own Vermeer? On every page I expected a magic bullet- but it never came. There was a great deal of drawn out discussion and speculation that if considered, left you wondering- well how do I paint like a Vermeer?
Another thought comes to mind as well. “Where have I read this book before? Oh that’s right, the website,”
http://www.essentialvermeer.com/
May your world be filled with joy,
Cirrus.
Sheppard Joseph – Bringing Textures to Life Review
Subtitled: Step-by-Step Techniques for Rendering Exotic and Everyday Textures in Oil
It pains me to say this: I have to make a guarded review of Bringing Textures to Life! On the one hand the images and finished results are exceptional. Sheppard’s ability is competently demonstrated with all the love and care of a maestro and they are beautiful images. But on the other hand there is little a novice could take from here and say, ‘This is mine to use.”
He paints in layers and gives a lot of steps in his process, which in itself is not a bad way to learn – the apprentice following the master; but I question the depth of knowledge one can obtain in a book this limited.
The demonstrations are mainly of differing still life set-ups. Seashells, Antique dolls,Toys,Spring Flowers,Garden Vegetables, Fruit, Silver Pitcher, Sculpture’s Studio,Painter’s studio and a Basket of Eggs with one egg broken. No surprises here. If this book does anything for you, it might be the beauty he creates- not your own. The text is fluff and suffers from a lack of depth, e.g.
Step 31. With dark colors, I draw in each object in the jars (p.73).
Step 34. I add highlights to the jars, keeping the shadowed edges diffused but their centres pure white. The highlight above gives the impression of glass (p.73).
Does this help make up your mind? But the price is good, very good.
Keep Painting,
Cirrus
Faragasso Jack The Student’s Guide to PAINTING – Review
This is review is of a book I have, that is so overused it’s falling to pieces. It is a pearl in an ocean of mud. The market just doesn’t produce books like these anymore. Sigh….
Now this book is expensive and there two reasons why. First it is out of print, the second reason is the work Faragasso put into light and values.
This book gives the reader the capacity to know what values work under which appropriate light conditions!
Front lighting
Form lighting
Rim lighting
Back lighting.
Imagine a scale from 1 to 10. Now depending on your light condition these scales will change. For example, Front lighting, (normal) White stays at value 10: Black which is 0, becomes value 1.
There are about 23 pages of these scales and some change in 1/4 and even 6/5th. Too complex and too numerous to explain all here, but these are gold! Unless you have the Munsell Book of Color you really could only get these values by a lot of lengthy experimental work or by painting only what you see. Here it is all done for you. So if you just happen to use values to paint (like almost everyone), this information could come in handy .
Don’t be fooled by the cover-yes the pictures of portraits are not exceptional, excepting for a few in the text, but I reckon the section on drapery is possibly the best around. The thorough explanation allows you to paint a dress as well as a Gainsborough!
Also in the book is how to obtain types of edges – not bad. Added is the value of color, under light and shade conditions; and the obligatory flesh palette.
The reason this book will wow the average person is that if this book is followed, an oil painter will possess advanced methods and techniques by which to work, superior to most other instruction on the market.
This in itself is one of the mandatory tools of the professional painters armory, and most I’m sure, wish they could purchase this book anyway they can.
Happy Values
Cirrus
Wilcox Michael Blue and Yellow don’t make Green – Review
This book is 200 pages of color theory and practice but it is reading well spent.
*Have you ever mixed and mixed until a stupid mud disaster happens when flying alone?
*Are you learning how to paint but keep mixing this mud?
*Are you new to color mixing and want to share in a certain knowledge that won’t fail every time you pick up a brush?
Hey, you’ll most likely find the answer here. It is a great book to get your mind to think like a color wheel.
The theory behind the practice is the primaries; they are Red, Yellow, and Blue which can mix most colors available. In this context it is a restrictive truth, but… in Wilcox’s book he advocates either side of each primary to mix a controlled color- which in my experience is not always necessary. I’ll tell you why shortly.
Following Wilcox, every blue will be a violet blue dominate or a green blue dominate, every red, an orange red dominate or a violet red dominate, and every yellow will be a green yellow dominate or an orange yellow dominate, which gives you control over your palette when mixing….
Logically then you will need 2 tubes of each color. They are Cad’ Red Light, Quinacridone Violet, Cad’ Yellow Light, Hansa Yellow light, Cerulean Blue and Ultramarine Blue. Don’t forget White, and Browns- burnt umber and raw umber. These will make all the colors of the rainbow as Wilcox recommends.
But he also says Alizarin crimson, Ultramarine Blue, and Cad’ Yellow will make clear violets but very dull oranges and green. Not that true. See the results using this palette in a direct painting manner and tell me I’m wrong
http://www.thecardermethod.com/students.html
An oil painter can use Cad’ Yellow light, Ultra Marine blue, and Alizarin red, Burnt umber and White mostly obtaining everything needed to paint. For Chroma intense Blue Greens, or chroma intense Yellow Reds, maybe you’ll need a booster but for the large part is is super easy and extraordinarily simple and works.
Getting back to the book review I still like this book. It taught me a lot and if you are new to painting it will teach you too.
The last note about Blue and Yellow don’t make Green, paradoxically to make colored grays, add a colors’ compliment to that primary color; see? This is how to avoid mixing mud in a painting, i.e., it is then defined as deliberate mud, in the first instance, thus we have turned full circle.
Enjoy Your Search,
Cirrus.
Thomas Frank And Johnston Ollie The Illusion of Life – Review
This book required a decision as to whether or not it belonged in field of oil painters work.
I know – it obviously doesn’t. But there are 3 reasons why I felt it should be included.
This is not a teaching you how to paint book, but it shows the process of taking a realistic object, such as a model and manipulating the image to cartoons, which is interesting in itself.
But don’t get me wrong. It won’t teach you how to draw, how to paint, or what strokes to use but this is the history of Disney; which on its own makes for an influential piece of reading and writing. The third reason is I love the images. What the hell, who didn’t grow up loving Disney? I copied their images from dawn to dusk as a child. And the images in this book are good. Real good.We’re not snobs here at www.artbooklook.com. We too can enjoy a picture just for fun and that’s a good thing.
The main object of discussion in this book is how the development of cartoons became more and more realistic as the study of movement became a central tenet, as each movie progressed they pushed the goal posts higher.
They discovered what worked for audiences.What makes a cartoon lovable is not the color, or the movement but the ability of the cartoon to reflect our human responses. We can relate to that, – and isn’t that what art is all about?
The color and the cartoon sketches – they reveal a professionalism, a call of duty if you will, in an organisation that is unsurpassed today. But a big but , remember to hide this one from the kids. They’ll love it too.
Happy Days
Cirrus.
Ten Studio Tips – that just may give you the leading edge.
Hi Folks,
Here are some tips that have been handed to me from other artists or I have learnt them through trial and error. They are not super secret but the more things you can do to make the job of rolling in paint easier for you the better.Painting can be a hard master if you are not fully prepared. After a day in the studio I actually feel like a pig in mud. I remove my blackened paint stained clothes (they reduce the glare when painting), and crawl into a hot shower. But I feel elated if I can see in the painting a depth of space, an image forming exactly as I wanted, or a picture glistening with life. There is no greater reward. I hope you feel that way as well. Words cannot describe the how valued I feel, if I can do that for anothers’ senses. It’s a tremendous buzz.
I hope these pointers may help you too in the process.
Below you can see my studio.
1. I always keep a spare bulb so work doesn’t stop when they blow. Lighting effectively is one of the most important things to consider when painting. The bulb hangs above the shadow box, lighting the objects in the box, but that light is “blacked” out by a piece of cardboard on the top of the box, preventing contamination of the painters field of vision.
2. Brushes, more brushes and some more brushes. It’s not uncommon for artists to use 20 different brushes or more during a painting and you can see a few in the background here.
3. Paint is close at hand, both at the back of the easel and below the palette tray for easy access. The palette is resting under the brushes.
4. I have a glass palette with a gray value scale to help out those decisions of value. I also have a value paint stick that is movable to check the values of objects painted when needed.
5. Mediums are premixed and on hand to be used.
6 . Also on hand are premixed syringes of gray paint to neutralise hues.
7. I use Mark Carders’ method (I give credit to Mark for a lot of these studio methods).Yellow, Blue, and Red are mixed with his medium formula for quick use and mixing hues.
8. Of course the studio is “ blacked out” to reduce glare and enhance seeing, as you can see in the photo.
9. One recent addition came from a trip to a hardware store. In the house hold paint section I grabbed paint squares hues that I thought look attractive. The reason I did this is that I want my backgrounds to be a decision based on the objects I’m painting. It is not always possible to have the drape, or curtain, or whatever in the background available. My and your budget may not go that far. So by having a square it is relatively easy to “make” a background up to what matches, by comparing the paint square to the objects in the box.
10. Another thing you can see in the pic is the prefabricated canvas. I use these for ease of use, and time is too short for me to make my own. I would rather have that time free to paint and room is limited where I live to do that sort of woodwork job.
Finally one last tip, regularly stand up and move. I’ve heard the reason authors have short life spans is from long periods of inactivity. I dunno’ ’bout artists but I hope not
Wishing You Beautiful Paintings,
Cirrus.
Weber Mark Brushwork Essentials – Review
Subtitled: How to render expressive form and texture with every stroke.
Some people find this book is exactly what they want. It gives a method and a label on which to hang their painting stroke and Mark Weber is excellent explaining this knowledge. Like the topic, how to clean and shape your brushes for maximum control and also how to manipulate your brushes to make oil paint do your bidding. These are all common issues artists go through. Manipulating paint is your and my business. It is the greatest concern when learning how to paint and for that reason this book is rated highly.
It provides you with an escape hatch when you need to jettison to safety.Who hasn’t got into trouble doing the following? Glazing, scumbling, fan brush blending and wet-into-wet, painting up to objects, movement of brushwork and so on. It’s all in here.
Mark Weber can obviously wield a brush and to soothe your eyes the text is interspaced with beautiful images, from the collection of the artist. His website is here for you to see just how good 30 or so years of painting can make you. So never, ever give up.
To add, “Hey, did you know the more crimps in a brush the less chance of hair in your painting?” Now that’s something I never knew.
Thank you Mark,
Cirrus.
http://www.markweberartist.com/
Rohlander et al Still Lifes – Review
Subtitle: Discover techniques for painting classic still lifes-step by step.
This is a curious book for its brevity. Also I think this is a groovy place for the hobbyist to start painting. It is simplistic. Very simplistic actually, and has the distinction of coming from Walter Foster Publishing.The size of the book is almost A3-very large for the optically challenged who wish to follow along, and the paint hues used are basic. The book is 32 pages long and the shortest book reviewed at www.artbooklook.com.
However this gets a nod from here as it lays out a structure on your canvas for the complete novice. This is not for the advanced painter or even the intermediate. But the results of following along are quite encouraging. The warm browns, red and yellows in the book are superior to our most basic impulse; and that is to create beautiful and lasting works of art. I’m sure the finish will startle a persons color vision committing them to a life time with the brush, and isn’t that is the noblest pursuit of all?
Cirrus
Speed Harold Oil Painting Techniques and Materials – Review
This book reviewed is of a timeless scripture. It is as useful and sacrosanct as any major printed art book produced in the market today.Here’s a list of the chapters,
1. Introduction.
2. Modern Art.
3. Technique of Painting.
4. The Painting’s Training.
5. Tone Values.
6. Elementary Tone Exercises.
7. Color.
8. Color, Practical.
9. Painting from the life.
A note on Velasquez;
A note on Reynolds,
A note on Gainsborough,
A note on Franz Hals,
A note on Rembrandt.
10. Tone and Color Design/Taste.
11. Materials.
12. Picture Painting.
Harold Speed wrote this book in the 1920′s . It is actually a treatise on painting and contains exceptional insight into what makes art and what makes a painting. I rather love his discussion of the method of the Masters listed above in Chapter 9 but he goes on in other sections to include Whistler, Turner, Vermeer and others. It reveals the far thinking reaches of the man himself. It really is exceptional the way he thought, and he can still relate this to fellow painters. Knowledge of method at www.artbooklook.com is king and he does explain how the masters worked! That is important. He also includes a step by step portrait which you can easily follow if willing to try.
The book itself is black and white and it doesn’t distract you from the text, which is more important in this case. This is another must have for all oil painters.The depth of discussion will carry you a long way if heeded and for price and ease of reading this is another bargain.
Best Wishes
Cirrus.
Lang Roy Sea & Sky in Oils – Review
Ha’ Ha’ Me Hearties! If you love the thrill of an ocean ride it’s found in here; except I ‘ave no boat, just lots of waves and sky to take me on my journey. O.K. I’ll stop now and tell you that this book is alright if you are looking for a way to paint rock, oceans and sky. A dry topic I admit (maybe not too dry), but I have a one slight annoyance about this book. I dislike seeing the thread of a prefabricated canvas poking through an oil painting. It’s as annoying as much as my pirate impersonation. But apart from that the book is very succinct and very easy to follow. Have a large tube of Cerulean Blue and Sap Green prepared just in case you drink a bottle of rum and decide to purchase it.
All jokes aside it is a good book for technique and the paintings depicted are simple to follow. 64 pages long.
Have fun
Cirrus.
Jones Jane Classic Still Life Painting – Review
OMG. I have to restrain myself when I review an art book like this, as my obsession could take over completely. This book grabs me and shakes me and says, “This is what fine art books should be all about.”
From start to finish this is a labor of love and it shows through the magnificent results that are revealed inside. Be warned though, this is not direct painting; it’s layering techniques of the finest form.
The reader can expect a lot of valuable information in the text, from materials (as in most art books), to finding your own creative style. There are instructions and real knowledge of method and that is the sacred cow at www.artbooklook.com For that reason alone it won me.
What is exceptional in this book are two main subjects. The first topic is background color choices, giving the artist the ability to manipulate the background with lovely shades of color by using opaques and transparents to super effect. The second is the underpainting chapter, Layering For Luminous Effects. Here are the “secrets” that artists go to hell and high water to reach. The question, “How can my paintings glow like that?” Well here is the answer.
The artist is so very methodical in execution and her work is superb. Color nuts are throughout for you to follow by and I admire the effort that has been undertaken to provide full explanation of procedures. The title should probably read Still life Painting of Fruits and Flowers, and that would be a bit more accurate but if you are like me and love thought of creating paintings with time, effort, under-painting and glazes, it is a full exposition.
The precision of her work will surprise most and even just to see the results makes it worth the purchase. Her technique so exact, is one of artistic perfection and that can only be a good thing, right?
Happy Painting Practice
Cirrus.
http://www.janejonesartist.com/
Dawley Joseph The Second Painter’s Problem Book – Review
This is more of the same, only a larger layout than the first. Sometimes I scratch around looking at paintings and wondering, “ how did they paint that?” Well, now you can know. Sorta’… I still wanna know if in Da Vinci’s Last Supper one of the apostles really was a woman? Who knows? Do you? Please tell me .
Demonstrations in this book include,
- Copper Tea Kettle.
- Brass Umbrella Stand.
- Pewter.
- Dusty Lantern.
- Peeling Paint.
- Conch Shell.
- Straw Basket.
- Porcelain Bowl with Design.
- Crystal Bowl with Flowers.
- Marble.
- Glass of Water with Ice.
- Condensation Droplets on Glass.
- Velvet Beret.
- Heavy Fabric with Design.
- Roses.
- Apples.
- Grapes.
- Watermelon.
- Peaches.
- Fireplace.
The Watermelon and Peaches are my favorites in this book as they are realistic portrayals, but you have to question whether an artist will want to know how to paint a brass umbrella stand. Anyway I still love these two books and if you see them they are certainly worth a second look. If you purchase both, in your library you’ll have at your finger tips 40 objects down and dusted – no problems.
Best Regards,
Cirrus.
Dawley Joseph The Painter’s Problem Book – Review
Subtitled: 20 Problem Subjects and How to Paint them.
This book was published in 1973 and today it has lost none of its’ lustre.Yeah, I admit it this points to an artists’ insecurities – How to paint specific objects? But who hasn’t at one stage raised the question, how do I paint that? The objects covered here are:
- Glass.
- Fur.
- Silver.
- Shiny fabrics.
- Candlelight.
- Rough-Textured Fabrics.
- Filmy and Lacy Fabrics.
- Wood.
- Fruits.
- Bread.
- Smooth Vegetables.
- Leafy Vegetables.
- Rust.
- Old Books and Paper.
- Worn leather.
- Pottery.
- Shiny Leather.
- Beverage in a Glass.
- China.
- Jewelry.
I found these books (there is a second), addictive. Sure the guys palette had almost every paint known but what results! If you’re ever in a pickle and want a life line here it is. If he can do it, so can you. The colored shots are pretty and are usually of the second-last and the final painting. Next to each picture there’s a good explanation of how to get to that point which can really help. He does use the word “tone” for value and he has five of these. Tone 0 is pure Titanium white and tone 4 is pure raw umber. This keeps you in the right painting space with the first start ”drawing” with a brush. After that he demonstrates with his palette; which doesn’t really matter – you can use what works for you. I’ve found fur a hard master and have used this book for just this thing in the past, which you can see the result below.
Happy Painting,
Cirrus.
More about www.artbooklook.com
Hi,
This is not a book review. I am writing this to let you know more about the website,
www.artbooklook.com.
At the moment we have been examining some of the best art books available on the market for oil painters. I want to continue to do this and let you know that my desire is that this website will grow for you, will help you, and allow you, the reader to make great paintings. I can remember my first painting. Here it is above. It’s terrible. I spent days angry about it. I had no idea what I was doing – right or wrong, very little direction and all I wanted was my first piece to be masterful. Can you believe that? On my first go I expected to create a masterpiece! Now I laugh about it.
The knowledge of what works will help the transition easier. I’d like to facilitate that progress and make it easier for you. Some teachers have a school of thought that learning should be hard. If it is all too easy, that is better for the student. I cringe when I read or hear that. How much time do we all have? Not a lot. Who wants to spend all their time on a project that won’t work no matter how hard we try, for lack of information.
I don’t want this to be forbidden knowledge and hidden from inquiring minds. It’s a big swamp out there with people just wanting to lead you to… who knows where. I am an artist like you, and I want you to develop your skills as well as mine. So, as we all learn together I hope I can enrich your life in some small way. If I slip up and tell you the wrong information or you think there are things I could do to improve the site please let me know. I want this to work for you my readers,
Best Painting
Cirrus.
Grado Angelo John Mastering The Craft Of Painting – Review
Frank Reilly died in 1967 and the author received tuition from the Frank Reilly School of Art and other tuition as well, prior to this time, which apart from being almost vintage, makes this book a valuable classic. Lessons from Reilly go for some 54 pages and centre on drawing the human figure and for those wanting to break down their work analytically it offers a systematic approach. It also includes some four typical Nine-Value/ Chroma charts (which is value in itself-the single sheets alone sell for much more than the price of the book). These feature red, yellow-red, blue-green and purple-blue (four chroma steps from weakest to the “home level” of each of those hues. Those familiar with Munsell might enjoy these.
Also included is a gray value scale, as is the procedure for painting edges, the head, and facial features. An excellent resource.
One painted subject in the book is truly unusual (the picture of his son is not what you’d call classical p.123); but the close up pastel rendering of Frank Johnson (p.135) is. It’s remarkable. I particularly liked the pictures of shell, pears, and figures within too.
This art book clearly has a methodical approach and it discusses terms in Hue, Value, and Chroma-even attributing value scales in some of the diagrams. Overall this is a pretty neat piece of work and originates from a well studied practice. If this is one in your collection hold on to it. I have.
Best Regards,
Cirrus.
Macpherson Kevin – Fill Your Paintings With Light & Color Review
This read is full of practical advice from laying down your first color accurately to the usual squinting at the larger objects of your painting (in order to see the larger color notes). The art work in this book is of a broad brushstroke manner. The cover painting really grabs your attention but if you can tell I am not a great lover of this style. That doesn’t detract from the content though. The new artist will always find this valuable.
There are many schools of thought when it comes to painting and this one goes from generalisations to specifics. As he says,
“ There are no real conclusions in art, only new beginnings.”
For me that quote says so much for any artist. I often need to remind myself that it’s the journey that counts. Something like that is mentioned in the artist tip section to your left. There is a communication style that annoys me though.Terms such as families for color types and the use of warm and cool temperatures. I prefer the specifics. Do you? There is a pattern of course, in the teaching scheme of oil painting. Rightly you could save your money for a tube of cool or warm color :). See the point? and to push it further on page 73 there’s a good tool to remember - the S-Sense of painting. The author likes soft shapes, simple masses, six colors and so on to create realistic images. But if I don’t learn ya’ you can’t know.
Cirrus
Albert Greg – The Simple Secret to Better Painting Review
Subtitled: How to immediately improve your art with this one rule of composition.
This is a very useful book with the premise never make any two intervals the same.
This maxim is used through out this book and applies to intervals of distance, shape, value, color and it succeeds in its mission. On many occasions I’ve sought refuge in this book, especially when needing to make a decision about focal point, color choice, set-up and so on. You know that nagging feeling when you just can’t get your project working? Something, somewhere, somehow just doesn’t seem right and you’ve rearranged the entire studio, the house, and the position of the car in the garage to accommodate your painting; well the knowledge in this book can help.The chapters are as follows,
1.Design Dynamics.
2.Making Things Interesting.
3.Achieving Dynamic Balance.
4.Pleasing the Eye.
5.Tonal Value and Contrast.
6.Color.
7.Still Lifes.
8.Landscapes.
9.Figures and Portraits.
As mentioned this book is extremely useful. There are demonstrations of what the author is saying on every page and for value this book is a great resource buy. You can’t go wrong in the choreography that is shown and I wish I had bought this book when I first started out – it would have saved a lot of pain and heartache .
Well worth the price and “secrets” revealed.
Enjoy,
Cirrus.
Browning Tom – Timeless Techniques For Better Oil Painting – Review
Every so often a fresh breeze flows through my open window and delivers a book that is written with the gorgeous touch of a feather quill. This is one of those books. I have no trouble in imagining Tom Browning whispering his brush across a perfectly smooth canvas, resonating the correct sound one should hear when painting a masterpiece such as those demonstrated.
His advice is simple to seeing value.
- Use a single light source.
- Always compare.
- Squint your eyes.
- Simplify masses.
There are also color squares of values and what he calls intensity (another term for chroma) and he has simplified oil painting for the reader. His lasting ability to reduce the mystery and to demonstrate visually by his artwork is profound. For some reason I think of the haunting soundtrack of the Ghost and Mrs Muir when I see his sea side paintings and they seem to have a timelessness that’s envious. If you love art books this is one to hold onto. BTW he has a great looking website as well demonstrating his skill.
Hope you enjoy
http://tombrowning.com/3/artist.asp?ArtistID=20249&Akey=N7FHPS2F
Cirrus
Anderson Kurt Realistic Oil Painting Techniques – Review
This is a painters’ book. It is significant due to its difference with others on the market. For 4 years the artist served as editor of Classical Realism Quarterly and his atelier background is subtlety present in the soft artwork throughout. It is full of advice and technical methods and the images are appealing. There are 133 pages and the chapters include topics such as,
- The mechanics of drawing.
- Learning to see color.
- The painterly touch.
- Painting the human form.
It’s the sort of book that could assist the training of a young artist or anyone willing to learn. There are some lovely painted fruits and flowers and the finishes are unique. They are particularly beautiful and painterly, with an interesting method.
By squinting down he normally sees the broad masses that need to be put in. But when it comes to the higher value of say a flower head, and when a darker value has been put down already, that high value may be muddied by the previous layer. So he compensates by raising the color notes as they are put down. All this until he allows the higher value to overlap in the darker values.Then he replaces the medium values by using accurate discretion.
Also he can and does, like to apply the highest notes of a flower head first, and then work the darker notes into it. Sorry if it’s a bit confusing but I wanted to explain this to you. I think it could help convey the spirit of his work. It’s very honest with some wonderful results.
To add again, he paints only as much detail as is needed. By establishing the broadest values first and getting the entire painting down he then works around the painting adding detail starting with the centre of interest. A bit convoluted, but as I say the result is interesting and can be seen on the dust jacket. At the bargain price as offered it is priced to sell.
I like it and appreciate the book more as time goes on. You might too.
http://www.kurtanderson.net/
Cirrus
Kedzierski Alex Artistic Secrets to Painting Tonal Values – Review
This book is a nice piece to add to your collection. The consideration with this book is not so much the content but the level of comprehension one can gain from it. The book is packaged to appeal to the hobby painter and the division is centred on the essentials of value attainment needed to make a painting sing. For example the chapters are as follows
- Value: The foundation of Form and Drama
- The Value of Light and Shade
- Stay on Course with Value Maps
- The Value of Color
- The High Value of Correct Values
- Taking Valuable Corrective Measures
- Composing a Painting with Values
I remember buying this book for the demonstration of painting a water drop on pages 64 and 65 - pretty silly really. It is a picturesque book with good demonstrations of paintings even if they do look illustrative. The book includes water colour and pastel, trying very hard to appeal to a broad audience. The book reminds me of The Artist Magazine in extended format, the origin of which is mentioned in the acknowledgements. So if that is really what you are after in an art book go for it. Me, I didn’t find any secrets.
Cirrus
Graves Douglas – Figure Painting In Oil Review
This book was first published in 1973. Now you’d think that knowledge might be outdated… no way. This book shines with the drippy laced skirts, flared jeans and that soft feel of the seventies; funny about that - its impossible to find a stitch of clothing on anyone. It’s a figure painting book of course and the love of the human body is central.
Graves instructed at the American Academy of Art in Chicago and in 1966 he won the Prix de Paris award. You can see why. His models are stunning and the end results are notable.He surely loved his job and that is obvious in his descriptions of anatomy throughout.
“The shadow above the breast is bluish with orange dabs over that. I block the face with orange, the hot light bouncing off the flesh, or the violet, the light coming from the window (p 148).”
The genuineness of his pursuit of perfection is obvious and his method travels from the general to the specific. He gives a good run down on the physical differences of shapes and proportion and you can certainly learn from him. It just hasn’t set the art world alight, yet. If you like to learn by example and like a rough type of finish to your work, this may just do the trick.
Cirrus
Cateura Linda and Leffel David – Oil Painting Secrets From A Master Review
This well known art book was created from the studio of David Leffel a master painter - who created an unique painting style that won’t necessarily flow onto your own. His work and others are notable. Stylistically it has been repeated many times over and a Leffel student painting is usually obvious. This doesn’t lessen the quality of the work – that is excellent. I admire artists that can paint this way- that is, paint that is measured and then slapped into place, perfectly! There are a lot of tips here that are very helpful and it takes a fair amount of re-reading to use in your own work. If your looking for a lazy Sunday afternoon this book is perfect as a coffee table admiration concept. But I’d leave it until an intermediate level is obtained, not lessening the impact – this is a good resource.
Enjoy Cirrus.
Elliott Virgil Traditional Oil Painting – Review
To review this book is a privilege. Virgil Elliot gives a thorough breakdown of the process of oil painting and it is designed for those aiming for art as a profession. This doesn’t limit its broad technical appeal. The masters of the past are discussed in terms of their method and includes the innovations of Rembrandt.The reason I like this book so much is for two reasons. Each method, such as Flemish, Venetian, Bistre is discussed relative to history and the authors experience with paint and painting, embedded with dialogue is exemplary. If there is a fault and I don’t think this is incredibly bad, the author just doesn’t tell you how to paint an apple, or a jug or flower, which if you’ve come this far in your quest for artistic quality – you probably don’t need to be told again.
The images are of good quality and it must have been an enormous effort to get to print. This book also includes demonstrations and is destined to become an essential resource for students and professional painters alike. Virgil Elliot’s years of practical reasoning are apparent in the quality of writing. I thoroughly recommend it. To add, for fans of the great William Bourguereau there is also a section and demonstration of his method – a GREAT credit to the author for this – I have never come across this generosity before.
Virgil Elliott has stripped away the layers and given it all to you here.
Cirrus
Aristides Juliette Classical Painting Atelier – Review
What a great classic. The ability of this book is to inspire the art student onto bigger things. It offers a clear text and pathway of the steps required to aspire to a classical curriculum based in the atelier system. Probably the best art book available for those wanting an academic and practical pathway in painting as the process is detailed.
Lessons within the book follow the approximate atelier structure and if followed greatly enhance the painters’ practice. Materials are given a full review as are colour basics, and I particularly love the masterworks contained in Part Four of the book, like a deer in the headlights - I can stare at them for hours. In fact the images throughout this book are superb and you’d find it hard to get a better constructive arsenal in your library.
This book by its’ quality reveals a new standard in the field of art publishing. A MUST BUY.
Cirrus
http://www.aristidesarts.com
Top Ten Tips to improve painting effeciency
I’m genuinely excited about this post.
WHY?
It points to the ingenuity of artists who have gone before us to continually find ways to express their ideas within the technicality of painting. If you can remember, or have seen the hominids in Kubrik’s 2010 A Space Odyssey throwing the bones up to the sky, which then converted to a space station, you’ll appreciate that we have travelled a long way in the field of painting. The old master secrets are really not secrets at all. Painters know what works.
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REMOVING OIL PAINT FROM HANDS.
Use Baby oil liberally then wash with warm water and soap – Abracadabra, the paint is gone! -
CLEANING BRUSHES.
Quality brushes can cost and a better way to destroy them is using Mineral Turpentine to clean them. It burns the hairs. Use oil once again. It can be Linseed oil or even Olive oil if you like. The oil will become turbid quickly but you’ll have a cleaner brush. Then wash the brush hairs onto a cake of soap to remove the oil and paint residue. -
QUALITY PAINT COUNTS.
The durability of paint matters. If you are looking for a quality end product (ie the painting), which I assume you care about, it may cost a few more bucks initially but I have heard of some tubed paints lasting for up to 30 years (not drying out at least). The fillers in cheap paints reduce the paint life span but cut costs for producers. The use of quality paint can reduce the volume you’ll need increasing the life of the painting. -
LINSEED OIL RUB FOR PALETTES.
Prior to starting your work a modest rub down with Linseed oil on your palette will make clean up at the the end of the day easier. Painting can be a messy procedure and the easier you can make it, the longer you’ll want to paint-hopefully for your whole life time. The linseed and paint can be easily scraped off with a palette knife when finished. -
CLEAN BRUSHES REVISITED.
Laziness will always catch out the inexperienced painter. Always clean your brush between strokes.I’ve heard three strokes are the maximum. I say the less the better. This allows for smooth transistions in between colours,stroke, and volume. Paper towels can be beneficial here. Never let the paint dry on a brush too. No matter how tired you are at the end of session find the time to clean them. The next day will be easier. -
WHAT’S UNDERNEATH SHOWS.
Use the sharpest charcoal for blueprint outlines before you paint. It may sound obvious but graphite can seep through the paint. I have one such painting that does just that. I didn’t realise this could happen. Charcoal, more absorbent dissipates and is extremely hard to detect, even with scientific analysis. The outline can be drawn with a sharp point to ensure accuracy of your painting stroke when it comes time to paint. -
MATCHING MATTERS.
Essentially match what you see with your paint in value, hue, and chroma. This may be the most time consuming task in painting. Make sure of what you see, matches what’s on your brush. Objects usually take on many different degrees of hue, value, and chroma. To the novice though, a negro face may be the colour black but what is in front of you has a whole gamut of variations. It’s best to go slow on this step. If you don’t, your subjects will look different on canvas than what you see in front of you. As your eye develops you can tweak these things as you develop as an artist. More on this later. -
GROUNDING YOUR CANVAS.
There is no end to the recipes and concoctions artists have used over the centuries in creating their master works. This is one of the reasons painting is so loved! The fun you can have in “cooking” a classical product knowing that it was baked in the same manner 400 years ago. Having said that, how you ground your canvas can be easy as A, B,C.
A. Acrylic gesso 50%
B. Wood glue 50%
C. A small quantity of water for ease of mix.
Mix it up well, quickly, and smoothly. Then paint it on using your largest flat brush. Sometimes I use up to 5 coats, sanding between them. The best reason I find to use the gesso and wood glue trick is it can be dried quickly with a blow-dryer in wet weather. -
USE THE SAME LIGHT SOURCE
You will need a consistent light source as a painting can take days or, in the example of the great Antonio Lopez Garcia even years to paint. Weather changes and light through your window does too- even if it is facing North,or in the Southern hemisphere, South. Rain, cloud and even seasons can change the result of your work. The rule then is to use the same light source. Balanced white light is best and this is a whole other topic that’ll be discussed in future. Adding the outdoor painter,can ensure the sun is at the same time and cloud cover is similar on the days chosen to paint. -
LOVE WHAT YOU DO
This is the greatest tip I can give anyone wanting to paint. It is such a long road you have to love it.
At times your dog will sit on your palette, the wind will blow over your just finished canvas and the kids will destroy your brushes. Just remember it’s the journey that counts in the end. Don’t get strung out on the result, painting is a development not a result.
HAPPY PAINTING
Cirrus
