I’ve waxed enthusiastic elsewhere about this series and I’m not about to change that. In fact, I’d go so far as to say that this is probably the best one so far. Wendy’s main strength is the small detail and the intimate corner and this is well suited to a book of, well, small ideas.
In this book, she deals with acrylic both in impasto, imitating oils and thinned out as a wash, imitating watercolour or gouache. Because of this split personality that the medium has, what she says is also relevant to what we might call the parent mediums. In other words, if you paint in any brush-based medium, you’re going to find plenty that’s useful here. You’ll also probably find that this is less of a guide to painting like the author and more one that just tells you how to deal with things like trees, water, boats, skies, texture – well, you name it, it’s probably here. Wendy’s approach is almost entirely subject-based, but she does also find space for things like scumbling, drybrush and texture and there’s the usual index to help you find your way around.
Definitely one to recommend.