Self-publishing comes with two major pitfalls: the lack of an editor and the lack of a designer. It doesn’t have to lose out on missing a proof-reader, but often does.
An editor will restrain an author’s tendency to write either too much (going into obsessive detail about unimportant matters), or too little (those frustratingly short sentences that equate to the Bake-Off technical’s “make the batter”). A designer will bring a fresh eye to the layout, have more tools than a simple word processor and make sure that illustrations are both reasonably-sized and in the right place.
The first thing to say here is that it’s pretty obvious Ken has used a word processor. The text and, for the most part the illustrations, are fixed to a two-column page. Does this matter? Well, only if you’re a reviewer, probably, although a reader might think that the information provided had better be pretty good if the pages lack visual excitement.
And now the good news. None of the above matters here. Yes, you might observe that there are a few infelicities (let’s not call them any more than that) which a proof-reader would have picked up but even I, notoriously picky about details, passed over them with no more than a wry smile.
This is not a book for the advanced watercolourist, it’s fair to say, but neither does it pretend to be. What it mainly concentrates on is the practicality of painting – the matter of using brushes and colour to get an image down on paper. That’s really the first port of call and creativity and aesthetics can come later; if you can’t handle your materials with confidence, all the best ideas in the world will remain stuck firmly in your head.
I warmed to this on page 3, where Ken gives us a list of terms and their definitions. Sure, I’m pretty confident that I know what a ferrule is and that you do too; we could also both work out that fresh paint comes newly squeezed from the tube. I’m being unfair deliberately to make a point, because having all this in one place is good and you may well find that succinct summaries of Complementary, Convenience and Local colours are a thing to treasure. In fact, having things in one place is perhaps the book’s greatest virtue. The layout may not be exciting, but Ken’s mind is extremely well-organised and information is absolutely not scattered about and hard to find. In the step-by-step demonstrations, I particularly like the chart of steps that appears at the beginning. It makes back-reference easy and I haven’t seen it elsewhere – other publishers might want to take note.
The two-column layout maybe isn’t the friend of the demonstrations as the stage illustrations are quite small. I am, however, reviewing this from a PDF, which is not my normal practice, and I’ve zoomed the pages a few times. It’s pleasing to be able to report that image quality stands that.
As for content, there’s a lot of detail, especially about techniques of application, but no over-writing and (remember what I said about designers?) everything is in the right place. Those illustrations may be somewhat small, but they’re where you want them – next to the text and on the same page. It makes the book not just easy to follow, but a pleasure to read.
So, in summary, this is a book for the new watercolourist who needs something basic and easily understandable about technique. I would honestly recommend it as a beginner’s first book for that reason alone. Easily-followed demonstrations and subjects that aren’t over-complicated are just the icing on the cake really.
This is a US private publication, available from Barnes & Noble