Archive for category Medium: Watercolour

The Paint Pad Artist: Coastal Landscapes || Charles Evans

I dealt with the mechanics of this new series in the introductory review, so this is a look just at one particular volume.

Charles Evans is an experienced and popular demonstrator who is ideally suited to this introduction to painting coastal scenes. Each of the six demonstrations introduces a new topic or technique, such as drawing out colour to create clouds, capturing reflections, using a rigger to create trees and working with stormy skies and seas.

There’s plenty of variety, but nothing is too taxing and the beginner will feel at home quickly, producing worthwhile results that can only encourage further work.

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Take 3 Colours – Watercolour Lakes & Rivers || Stephen Coates

Take 3 Colours is a brilliantly simple idea that’s been brilliantly presented. All of the authors so far have understood the brief impeccably and Stephen Coates is no exception.

The strapline is “3 colours, 3 brushes, 9 easy projects” and it’s not just a superb way to get started with painting, but also an approach that strips your technique back to essentials if you’re feeling it’s got just too complicated and that you may be over-working.

Don’t expect great works, but do prepare to be surprised at just how much variety you can get and how many subjects you can work with in this way. My only reservation in this particular volume is the overall impression of ochre. With base colours of Light Red, Raw Sienna and Ultramarine, this might perhaps be expected, but other volumes have managed to provide a somehow brighter appearance and the lack of a good green from the mix shows. It’s a shame as the results and explanations are excellent.

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Rosie Sanders’ Roses

Let’s be clear what this is not. It is not a book about painting roses. However, if you love flowers in general – and roses in particular – it’s likely to be high on your shopping list. If you’re here, it’s because you’re interested in art and it ticks those boxes too. These are stunning paintings and a joy to look at. The large format and excellent reproduction make this easily possible and, even though this is not instructional, it’s likely you could learn a lot simply from its example.

It’s a big book, but not an unmanageable one and the sheer scale of the illustrations hits you squarely in the eye. If you like images that dominate and leap out at you, this will be a delight. It’s a bit like the contrast between seeing a film at the cinema and on television – one is just there, the other has to be peered at.

As well as the images, there’s a nice introduction that looks at the rose in history, religion, medicine and myth. As much as the main matter of the book isn’t about how to paint, neither is this for the horticultural specialist – the whole thing is aimed squarely at the interested general reader. While I had this in the office awaiting review, I lent it to a friend who’s a keen gardener and she absolutely covets it. That’s the effect it has.

Where I do have an issue is with the handwritten captions. The writing hand isn’t the easiest thing to read and the fact that the publisher has chosen to reproduce it halftone (ie in the four process colours of printing, broken down into dots) rather than line (solid black) does nothing to improve this. Yes, it’s a small quibble, but there are quite a lot of these captions and it adds a degree of difficulty to what is otherwise an effortless book.

For all that, it’s a stunning piece of work and one well worth more than a passing glance.

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Ready to Paint in 30 Minutes – Boats & Harbours in Watercolour || Charles Evans

The re-imagining of the Ready to Paint series continues apace and continues to impress.

Charles Evans offers a good variety of subject matter and stylistic approaches through 33 step-by-step projects along with useful exercises, hints and tips. The book has a clear progression and feels busy without being confusing and there is an overall sense that you’re getting a lot for your money.

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Painting Mood & Atmosphere in Watercolour || Barry Herniman

This is an enlarged reissue of a book which first appeared in 2004. I don’t have a copy of the original to hand, so how much new material there is, and what it is, I am unable to say. I don’t however, remember it being quite this vibrant in terms of colour, so I suspect that, as well as everything else, there may have been a degree of re-origination. The only tiny fly in the ointment is that some of the illustrations aren’t quite as sharp as modern standards allow, so you may have to forgive that, if you notice it – it’s not a major problem, but one inevitably gets used to being able to analyse things like brushwork in quite minute detail.

Subject-wise, the book is mainly land and waterscapes plus a few buildings, which is about right for the topic in question. There are plenty of skies, from looming and overcast to vivid sunsets (though I do wonder whether the vividness I referred to earlier has been achieved by dialling up the red and yellow in the printing process – the book has a very orange feel to it).

Whatever these reservations, this is an excellent look at getting a sense of place into your work and Barry’s water, in particular, has that elusive sense of solidity that suggests volume and movement.

There are five full projects as well as explanations and analyses – the style of the book pre-dates the breakout hints and tips that pepper modern volumes and the text is longer than we’re perhaps used to now. If you shout “hurrah”, make a beeline for your bookshop. If you’re not sure, you may be surprised by how well a more in-depth look works and how a more relaxed pace can induce understanding.

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Paint Pad Poster Book – Flowers

Search Press have supersized their Paint Pad series. Not so much a triple-stack cheeseburger with a quart of fizzy sugar as the full 48 ounce free-if-you-can-finish-it T-bone. These are BIG.

Interestingly, there is no author credit and I think I recognise the images from other books. A lot of thought has clearly gone into the format, though. An A3 book is not easy to manage so, instead of the portfolio styling of the parent series, these are pads where you’re clearly intended to pull out not just the sheets of watercolour paper with their pre-printed outlines, but the instruction pages as well. Tape the paper down onto a drawing board, pin the instructions on the wall and it all starts to make sense. This isn’t mentioned in the How To Use This Book introduction, but it’s the obvious solution.

The content has also been pared down severely in the light of this not being something to sit down and read. There’s no list of materials or introduction to techniques, although there is a “what you’ll need” list for each section. The whole thing is about the image and completing it. Once you’ve painted the five exercises, the rest of the book is basically disposable. That sounds likes sacrilege for something costing a whisker under sixteen pounds, but your return is the five full-size paintings you can frame and hang on the wall.

The quality is stunning. Each painting is shown in its complete state and, at this size, any shortcomings in the reproduction are going to be immediately obvious and a massive frustration. Full use has been made of the large page size to lay the instructions out clearly and illustrate them in detail. Everything is really clear and, if you’re adopting my suggestion of pinning them on a wall, easy to see.

This is quite a departure and a lot more than just a vary-it-a-bit exercise to generate extra sales. There’s an elegant simplicity to it that’ll make serious art easily accessible to even the raw beginner.

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Botanical Illustration From Life || Işik Güner

Isn’t all proper botanical illustration done from life?, asks a pedant. It’s a valid question, though, but one which is also unfair given the wide range of books available on the subject and relative shortage of titles.

The first thing that should be said is that this is not a manual for the budding botanical illustrator. The style of work that appears here is not the sort that would grace a species identification guide. The manner, however, is much more than the more relaxed plant portrait and includes sufficient detail for even the most demanding general painter of natural subjects.

What it does offer is probably the most thorough guide to top-end botanical painting you could wish for. At 208 pages, it’s a substantial tome and the space is not wasted. There are no establishing shots and few intrusive hands or photos of the artist at work. Rather, there are the exercises and demonstrations you’d expect, but also extensive analyses of flower, leaf and stem structure, all illustrated with some really rather exquisite paintings that make this more scientific aspect not merely interesting but a joy to work with. It’s about art and so it should be artistic.

Just about every aspect of botanical subjects is covered – I mentioned flowers, leaves and stems, but roots, fruit and seeds are here too. These, though, are only the subject matter and the technical aspects of portraying them are dealt with extensively as well. Once again, the extent is put to good use and, despite the comprehensive nature of the coverage, there’s never any sense of rush, or of things being crammed in. The pages are relaxed and very user-friendly

I quibbled over the title. If I was going to choose, I might call it The Complete Guide to Botanical Painting, but that’s probably been bagged already.

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