Hyper Realistic Drawing || Amie Howard

Coloured pencils lend themselves to detail work, but the processes involved can be off-putting for those new to the technique. I’m avoiding saying “beginner” because I think this is something it would be unwise to embark on without at least a moderate amount of skill in the first place. Try to run before you can walk and you’ll be discouraged by falling at the first hurdle, to mix a few metaphors.

This is, however, an eminently accessible book. A series of short, reasonably simple projects leads you gently in and it would possible to complete them in hours rather than days. The introductory sections also provide a solid grounding in technique and Amie will guide you patiently through some basic exercises that develop that all-important initial facility. No corners are cut here – for once, the reader can be glad of a bit of expansion before getting on to the main meat of the book.

The main demonstrations themselves are not progressive, so this is not a book you either need, or will want, to work through in order. Subjects include fur, feathers, eyes, lips, leaves, fruit and still life objects, each one adding a particular characteristic or technique. Some are quite small – an eye or an ear, for instance. Others are more involved, such as a cat’s face or a wrapped sweet, which involves some complicated shading that presents more challenges than you might initially think,

Although none of the projects is laboured, you are definitely not short-changed on the instruction, nor will you feel a lack of intervening steps. There is a fine balance between illustrating every mark and jumping too far ahead, with an entire section left in mid-air. It’s that patience I mentioned earlier, a sense of a teacher who allows you to work at your own pace, only appearing at your elbow when you need them.

As a primer in a very specific, but rewarding, technique, this isn’t just hard, but maybe impossible to beat.

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Textured Art || Melissa McKinnon

In over four decades of writing about art books, this is only the second book I can remember that’s been entirely devoted to the technique of painting with a knife. The first was entirely devoted to oils and very serious indeed, as was the way with such books at the time.

It would not be unfair to say that David & Charles in their current incarnation produce books that are quite elementary and aimed at the more general craft-oriented reader than the committed, more advanced worker. This, therefore, is a project-based book aimed at producing attractive results reasonably quickly. What it is not, however, is superficial and the variety of images and ways of working will be of use to pretty much anyone who works with plastic media and wants to explore methods of impasto in more detail. Although Melissa works here in acrylics, the techniques can easily be applied to oils with no adaptation other than the use of different mediums, and maybe a little more ventilation

Melissa’s subjects are predominantly skies, flowers and trees, but also with some broader landscapes and her images are a great deal more than simple technical exercises that leave you feeling you want more. As well as knives and heavy impasto, she also adds brushwork that softens edges and details and creates recession. The exercises and demonstrations have been photographed in a raking light that reproduces the textures well and there’s never any doubt what’s going on or, for that matter, why. Melissa uses quite a bright palette but, if this isn’t to your taste, any competent artist would be able to adapt quickly.

This is more than a primer and worth waiting those few decades for.

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Drawing Architecture || Richard Taylor

It’s a tribute to how book production has progressed that this looks as fresh as it did when it was first published in 2005 (as Drawing & Painting Buildings). If you want an excellent introduction to the subject, look no further.

You can read my original review via the link above.

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The Joy of Sketch || Jen Russell-Smith

Books of ideas are not exactly thin on the ground and what they cover is broadly similar. Where they stand or fall, therefore , is mainly on the quality of the illustrations and even that may come down to a matter of personal choice.

This pitches itself at the beginner and suggests a range of subjects from the contents of your pockets to hands and feet, trees and flowers, wildlife and even domestic fittings. This could be summed up as: if you see it, draw it, which is no bad idea if you’re feeling stuck for inspiration. Just get your pens and pencils out and have a go.

There’s a charm about this particular implementation that gets under your skin. The illustrations are simple enough, loose enough and recognisable enough to make you feel pretty sure that yes, actually, you could manage something like that. It doesn’t look too difficult and, with a little help (the text is admirably concise) and a few examples along the way, you almost certainly can.

Add in a pleasant and none-too-taxing technical introduction and some basic exercises that get you practising simple shapes without just drawing circles and ellipses and you have one of the best books in this well-served field.

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Alcohol Ink || Desirée Delȃge

Fluid art is, apparently, “the hottest art trend since paint pouring”. You can call me sceptical if you wish but I have to say that, on the basis of the results demonstrated here, I could be a convert.

Most books of this kind play heavily on serendipity and “happy accidents”, which I interpret as a lack of controllability and, just maybe, of ability on the part of the practitioner. Here, however, the emphasis is on control and making a very fluid medium conform to your intentions. Where other books that I’ve seen tend to concentrate on abstracts and patterns, Desirée will show you how to prepare surfaces and manipulate the medium to create recognisable images – mainly flowers and leaves – that have what I can really only describe as an ethereal beauty I haven’t seen achieved with other media of this type.

As you would hope and expect, there’s a good introduction to materials and working methods, particularly soaking and drifting, which is how you allow the ink to pool and then draw it out rather in the matter of a watercolour wash. She’ll also show you how to work with brushes, colour shapers, droppers and swabs to create finer detail, as well as how to control when colours do or don’t blend. As well as paper, Desirée works with wood, ceramics, glass and plastic to decorate a wide variety of objects.

This is a thorough, but also enjoyable and hugely practical introduction to what looks like a really rather rewarding medium.

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3000 Colour Mixing Recipes: Watercolour || Julie Collins

Along with the welcome resurgence of David & Charles comes the equally welcome reissue of this very thorough encyclopaedia of mixes, tints and hues.

It was originally part of a larger volume, Colour Mixing Index, which covered all the main media and you can read the review of that here.

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101 Ways To Draw || David Webb

This encyclopaedia-style guide to drawing techniques absolutely stands on the quality of its illustrations. These are sensitive and David’s working methods adapt themselves nicely to the medium and technique in question at the time.

Just about every drawing medium is here, from graphite pencils and sticks to ballpoint, felt-tips, watercolour pencils and soft pastels. Subjects include flowers, landscapes, still lifes, animals, buildings and people. Techniques cover toning, layering, hatching and blending as well as simple mark-making. Obviously, not every combination of subject, medium and technique can be included, but the matching is logical and the results always enlightening.

As well as functioning as a source of reference, this is also a book to dive into and explore for ideas and inspiration. It’s a lot of fun.

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Painting Nature in Watercolour || Cathy Johnson

I’ll be honest, I’m not sure whether this is a completely new book or a re-working of material from some of the author’s previous works. However, it has a fresh look and feel to it, so I’m going to review it on the basis that it’s all new.

It’s a rather wonderful portmanteau of just about everything the natural world can throw at us, from vegetation to animals and even people by way of skies and clouds and land- and waterscapes. As well as subject matter, it also takes in techniques, both in pure watercolour and in mixed media with watercolour pencils.

Cathy’s style is loose and relaxed and very much to the painterly taste. Although this is an American book and you therefore get species which are specific to another continent, the differences are not intrusive and many (in fact, most) of the paintings are sufficiently generic that they have no specific place.

I could say that the modelling, particularly of some of the creatures, isn’t always completely perfect, but it always does its job and simply turning the pages of this really rather enjoyable book is going to make you feel good and want to get down to work.

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Acrylic Works – the best of acrylic painting || ed Nancy Reyner

This is a compilation of works by a variety of American artists, loosely grouped by style: realistic, stylistic, realistic abstractions and abstractions. These apply a sufficiently loose straitjacket that nothing seems forced into a category that isn’t suitable, but does allow more or less general themes to develop while branching across the widest possible variety of subject matter.

Each painting comes with a short paragraph by the artists themselves. The introduction implies that works were submitted, so those included are effectively self-selecting, but also not merely a collection of the ones the publishers happened to have copyright approval for. The descriptions are fairly general and most of the contributors choose to describe their overall approach to painting and maybe working methods. Some relate these specifically to the work shown, some do not.

The result is a rather pleasantly serendipitous collection where the editorial hand is more in the ordering than the choosing. On the cover, the book bills itself as “ideas and techniques for today’s artists” which does, to be frank, sound like a rather desperate attempt to sell it to this publisher’s normal practitioner market. It’s far from an inaccurate claim, as that’s exactly what the book is going to do for you if you fall into this category. However, I can’t help feeling it would have been nicer to leave the reader/purchaser to work that out for themselves. They are, after all, going to have to decide whether to dip into their wallet to buy a book that doesn’t offer any specific practical instruction.

If you do have the cash it’s a worthwhile purchase, though.

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Painting Brilliant Skies & Water in Pastel || Liz Haywood-Sullivan

When you think about it, these two subjects are a natural to go hand-in-hand and there’s a pleasing progression as they are brought together in the final chapter. Bit like a romantic novel, really.

Flicking through the book, the first impression is of a great deal of material, and this is confirmed when you get stuck in properly. Not only are there plenty of illustrations, there are demonstrations, examples, hints and tips. If it all seems a little overwhelming, remember that this is a highly-structured book that repays being worked through in order. Some books are for dipping into, but this one is definitely one to follow.

The medium is pastel, but most of what Liz says can be applied to any other, so do give it a look.

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