10 Step Drawing: Flowers || Mary Woodin, Animals || Heather Kilgour

This new series presents what we might call a quick route to drawing. Each of 75 projects includes nine outline stages, plus a final one where the colour is added. What is most useful is the simple shapes with which each begins. If you’re new to drawing, getting this right can be the hardest part and represents the foundations on which the finished result will stand or fall. Anyone with experience will probably find the rather regimented steps that follow exasperating, but do please move along there – this isn’t for you. Beginners should find the process much more reassuring and the routines easy to follow and get to grips with. The fact that the colouring-in is one stage with little more instruction that “colour it in” isn’t ideal, but these are books about drawing, not painting, and you’d need at least another 10 steps to cover this fully. Stop quibbling. The method and results are really quite attractive.

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The Field Guide to Drawing & Sketching Animals || Tim Pond

This is, I think, the best book on drawing animals I’ve seen. The sheer breadth of the coverage and the amount of detail that Tim goes into is breathtaking. More than that, though, it remains at all times completely accessible and you’re never left feeling bewildered by the amount of information on every page.

The ability to do this comes from confidence and, as you can see from the results, Tim is completely at home with his subject and his materials. For what is avowedly a book about drawing, there’s a lot of colour, much of it in the form of washes. As I write, I have to keep reminding myself that this is a drawing, not a painting, book although there is a convincing argument for treating it as the latter. One of the things I particularly like is that Tim doesn’t bother with backgrounds, except for the occasional prop of a bit of vegetation. Too many artists opt either for a complete jungle or a nondescript cyclorama that makes the subject look like an exhibit in a menagerie. Tim’s creatures exist for themselves and in their own right. They leap off the page and they’re all the better for that.

Drawing (or painting) animals is a complex subject. There’s structure, form and behaviour as well as that elephant in the corner, anatomy. Tim has a neat way of dealing with that: shading. I’ve seen this done before and, frankly, it often just adds to the confusion. Tim uses a lot more colours than is usual and it just works. Even I can understand it and, more to the point, I believe I can. Another of his tricks is what he calls Wizards and Gizmos, little shortcuts to getting shapes and proportions right that allow you to build solid foundations for your subject that will pay dividends later. These are more than clever tricks for their own sake and are very handy ways of dealing with some of the more technical aspects of the subject.

There’s masses to get your teeth into here, from techniques to almost every living thing you can think of, from crustaceans to ungulates. This is a book that will keep you engaged – even engrossed – for a very long time and which delivers everything it promises as well as a lot more.

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Curious Creatures – Frans Post and Brazil

Between 1637 and 1644, the Dutch artist Frans Post travelled to Dutch territories in what is now part of Brazil to record the exotic flora and fauna found there. The paintings he made after his return to Europe became celebrated and were the first time many had seen creatures so far from their personal experience. These finished works are now in galleries around the world.

The original drawings on which the paintings were based were presumed to have been lost, but were recently discovered in an archive in Haarlem. It is these that form the basis for this exhibition, on loan to the National Gallery of Ireland in Dublin. For those unable to visit, the reproduction in this slim volume that accompanies it gives an excellent indication of the closeness and accuracy of Post’s observation as well as the opportunity to compare the drawings with the conventionality – in European terms – of the full paintings.

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5-minute Sketching: Animals & Pets || Gary Geraths

Animals are prime candidates for quick working. Rarely still and often found in less than ideal places, the ability to grab a quick sketch while they’re visible, or at least reasonably still, is a useful skill.

This new series carries great promise and the ideas and techniques here do it full justice. There’s plenty of information and variety, with something for everyone. If I have a reservation, it’s that the execution perhaps leaves a little to be desired, but there’s nothing wrong with the ideas and you’ll find plenty to keep you occupied.

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Drawing and Painting Animals with Expression || Marjolein Kruijt

There are two things that need to be said about this from the outset. First, it’s not a book for the beginner and second, most of the illustrations are in pastel or oil. Neither of these counts against it, of course, but they do define its market.

There is a lot more to what is in fact a comprehensive guide – just about every species and many breeds are here, from domestic to wild animals and even birds. As becomes clear, expression is as important with animals as with people and this is much more than anthropomorphism – there are no cute portraits here. It is perhaps as important as form, structure and perspective, aspects at which Marjolein Kruijt is equally adept.

Most of the illustration is by example and the few lessons are at the end of the book. The bulk of the text discusses the structure and form of both the subject and the resulting painting. Although there is a very useful introduction to materials and media, Marjolein tends to assume that you will know about methods of application. If you do, you’ll be thankful not to find 50% of the book taken up with things you don’t need to be told. If you don’t, well, to be honest, capturing character in such detail is probably not the skill you most need to learn. Think of it as a masterclass.

This is a serious book that takes its subject and its readership seriously and is all the better for that.

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Wild Animals || Giovanni Civardi

There is, it seems, no end to the talents of this popular and capable artist and author. Best known for his books on the human figure, this isn’t his first foray into the animal world, but it continues his tradition of sensitive pencil work combined with simple, concise captions that explain exactly what he’s doing. There really is nothing not to like!

The book covers exactly what you’d expect, as is confirmed by the subtitle “How to draw elephants, tigers, lions and other animals”. Each of these is given its own section and there is also a very handy introduction that explains the basic techniques you’ll need in this particular field. The results are lifelike and characterful and definitely encourage by example.

Compared to Giovanni’s other books, there is perhaps broader coverage, meaning that each section goes into slightly less detail, which in turn means that you, the reader, have to do more of the analysis and deconstruction than is otherwise the case. For this reason, it’s a book perhaps better suited to someone with a little more experience than is usual with this author. It’s a delight and a triumph for all that, though.

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We Think the World of You || David Remfry

I’d better explain that the subtitle to this tells you what it’s about: People and Dogs Drawn Together. And, yes, that wins my personal prize for the most bizarre idea of the year. Maybe even decade. No, millennium. In fact, what in all that’s crazy did a body as august as the RA think they were doing putting their name to this?

I thought we’d better get all that out of the way right at the start, let off steam, because this is a fantastic idea that’s beautifully executed and reproduced. The title and subtitle, of course, are ambiguous. Who thinks the most of who? Both, of course, because the relationship between an owner and their dog is a very special one – I can see that and I’m not even a dog person, by the way. Even if I didn’t, David’s sensitive portraits would convince me.

So, how do you go about presenting a book of drawings of people and dogs? Well, the answer is that you devote a chapter to each session. You get to know the people – some are in the public eye and some aren’t – and then you start sketching to get the basic character. Finally, you put them together and that’s where the alchemy takes place. You know that old adage about people getting to look like their dogs? Well, it’s true, especially when an artist as sensitive as David (try telling me he’s not a dog person) gets under their skin, as a good portraitist should, and exposes their character and inner being. And what’s so brilliant is that he can do this for both humans and animals; it’s a rare artist who’s good at both.

I love this. It’s charming, it has a warm heart and it will make you smile, both from affection and amusement. Of course the RA should be the publisher. Who else has the gravitas?

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Drawing & Painting Cats || Vic Bearcroft

I had my doubts about Vic’s previous book. I felt that, excellent as his wildlife paintings were, some of his backgrounds were a bit flat. I couldn’t decide if this was deliberate – to push the main subject forward or not, but I felt a lack of impact. There are no such worries here. All the works in this volume are complete and the subjects are either set properly in context or isolated against a plain wash that’s entirely suitable for a portrait.

There’s no doubt that Vic loves cats – it’s apparent on every page, both in the way he depicts them and a hundred small details I’ll leave you to find for yourself. His dedication indicates that he’s lived with them and it shows. There are plenty of domestic moggies here, both young and old, alert and at rest and Vic captures perfectly both their physical and mental attitudes. My favourite is of a black Tom sitting on a roof in moonlight. Its posture and expression say both “I’m lord of all I survey” and “What am I doing here?”. And that’s pure cat.

This understanding extends to the larger cats, too, and Vic has some excellent demonstrations of a prowling black leopard and of lions and tigers. He works in watercolour, acrylic, pastel, pencil and ink, so there’s something for everyone. As long as you like cats, of course.

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A Kurt Jackson Bestiary || Kurt Jackson

I seem to have reviewed a lot of Kurt Jackson books lately and it’s always a pleasure. This is not only because I like Kurt’s work, but because they’ve all been beautifully produced and so varied that quantity has not brought repetition. Kurt is an artist who likes to try new subjects and what we might call his voyage of discovery is always as fascinating as the final result. There haven’t been any obvious failures yet, but I can’t help thinking I’d even be enthusing if there were one!

The term “bestiary” implies not a collection of animal portraits but rather the fabulous creatures of mediaeval legend. While you won’t find such things as the Cockatrice here, you will notice that the subjects themselves are artistic interpretations rather than faithful portraits. The cock on the front cover is a good example, capturing as it does the many colours of the feathers and a sense of life and movement rather than a static and unrealistic pose. Looking inside, you’ll find the grey washes that depict the murmurations of Starlings over Marazion and the enigmatic Song Thrush Song, Porthbean, where the subject is invisible and merely contributes to the experience of the scene; the title teases the viewer with the anticipation of what only the artist can hear.

Other subjects are more lifelike: shellfish, butterflies, birds, but they all exist within their surrounds and you quite often have to look for them. Wildlife in the field does its best to camouflage rather than reveal itself.

As a piece of production, this book is a delight to handle. Weighty without being heavy, large enough to hold as well as see and printed on good quality paper, it’s an artefact rather than a product and a joy in its own right.

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DVD Watercolor In The Wild || James Gurney

I really can’t praise this enough. Let me enumerate:

For a start, James has what, as far as I know, is a unique viewpoint. Using an ingenious rig, he provides an artist’s-eye viewpoint as he works. Rather than getting oblique angles where the light isn’t quite right, or over-the-shoulder shots that don’t reveal quite enough detail, what you see is what he sees, and it’s as if you’re completing the demonstration yourself. The sense of immediacy is stunning and so is the clarity.

Then there’s the material and equipment section. I know, yada yada, these are my paints, here are some brushes and I have these pencils. But James has reduced things down to a watercolour kit that can be carried in a belt bag and go literally anywhere – even a theatre, he claims. He’s clearly a bit of an inventor because, as well as the camera rig, he’s also made up a magnetic water jar that attaches to his paintbox. Now you never have to wonder where exactly to put it. For longer trips where a car is available, there’s a larger backpack that includes a camera tripod that doubles as an easel, and a folding stool.

I’m mentioning all this because I sat, utterly absorbed, through the whole section without ever touching the fast forward button. Never done that before. The added fact is that James is one of the most engaging presenters you ever came across. His approach isn’t didactic or prescriptive. There’s no “you have to do it this way” or “my way’s best”. He simply describes what he’s doing – it’s always in the present tense and always what you’re looking at – and allows you to make up your own mind whether you like it or not. He’s warm and inclusive. Apart from watching this film, I’ve exchanged half a dozen emails with him and he’s my new best friend.

OK, so James can make a film, put some kit together and talk the talk, but can he paint? Oh yes, and his approach is very interesting. For a start, he allows himself about an hour for a painting. Each demonstration here – there are six, covering buildings, animals, people and landscapes – is edited down to about fifteen minutes and covers all the important bits without leaving you thinking, “hang on, what did he do just then?”. He begins, conventionally enough, with a pencil drawing, but then spends the next thirty to forty minutes putting in tones, values and shading. With a quarter of an hour or less to go, he gets to the detail. That’s not enough, surely? No, not for fine detail, but the point is he’s working on very solid foundations: the subject has structure and substance and he doesn’t paint the detail at all, just suggests what the viewer should be seeing so that they create the finer stuff for themselves. It’s very subtle and, although not unique in itself, certainly unusual in combination with so much preparatory work.

The exception to the one hour approach is a painting of a sleeping foal. Young animals are rarely still and only for short periods and this one is no exception. A large chunk of this section is taken up with watching the creature running round, interacting with its mother and eating. Finally, it needs a nap and we get to work. The point of this demonstration is to show how you can capture the essence of a subject if you’ve already understood it before you lift a brush. I like the fact that, once again, James doesn’t tell you this, but shows you.

This is an exceptional piece of work and amazingly good value. I’ll leave you with one quote. Paraphrasing Goethe, James says, “The dangers of watercolour are infinite and safety is one of the dangers.” Hell of an aphorism that, and the more you think about it, the more it means.

Available as a digital download from:
https://gumroad.com/l/watercolor – $15, credit card payment
https://sellfy.com/p/Pvxb/ – $14.99, PayPal only
There is also a shrink-wrapped DVD, but it’s NTSC format and possibly also Region 1. I could get it to play, but without sound.