Archive for category Subject: Perspective

Handbook of Watercolour Tips and Techniques || Arnold Lowrey, Wendy Jelbert, Geoff Kersey, Barry Herniman

I don’t normally review bind-ups as I’ve usually covered the individual volumes previously. Sometimes, though, there’s a particular reason: the single books are no longer available, the anthology is particularly good value or maybe there’s some kind of health warning.

This one falls into the latter category. Be aware that this particular collection has appeared previously, but in a larger format. If you’ve already got a similar sounding book by the same four authors, don’t assume that this is more in the same vein, it’s the same thing.

I have to confess that the reason for issuing it in a half-size format eludes me and there doesn’t seem to have been any change of layout either, they’ve just shrunk the pages so that, unless you have 20:20 vision or some very strong reading glasses, you’re going to struggle with it. It’s also quite heavy and you need to break the spine in order to see the whole of each page properly. Even then, it’s a bit of a wrestle to get it to lie flat.

If you want Arnold Lowrey on starting to paint, Wendy Jelbert on working from sketch to painting, Geoff Kersey on perspective, depth and distance and Barry Herniman on mood and atmosphere, go for the full-size compilation, which appears to be still available. It’s a bit more, but it’s worth it.

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The Complete Guide To Perspective || John Raynes

Another welcome reissue of a John Raynes title in paperback and one which, if I’m not mistaken, addresses a production issue where, in the original hardback, some of the illustrations were a little bit faint.

John is best known for his books on figure painting, but he is generally a technical master and this is a typically thorough and intensive look at the use of perspective in pretty well anything you could want to paint. Most books on the subject tend to fall onto one of two camps: the technical or the artistic, the former being short on the painterly and the latter on the actual techniques. John, as you’d expect, manages both. This isn’t a book to skim through, but one which requires and repays persistent study and practice.

If perspective doesn’t bother you, then this book needn’t either. You may be completely at home with the techniques or you can’t see the point. However, if it’s something you want or know you have to get to grips with, you won’t find a better or a more comprehensive guide.

Batsford, paperback reissue 2008

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