| Author | Message | ||
  Grizrev Senior Member Username: Grizrev Post Number: 229 Registered: 8-2006 |
Rekha, Sorry about that -- you had already started a sequel! Thanks! | ||
Grizrev Senior Member Username: Grizrev Post Number: 221 Registered: 8-2006 |
Rekha, what about a sequel for this long thread as well? "Watercolour Books That Have Helped or Inspired Me The Most"? or "The Best Watercolor Books IMHO" | ||
Rekha Senior Member Username: Rekha Post Number: 272 Registered: 8-2006 |
Please continue your communication onto http://community.cheapjoes.com/forum/messages/25/2767.html?1175608987 | ||
Whitewatercolor Advanced Member Username: Whitewatercolor Post Number: 183 Registered: 10-2006 |
Kisha, Is this David Suzuki that I've heard lecture in the past? I've never studied Zen, but I would say we get our strength, energy, motivation and focus for painting very much the same way. Thanks for the book recommendation. | ||
Kisha Unregistered guest |
Griz-- It actually does not have any sections devoted to Zen painting pe se. It includes several B$W zen paintings throughout the book and discusses zen's influence on various Japanese arts such as the art of tea, samurai swordsmanship, and haiku poetry. Somehow by the time you finish you realize the the arts are all one, all outward expressions of an inner state. The book communicates this so well that when i recommended it I recalled it as having a lot about painting in it. As I now leaf through it I see lots of paintings but no specific chapter title addressing painting. Somehow it is useful for understanding painting, but it does not address specific painting approaches or techniques. The chapter "Love of Nature" is especially illuminating. It is a masterpiece of a book and has been in continuous printing since 1959 | ||
Kisha Unregistered guest |
Zen has been one of the many influences on my personal development over the decades. Time spent in strict zen meditation, time spent living on 100 acres in the woods in a hand build log cabin living close to the land, time spent looking for and finally feeling the connection between all things at some point and at some lucky times( when I am clear of the human fears, anxieties, and other distractions that so plague all of our minds) allows me to simply feel the presence of profound meaning through the beauty before me. I drink it in, trying to quell my own inner noise so I may match the silence at the core of things and I lift my brush and I paint. | ||
Grizrev Advanced Member Username: Grizrev Post Number: 166 Registered: 8-2006 |
Thanks, Kisha. Does this book on Zen and Japanese culture specifically address painting in light of Zen? I'd be interested in how you have distilled the essence of it and been able to use it in the way you paint. Can you give me a brief summary? Does it help more in the way you prepare, or in guiding you as you actually paint? Describe a typical session. | ||
Kisha Unregistered guest |
I suggest reading "Zen and Japanese Culture" by D.T. Suzuki since that book addresses this subject with significantly more eloquence, scholarship, and expertise than I am capable of. It is also a book length topic and not one that can be broached in a few sentences. | ||
Grizrev Advanced Member Username: Grizrev Post Number: 163 Registered: 8-2006 |
Kisha, With all your interest in Zen and Eastern religion, we need you to do some posting on Religion and Art telling us more about the benefits to your painting experience, and perhaps more about Eastern art and its relationship to Eastern religions. | ||
Kisha Unregistered guest |
Eugene--it is unclear whether or not you have actually read the specific book Watercolor Lessons from Eliot O'Hara that I am referring to. There are no Schultz paintings in the book. He also very meticulously goes over O'Hara's teachings using verbatim specific lessons from his workshops taught in Goose Island, Maine. Little if anything in the book is actually Schultz'. All he did was assemble and present O'Hara's teachings in a wonderful organized and complete form. He was O'Hara's teaching assistant there for decades and so know the "master's" methods like no other. I have seen other books by Schultz and must agree on your assessment of his artistic talents. | ||
Kisha Unregistered guest |
Actually making a stout tea of an indian (as in India) herb called Gotu Kola helps me focus. The ancients used it as an aid to meditation. It sure works! | ||
Whitewatercolor Advanced Member Username: Whitewatercolor Post Number: 181 Registered: 10-2006 |
Marie: What a quote..."Trevor Chamberlain shares an anonymous quote that has always stayed with me. Watercolor "requires the forward planning of a chess player, the concentration of a Zen master, and the dexterity of a brain surgeon." Has anyone tried any methods of warming up your brain before painting? I find that I paint best when my mind and reflexes are "on edge." When play computer games (simple ones like minesweeper) to get my reflexes and thought processes stimulated before I paint, my outcome is better. | ||
Eugene Senior Member Username: Eugene Post Number: 219 Registered: 8-2006 |
Charles Schmaltz was a student of O'Hara but I don't think he does a good job in he book of explaining O'Hara's method. And, if his watercolors are any indication, I don't thnk he learned much from O'Hara. (IMHO) | ||
Grizrev Advanced Member Username: Grizrev Post Number: 159 Registered: 8-2006 |
Marie, How beautifully expressed. As I have talked about principles of design, you have eloquently portrayed how they are brought to life! Ballet, orchestra conductor (juggler?) -- yes, yes! | ||
Rekha Senior Member Username: Rekha Post Number: 201 Registered: 8-2006 |
"...that he could choreograph the parts together in time" On what observation do you make this comment, Marie | ||
Eugene Senior Member Username: Eugene Post Number: 218 Registered: 8-2006 |
Marie--You echo my thoughts, completely. I love Sargent. | ||
Marie Senior Member Username: Marie Post Number: 274 Registered: 8-2006 |
Rekha, yes, I do admire Sargent's technique. Overall, it's his balance between control and wildness in his watercolors that is unparalleled. It's the amount he can express without becoming tedious and labored. Some things I admire in particular: * Superb drawing, both with a pencil and a brush. Even though I consider him more painterly than draftsman-like, his drawing is extraordinarily accurate without being labored. * Phenomenal control of value. Take a look at his watercolors in black and white; it's amazing. * Brushwork and judging the wetness of the paper. He knew just when to go in with exactly the right amount paint on his brush. You don't get second tries with the way he would go into wet paper with a single bravura brushstroke. Looking at his watercolors is almost like watching a ballet to me. It's not so much that he could do this particular technique or that particular technique, but that he could choreograph the parts together in time. It's really almost as much performance as it is painting ... and I find it incredibly exciting. Trevor Chamberlain shares an anonymous quote that has always stayed with me. Watercolor "requires the forward planning of a chess player, the concentration of a Zen master, and the dexterity of a brain surgeon." Sargent's watercolors are the embodiment of that quote. | ||
Kisha Unregistered guest |
Eugene--A while back I bought Watercolor Lesson's from Eliot O'Hara by Charles Schmaltz because it was recommended here by someone. Great book--(used on Amazon)--lots of instruction at level I haven't seen anywhere else. Subtleties about painting things like rocks and fog and clouds that I've never seen in print. I found it a lot more advanced and useful that Edgar Whitney's book. Also O'Hara, to me, is a better artist. Lot's of full page color plates of O'Hara's plein air work. | ||
Rekha Advanced Member Username: Rekha Post Number: 200 Registered: 8-2006 |
Marie, Some time ago you wrote that you admire Sargent's techniques. At the time, I had read nothing about him so didn't feel competent to ask the question. What of his techniques do you find admirable; of all the paintings shown in the books only Carraras has brush strokes and use of pigment that jump out of the page. I always find your input valuable and would like your comment | ||
Eugene Senior Member Username: Eugene Post Number: 208 Registered: 8-2006 |
O'hara has been almost forgotten. Are ther any books on him or a site where we can see his worl? | ||
Eric Unregistered guest |
Just to expand on the O'Hara-Whitney connection, as I understand it, Whitney learned watercolor from O'Hara, which I assume gave Whitney a solid foundation. But what set Whitney apart from other teachers was his fusion of the solid fundamentals learned from O'Hara with design principles, which come right from Maitland Graves. (he had other influences also) If Whitney merely carried on what he learned from O'Hara, he wouldn't be as well-known. The passion about design along with his memorable teaching theatrics are what made him famous. | ||
Joe Junior Member Username: Joe Post Number: 22 Registered: 2-2007 |
My understanding was eliot ohara was whitney's teacher and whitney taught most all of the good w/c teachers today. Whitney never denied ohara as his teacher. I personally think whitney improved on ohara's technique and his students also took it to the next level. Whitney's technique wa wonderful but his students have improved, or added on, to it. | ||
Eric Unregistered guest |
I believe your thinking of Elliot O'Hara. Although I'm not sure O'Hara was Whitney's biggest influence. Somebody correct me if I'm wrong, but Whitney's biggest contribution to watercolor was in the area of design and Maitland Graves, who authored "The Art of Color and Design" might have been a bigger influence. They taught together at Pratt Institute in New York. | ||
Anonymous One Unregistered guest |
I wonder why Whitney gets all the credit when it was his teacher who gave American watercolor in the 20th century new life and was a consummate teacher. Do you know who that was? | ||
Grizrev Advanced Member Username: Grizrev Post Number: 111 Registered: 8-2006 |
Ed Whitney and his students have helped prevent our losing some of the best approaches to watercolor (especially those of the 19th century impressionists) in all the clamor and confusion of the 20th century! The great watercolors I see posted on this board from time to time seem to confirm that beautiful art will not be lost in the 21st century. | ||
Joe Junior Member Username: Joe Post Number: 15 Registered: 2-2007 |
Another of edgar whitney's students was betty lou schlemm. A fine watercolorist who wrote a number of good books. | ||
Rekha Advanced Member Username: Rekha Post Number: 189 Registered: 8-2006 |
I have found a mine of information on artists' work on http://artchive.com/ftp_site.htm Any comments? | ||
Rekha Advanced Member Username: Rekha Post Number: 187 Registered: 8-2006 |
Many, many thanks, Marie, for taking the time out to give us an excerpt, and most importantly for always responding to questions posed to you | ||
Marie Senior Member Username: Marie Post Number: 238 Registered: 8-2006 |
Eugene, I have heard the same thing from other people. Trevor Chamberlain laments the demise of the old Whatman paper. I gather that the original Whatman mill, which manufactured incredibly high quality paper, went out of business sometime around World War II. A company resurrected the name --- and only the name -- a few years ago. If I am not mistaken, New York Central, may still have a small supply of the pre-WWII stuff. | ||
Eugene Advanced Member Username: Eugene Post Number: 194 Registered: 8-2006 |
Marie. When I first started painting , over 50 years ago, Whatman was the only really good paper available (MHO) Sadly, tiday's Whatman is terrible (again MHO) | ||
Marie Senior Member Username: Marie Post Number: 237 Registered: 8-2006 |
In a nutshell, he exploited a lot of techniques including resists (wax and rubber), scraping, mediums, and body color/gouache. Other useful information: * Sometimes he did a careful underdrawing in pencil; other times he painted directly with a brush and no pencil. * He used Whatman paper, usually rough but sometimes other finishes. (Be careful, though. The modern Whatman paper is evidently nothing like the Whatman paper that Turner and Sargent used. The historical paper contained a fair amount of linen.) * He used "a fistful of brushes" (Sargent's own description) and a limited palette. * He used gum megilp (similar to gum arabic), to improve the transparency and flow in dark passages. * From unfinished paintings in the Metropolitan book, I noticed that he established a middle value pretty quickly in his paintings. * He liked watercolor blocks. * He did a lot of work en plein air, but he wasn't above working from photos on occasion. * He worked quickly. * He used rulers and compasses for architectural subjects. * He used black and Van Dyke brown on his palette. * He used umbrellas to shade his paper when working outdoors. * He had a lovely Italian valet who carried his equipment for him. (maybe that's what I'm missing :-) ). | ||
Rekha Advanced Member Username: Rekha Post Number: 186 Registered: 8-2006 |
OK. Could you give us some idea of what the article presents about Sargent's techniques, Marie | ||
Marie Senior Member Username: Marie Post Number: 236 Registered: 8-2006 |
Actually, "Awash in Color" is not the book I recommended. I have both -- "Awash in Color" and "American Traditions in Watercolor." "American Traditions in Watercolor is the one with the article about Sargent. | ||
Rekha Advanced Member Username: Rekha Post Number: 185 Registered: 8-2006 |
You are right, Landscaper; I am disappointed especially it is such a huge book to lift and hump in a rucsac. I notice that it is the same book Marie referred to in her last email | ||
Landscaper Member Username: Landscaper Post Number: 29 Registered: 12-2006 |
Rekha, I have "Awash with Color." This is a book that accompanies a major exhibition of an opening at the Museum of Fine Arts in Boston in 1993. Of the two hundred and sixty odd pages, twenty-two are dedicated to Sargent. The rest is dedicated to over a hundred other artist. It has his usual popular paintings with good discussion, but very little regarding technique. Still, I find the book interesting. | ||
Rekha Advanced Member Username: Rekha Post Number: 182 Registered: 8-2006 |
Thank you, Marie. I have already ordered Little's book. Today I have access to a book called Awash with color, which I am hoping will give me more insight into the various artists' techniques. Some of the advice given in books is don't touch the paper, but Turner scratched and abused the paper ruthlessly before getting the result he was happy with. | ||
Marie Senior Member Username: Marie Post Number: 235 Registered: 8-2006 |
I just remembered the name of the other book -- "American Traditions in Watercolor: The Worcester Art Museum Collection." It includes articles about the technique of both Sargent and Homer. It's out of print, but it's not expensive. In fact, I just found one on Amazon for $1.84 + shipping. | ||
Rekha Advanced Member Username: Rekha Post Number: 181 Registered: 8-2006 |
Thank you Marie, I am surprised that there is in effect only one book available describing Sargent's techniques | ||
Marie Senior Member Username: Marie Post Number: 233 Registered: 8-2006 |
The Carl Little about Sargent is still available from the University of California Press: http://www.ucpress.edu/books/pages/8719.html | ||
Marie Senior Member Username: Marie Post Number: 232 Registered: 8-2006 |
My favorite book on Sargent's watercolors is "The Watercolor of John Singer Sargent" by Carl Little. There's not much text -- it's mostly pictures, but, oh, the pictures are marvelous. This book used to be inexpensive; unfortunately it's out of print now. I highly recommend it. There are two books I am aware of that discuss his watercolor technique. Unfortunately, I can't find them on Amazon right now, and I'm going to have to dig to find my copies. * The Metropolitan Museum of Art published a book a few years ago about Sargent's drawings and watercolors. The book had an article about Sargent's watercolor technique. The article was okay, but I'm not sure I would recommend it unless you're a big Sargent fan. * There was another book published by the Worcester Museum of Art with some good info about Sargent's technique. I'm not sure that it's worth the price --- even if you can find it. The Watson-Guptill -- "Sargent: Watercolors" -- book is fair (and cheap). The reproductions are weak, but it may be the only thing available. The other books about Sargent are roughly 10% about watercolor and 90% about oil. | ||
Rekha Advanced Member Username: Rekha Post Number: 180 Registered: 8-2006 |
There's a plethora of books about Sargent. Can someone recommend book/s which detail his techniques | ||
Grizrev Intermediate Member Username: Grizrev Post Number: 58 Registered: 8-2006 |
Landscaper, I have Ron Ranson's book on David Taylor as well -- it is delightful. I also have Ranson's two Seago books. Have you seen them? Have you been able to find any other books of Seago's art at a reasonable price? | ||
Landscaper Member Username: Landscaper Post Number: 28 Registered: 12-2006 |
My latest purchase is Ron Ranson's book on David Tayor. I had delayed buying it at first because of it's price, but I recently found it at a good deal. Taylor is an Australian painter reminiscent of Yardley, Wesson and Seago. He has some good instruction and filled with many lovely paintings. | ||
Grizrev Member Username: Grizrev Post Number: 39 Registered: 8-2006 |
Marie, Thanks again for a thoughtful and helpful response! I hope others will join in. I also appreciate John Yardley and Charles Reid for the spontanaeity and looseness of style, though they are very different! | ||
Marie Senior Member Username: Marie Post Number: 218 Registered: 8-2006 |
A complete inventory would take a while. I'm a book junkie. Here are some of the better ones in my collection. GENERAL WATERCOLOR * The Watercolor Book (David Dewey) - good summary of basic techniques. * Everything You Ever Wanted to Know about Watercolor (Marian Appelhof) - excerpts from dozens of other watercolor books. It won't teach you to paint in watercolor, but it will expose you to a wide variety of approaches and help you figure out which other books you might or might not want to buy. * Light and Atmosphere in Watercolor (Trevor Chamberlain) - I would really describe this as a personal monograph. It's charming, polite, and the paintings are gorgeous. I re-read it every time I need a good dose of warm fuzzies. * John Yardley: A Personal View (John Yardley). Similar to the Trevor Chamberlain book. The personality is not quite as warm, but the paintings are equally good. His suggestion to start with the background is one of the best single tips I have gotten from a watercolor book. * Light in Watercolor (Lucy Willis) - Lots of good information about how to interpret light and manage value. Very much in the plein air tradition, even though not all of her paintings are done en plein air. * Robert Wade's Watercolor Workshop Handbook (Robert Wade) -- This is a must-have. Good, solid advice on value, color, composition, and paint handling. His advice on mixing greens was especially helpful for me. (His DVD of the same title is also excellent.) * Mastering Atmosphere and Mood in Watercolor (Joseph Zbuvic) - Okay, English is not his native language and he needed a better editor. All the same, his discussion of how to manage paint dilution is terrific. He describes levels of paint consistency as tea, coffee, milk, cream, or butter. I found it incredibly helpful. * All the Charles Reid books are good. I'm not going to list them all here. Landscape * Carlson's Guide to Landscape Painting (John Carlson) -- not a watercolor book, but an excellent introduction to landscape painting in general. Color * Making Color Sing (Jeanne Dobie) - I'm not much of a colorist, and so I don't pay as much attention to her sections on color as I should. Many folks swear by it, though. The most useful part for me was the section on design. Figures * Painting People in Watercolor: A Design Approach (Alex Powers) -- This is another must-have, whether you paint figures or not. There's good info on painting figures, but there is equally good info on how to design a painting. * Paint Watercolors filled with Life and Energy (Arne Westerman) - Good information on how to compose pictures and how to use photos as a *reference*. He uses hot pressed paper and reworks things a lot. * Breaking the Rules of Watercolor (Burt Silverman) - Silverman is generally thought of more as an realist, oil painter. His style is very similar to Arne Westerman, with lots of good arguments about getting past the traditional dogma about transparent/opaque/you-can't-rework-a-watercolor. Lots of abuse of hot-pressed paper eventually turns into lovely watercolors. | ||
Grizrev Member Username: Grizrev Post Number: 36 Registered: 8-2006 |
Would some of you be willing to post inventories of the watercolor books in your personal collections, with an asterik beside your favorites? A brief annotation as to why some of these are "favorites," or most useful and inspirational to you, would be helpful as well. | ||
Rekha Advanced Member Username: Rekha Post Number: 155 Registered: 8-2006 |
I have just received my unputdownable copy of Jude Siegel's A pacific northwest nature sketchbook. Plenty of inspiration from page one, even some of her decorative text enhances the sketch. | ||
SZ Unregistered guest |
Thanks, Whitewater, yes, MacPherson is often suggested as a good read and teacher among the plein aire crowd. However, I hadn't seen any reviews of his newer book and was very curious as to what he might have added. With the new Trevena book I just got--it is good, but really so much like the first that it wouldn't be necessary to own both. I'll see if I can find MacPherson locally. | ||
Whitewatercolor Advanced Member Username: Whitewatercolor Post Number: 112 Registered: 10-2006 |
SZ - Yes I have his earlier book. It is also a good book but I find this book even better. I might be mistaking, but I think Richard Schmid was a mentor of MacPherson. Schmid was definitely a mentor of Kenn Backhaus, who is also past president of the plein air society and recommended MacPherson's first book to me. I haven't seen Schmid's book, so I can't compare the two, but I have lots of books I wouldn't recommend. This one is really informative, packed full of information and well organized so that you can reference it quickly. | ||
SZ Unregistered guest |
Thanks so much for that info, Marie. Yes, it's on my list and definitely from his web site (less than half of Amazon). Every single oil painter I know (and that is a large group) vote this among the best, if not #1. Appreciate your response--I'll push this up the list! | ||
Marie Advanced Member Username: Marie Post Number: 181 Registered: 8-2006 |
Actually, there's very little in his book that is specific to oil painting. It's packed with lots of good, solid advice about how to see. Some things that stick in my mind: * Questions to ask yourself before you start to paint. For example, where are the lightest lights, where are the darkest darks, where are your hard edges. * Checklist of common painting mistakes. * Using color to preserve values. The argument is that you have a lot more colors to play with than values, and you should do everything you can to conserve values. * A lot of information on the warm vs. cool shadows, and the effect the light source has on shadows. It's a great book regardless of the medium. If you're planning to order it, definitely get it from his website; it's usually prohibitively expensive on Amazon. | ||
SZ Unregistered guest |
Marie, thanks for bringing up Alla Prima. I've had this book on my wish list for about a year or more, but couldn't bring myself to buy it, even from Schmidt directly, because I have been trying to focus on watercolour. Can you talk a little about how you think his work in oil translates to w/c? Many thanks. And Whitewater, do you have the earlier MacPherson book? If so, how would you rate them one against the other? Thanks. | ||
Marie Advanced Member Username: Marie Post Number: 180 Registered: 8-2006 |
Another good oil painting book that I have found useful as a figurative watercolorist is Richard Schmid's "Alla Prima: Everything I Know about Painting." | ||
Whitewatercolor Advanced Member Username: Whitewatercolor Post Number: 110 Registered: 10-2006 |
For What It's Worth: When I took an oil class from a really accomplished oil painter, I was surprised to find that I was unaware of most of the books he recommended to the class. Then when people started asking about contemporary artists whose work he admired, I realized that when we paint a medium, we seem to be in a path that keeps us from looking across mediums to expand our artistic horizons. When I mentioned watercolorists whose work I admired, it stopped him in his tracks. He realized that his knowledge was also limited and maybe too focused in that way. From early on in my painting experience, I found that books by oil painters could be very helpful. Because of the complexity of watercolor, color mixing, water use, layering, etc., technique takes so much explanation we sometimes get lost in it. For that reason, I find that some books by oil painters get right to the heart of things and deliver the knowledge in a more direct way. I'm about half way through Kevin MacPherson's new book "Landscape Painting Inside & Out" and I would definitely recommend it. | ||
Anonymous one Unregistered guest |
Thanks for the link, Rekha. It's so nice to see his paintings. I also found this quote from him on the website very inspiring: "His sage advice to me and all artists: Just remember to listen to your inner self. Keep exploring; keep yourself open to being you. Don’t let anyone box you in. You’re the one with the brush; you can paint what and how you want from your heart. Don’t sell your soul, just paint….”. | ||
Rekha Advanced Member Username: Rekha Post Number: 137 Registered: 8-2006 |
I was curious myself, landscaper, and found a URL with Millard's bio. He died 2002 http://www.gallerystthomas.com/david_millard.html | ||
Landscaper New member Username: Landscaper Post Number: 10 Registered: 12-2006 |
Also, in "More Joy of Watercolor," Millard wishes to take you from the sketch to the finished painting. He uses an unbelievable forty color pallete. Most of the mixes he makes, these color impaired eyes can't even differentiate. He has many great paintings, and it is a great book to learn from. Does anyone know if Millard is still living? BTW, I have seen the Aquabee he uses at one of the on-line stores. It may have been Daniel Smith. | ||
Rekha Advanced Member Username: Rekha Post Number: 135 Registered: 8-2006 |
You're right, Eric. This is what Robert had to say earlier on in this very thread: "OOpps--he does mix colors-mea culpa. I checked and he explained that More Joy of Watercolor takes up where the first book left off--exploring a more advanced palette. His tips on loose contour drawing, which I find quite useful, continue in the second book. For about 20 years art supply stores carried the Aquabee sketch book he recommends (he paints mostly on heavy drawing paper rather than watercolor paper!) but in the last year or so the item has been discontinued. His whole point is to quick sketch incessantly. I think he really has a great formula for loosing up one's style. I've noticed some highly Millard influenced work appoear in watrcolor magazine oiver the past 2 years. His books are from the early 80,s BTW. I personally sketch exclusively with a wolff 4B carbon pencil and have done so since I read Millard in '84." | ||
Anonymous Unregistered guest |
I read them as a result of that earlier review--He rated "More..." as better--I concur becasue it covers basically what the first book covers but adds a lot more and the art is more interesting. This is a 20 year old classic. | ||
Eric Unregistered guest |
Rekha, on one of the threads maybe about a year ago, Robert spoke about both books and compared them. I don't really remember what the difference was between the two books. | ||
Anonymous Unregistered guest |
I've read them both. More joy is definately better. More interesting paintings, more ideas--it is book on sketching in watercolor as a finished product. | ||
Rekha Advanced Member Username: Rekha Post Number: 133 Registered: 8-2006 |
Can someone tell me whether there is a big difference between Joy of Watercolor and More joy of watercolor written by David Millard in terms of content | ||
Rekha Advanced Member Username: Rekha Post Number: 132 Registered: 8-2006 |
No worries, SZ. Happy reading | ||
SZ Unregistered guest |
Rekha and all, I finally got my copy of Trevena's Vibrant Watercolours. One look-thru and I like it very much. It is similar to her first book, but I was so fond of it, I don't regret ordering this one. It is not necessarily for the traditional watercolourists. Trevena I think may be self-taught and hence doesn't seem to pay particular attention to any standard rules--probably why I like it!  Again thanks all for helping me locate the book, and Rekha for your generous spirit! | ||
Jay Unregistered guest |
re Artist's Channel at www.newcenturytv.com ... I'm on dialup, so had to wait until this morning & visit our WiFi Coffeeshop to check the free samplings. Just as an advisory...the freebies are pretty brief teasers. I chose the Szabo 'Dogwood' film...it opens to another menu that shows several 12-15 minute segments. Click one, & it only shows the first 90-seconds or so. After about 3, you get ye olde 'Subscribe' pop-up....so apparently there's a low limit to how many of the abbreviated segments you can watch. I just found out if you start the process all over again (back to the Channel's home page) & watch the intro, you can go back in & view a couple more of the abbrevi-teasers. Tease is the key word....very brief samplings so don't expect much. Yes, I know - they ARE free....not complaining but just as an advisory of what to expect. You do/can get at least a good taste of the content...and by jumping a few segments, see a more advanced stage of the demo. AFA subscribing, it might be worth it for the demos of interest to you that you might not be able to find otherwise, or to get detailed content of those you might want to buy for your library. I think I'd rather just buy the available videos, eg, the Szabo videos they show are available from his website for $25. HTH, /Jay | ||
Whitewatercolor Intermediate Member Username: Whitewatercolor Post Number: 91 Registered: 10-2006 |
The sticks, the shadows, everything leads me to the focal point, which is well placed. When I opened this page I wasn't sure whether it was a photograph or a painting. But it is too good to be a photograph, everything is composed too well, all the distracting detail of real life are removed. This to me is about as good as painting can get. It doesn't need to be "looser" to work. It doesn't need to be "tighter." Loose or tight are a nice way of saying get rid of some of those unnecessary distractions. I don't see any in this painting. The transitions that leave the focal point distinct are subtle and well done, in my humblest opinion. | ||
Jay Unregistered guest |
One more thing about Zoltan Szabo...forgot to add previously. & that is -- ain't that just about the kewl-est name you've ever heard?? *LOL* I told him that the time I talked with him, & he told me both names are quite common in his native Hungary. I used to do a little amateur magician work many moons ago. Sure wish I'd known of that 'Zoltan' name back then -- I prolly wouldn't have billed m'self as "Jayto the Great-o".  /Jay | ||
Jay Unregistered guest |
Uh-oh Eugene - I like it (conch pic) too.  [& Marie] ... tighten... loosen... I'd think of use of those techniques as 'loosening up' -- I'm gettin' all directionally confused over here!  Might hafta spool up some of the ol' Lynch & Ranson videos & get myself reoriented!  Marie - your 'abstract expressionist' comment had me ROTF....good one! & Eugene - re 'shakes'...I have this saying, "I ain't nervous - I'm quick!!!  OK - used up my weekly quota for emoties. Ceasing & desisting, /Jay | ||
Eugene Advanced Member Username: Eugene Post Number: 136 Registered: 8-2006 |
www.newcenturytv.com Has anyone subscribed to this service? the art channel has all sorts of videos to view. Plenty of Szabos. check it and tell me your opinion. | ||
Marie Advanced Member Username: Marie Post Number: 146 Registered: 8-2006 |
Eugene, I love the seashells! If one's paintings get looser as one gets older, I'm afraid I'll be an abstract expressionist by the time I'm 60. :-) Seriously, I'm trying to learn to tighten up and begin using some masking and splattering techniques. I'll post some pictures after Christmas. | ||
Eugene Advanced Member Username: Eugene Post Number: 134 Registered: 8-2006 |
Eric, I never had a workshop with Pike, but a friend of mine took two with him and loved them. Unfortunately he was an alcoholic and sometimes by the end of the day was pretty sloshy, In the second workshop she took, he was drinking only wine, but of course he started a ten in the morning, Too bad, such a great talent. I’ve learned a lot from his step by step demos in his book. During my 60 years of painting I have tried many styles and media. Oils, acrylics, pastel, print making, silkscreen, gouache, you name it. But I always seem to come home to traditional watercolor. I’m often influenced by books, workshops, and exhibits. I think we all eventually develop a style of our own. I’m posting a painting I did ten years age. Then I was really into textures and used all kinds of masking, glazing,spattering, and other tricky techniques. (“a la Szabo” , sorry Jay, just teasing) I no longer work this tight. I’ll share a secret-- When you get old, your hand begins to shake. So you paint loose. ON THE BEACH 12x16 140# Arches Rough  | ||
SZ Unregistered guest |
Thanks for all the interesting info. I wish I had some tapes now (it is snowing and I am house-bound). I've never seen a watercolour demonstration so it would be a help and an amusement. And, we all do have our differing tastes, likes and dislikes. The only objection I would have to mask is how it can create hard, unwanted edges. Hope others are warm and cosy. | ||
Jay Unregistered guest |
Re Szabo.... I don't want to overstate the issue or roil the waters, but I do want to make a couple of points. I have seen similar comments - criticisms as it were - from at least a couple of others in this forum, of Szabo's use of masking & 'contrivances', but think this was the first time I've heard 'spattering'. I think spattering is a very common technique - I've seen lots of artists use it in videos I've watched. The few times I can recall, I don't think Zoltan 'overdid' it in any regard....in fact as I recollect, his use of it was minimal, and it gave effective results. Likewise as someone stated elsewhere, "constant use of opaque whites". ?? I have maybe 10 or 12 of his videos, and have seen him 'mask' in only two of them (again, as I recall). I never saw him use the fluid mask - only a strip(s) of masking tape. Once was for a shoreline across a lake - and he was making the point of the importance of keeping a straight line for the horizon. In the other, he masked the window edges of an old shack, because it was a line of heavy contrast with the adjacent area, and the interior was done with a heavy, staining wash. But I think something that's important to consider - straight lines are a thing a great many artists have problems with, and it should be kept in mind these are instructional demonstrations....and he is showing 'students' how it can be done. To reinforce that, I've seen him freehand straight lines (& edges) with the greatest of ease - so it's obvious he didn't need those aids. As for 'opaque whites'...there is one demo he used a very thinned wash of white gouache over a desert scene, to give the appearance of fog (ie, semi-transparent) in the background. And again, the result was very effective. Other than that one time, I can't recall ever seeing him use "opaque white" paint. Again, this was instructional - and I've seen him also represent fog & mist in a different way. And moreover, nearly all his books indicate 'techniques' in their titles....and I don't think they are marketed for accomplished artists. I'll tell you one thing that perhaps impressed me more than any other. In one live demo he was doing, he & his workshop attendees were at the scene of an old building by a lake. They showed it 'live', as well as a couple of photos he'd taken showing different compositions. He stood there and analyzed the 'best' picture, and sort've thought out loud as to which pigments he would use in the painting....there were only 4 or 5, and they were colors that (a) I just didn't see ANY of in the scene nor photos, & (b) I'd never have dreamed of using. There's much more than I can explain here....but hearing his thought process showed me he used his selected paints like tools for achieving purpose, based on their characteristics ... and that the guy really REALLY knew his tools! And the finished painting was stunning! Tho only a small, almost subtle & negligible part of the whole demo, such mastery really impressed me. I'll close with one almost humorous observation...but it's something to keep in mind when considering some of these older tomes for your personal library. In one of the videos I have from several years ago - I believe one of his first - he uses a 6-color palette. When I revived my pursuit of the sport recently, I drug out & re-watched the tape again. 4 of the 6 colors he used, are now obsolete....no longer manufactured! The times do change. ~8) /Jay | ||
Eric Unregistered guest |
Eugene- Did you ever take a workshop from John Pike? Just wondering what he was like as a teacher. I probably look through his two books more than any others. | ||
Eric Unregistered guest |
I've read some Szabo books that were fairly useful. He's not on my short list of favorite books, but he's on the long list. His book on techniques is pretty good. | ||
Jay Unregistered guest |
No problem, Eugene - I understand completely. I meant my response in a humorous vein....you didn't really need to tell 'which one'. Heck, I don't like all the stuff Picasso was most famous for, but think he was a fantastic artist! Ain't that weird!?! *LOL* /Jay | ||
Jay Unregistered guest |
Hi Bill, Thanx for taking the time & effort to explain. I think that might've been a good example of the oft-cited inferences drawn thru printed words without benefit of face-to-face conversation & tonal inflection....plus I was already in a 'bout half-crabby mood anyway -- was having "one of those days". You show sign of being a true gentleman, and I appreciate it. /Jay | ||
Eugene Advanced Member Username: Eugene Post Number: 132 Registered: 8-2006 |
re; Szabo.. Jay, I can't remember which of his books I had. As I said before, it's a matter of taste. You and a lot of others like his work, but I don't. No offence to those who do. It's simply that if I don't have high regard for an artist's work, I don't buy his books or try to paint using his techniques. | ||
Bill Unregistered guest |
SZ--One thing about the Szabo Color by Color book that i like--he has a photo and then three step demo of the painting he makes from the photo. This goes on page after page with a new painting every 2 pages. He also shows how to make use of the many paints out there. I find very interesting that all the paintings have different palettes and dioxazine (Winsor) violet is a constant. He adds it to pthalo green to make indigo and he adds it to his yellow to make his browns. Very unorthodox and useful approach. | ||
SZ Unregistered guest |
Bill, I certainly concur about Szabo's colour book. Of the colour books out there in watercolour I think it is my favourite. BTW, I haven't received my Trevena book, but will post a short review when I get it and absorb the content. | ||
Bill Unregistered guest |
One more thing--Wharton for some reason is a major influence on me--partly because she "sees" her scenes as I do--she gets excited about the sorts of things I get excited about--esp. running water. Other than waves, very few books address how to paint whitewater and very few artists have thought a whole lot about how to do it. Wharton in her book goes through the entire history of her thoughts on how to tackle the subject of moving water and why whe has develop the method she uses. I found it fascinating reading--she's a better than average writer and highly intelligent and well-read. She even talks about quantum physics (for , after all, we are all painting things that have a subatomic reality). Some of ther paintings are excellent, IMHO, some not so hot. Another interesting thing--she makes her paints from dry pigments and gives the whole process of how she does it. She puts her made up paint into oyster shells. My point is, it is, for me , an interesting read. Finally, she has a unique way of applying paint and handling a brush. It involves a sort of dabbing technique that is the antithesis of the usual wash--this added an essential skill to my bag of tricks for painting water and rocks. | ||
Bill Unregistered guest |
I am also hard pressed to come up with a single favorite book. I went back and reread this thread and noticed someone posted "Joy of Watercolor". Now that is a fine, a bit offbeat, book. It is about watercolor sketchbooks, which fits another thread. I have to politely state a difference of opinion with Eugene re the late Zoltan Szabo. To me he has perfected idiosyncratic, personal techniques that allow him to master a very unwieldy medium. He uses shortcuts and special brushes to get clean, boldly stated paintings. I think he's a true master. His "Color by Color" book is excellent, IMHO. | ||
Bill Unregistered guest |
Jay--somehow this went awry. You said you didn't like the yellow in the water and it spoiled her work for you. My comment was that a) it's cool that you have a personal reaction and B) the fact that she uses yellow doesn't per se make the work bad, just unappealing to you. I made this last point as a way of discussing the role of non realistic color in art--not to be contentious with you. I certainly am not trying to convince you or anyone that her work is good. In fact, in my book it is mediocre. I did like her book and the instruction she gave , however. | ||
Jay Unregistered guest |
Eugene wrote: "Szabo's book is near the bottom of my list. I gave mine away! " His "book"??? Which one - there's thirteen I know of! <g> /Jay | ||
Eugene Advanced Member Username: Eugene Post Number: 130 Registered: 8-2006 |
Forgot to add, my favorite, "John Pike Paints Watercolors" | ||
Eugene Advanced Member Username: Eugene Post Number: 129 Registered: 8-2006 |
Just proves we all have different tastes. I can't get excited by Wharton's work either. And Szabo's book is near the bottom of my list. I gave mine away! I think his methods are too contrived and tricky. Too much masking, spattering ,etc. MHO | ||
Jay Unregistered guest |
AND, to get back to the topic - favorite w/c book - I've pondered on that ever since the topic was revived....and have about come to the conlusion I don't have a favorite. If I HAD to pick one, it'd be one of Zoltan Szabo's I have, that he autographed....simply for that fact, and because I greatly admire his work. He is inarguably my favorite artist - w/c or otherwise - and I'm probably more familiar with his than any other, & would give my left you-know-what to be able to paint like that man could! But I'm almost sure that's not the kind of reason the poster was looking for when they asked. ~8) I own a good many books on w/c; probably more than our local library, having subscribed to North Light for some good while, until I had most of the ones they carry....or had at least looked thru them & returned those I didn't particularly care for.....and about as many that I bought elsewhere. So I do have a rather wide selection to choose from! Still, from the practical standpoint the topic calls for, I can't call any one of them a favorite....I'd lean more towards a genre of them than any particular one - that being those with good step-by-step instructional content that shows well how to build paintings. A close second would be the ones that cover techniques - how to handle the various challenges that come up....and not those that go over and over the very basics. Tho I well realize there's a need for them too - I just consider myself beyond that level so it's wasted on me, no matter how thorough or detailed. So, that's it for me - no specific one favorite, based on other than sentimentality, but rather, those are my favorite 'type' of w/c books....the ones that best teach me. /Jay | ||
Jay Unregistered guest |
Well, thank you for your first paragraph Bill. The second, I can't imagine why you are telling that to me - unless you're defending her or her work by telling me you understand or see it too....but there's nothing else in it I didn't already realize. I had even considered that the downsized images shown might have grossly affected the final displays from how they might appear in the original. I don't think I said she'd done anything "wrong"....she sees what she sees, and apparently you do too, and that's all PERFECTLY fine with me. But nothing you (or anyone else) could say would make me like those paintings....and I don't understand why you would, as it seems, infer I'm 'not right' in not doing so. I'm left feeling criticised for stating my view - ergo, perhaps you'll understand my reluctance to ever publicly say anything negative about any art. And for the greatest part, anything positive either - same end reason. Learned my lesson....again. So now, back to the practice. | ||
Eric Unregistered guest |
There's also a great book out there by one of the British publishers about Edward Wesson. It's available on Amazon.com. For those of you who are fans of Yardley and Chamberlain, I think you'll be impressed with Wesson. | ||
A.N. Unregistered guest |
John Yardley's interiors are very bold. It's amazing how confident are his brushstrokes. his paintings appear to be done quickly with a few well placed strokes. Brilliant. Trevor Chamberlain is a master of soft edged landscapes. His atmospherics are really special. Looking a Wharton's work, there is a definite lack of transparency in her application of paint. Some of the paintings look very influenced by Monet and appear to be trying to get in watercolour the same effects he got in oils. I find this interesting though I'm certainly not in love with her work. | ||
Bill Unregistered guest |
First-I support your individual reaction to Wharton's work, Jay. That's what art is about, eliciting individual reactions. That said, just because yellow doesn't appear in water you've seen doesn't mean the artist has done anything wrong. How many paintings, especially from the past 150 years, have we all seen where the colors depart slightly or radically from nature? Also, at certain times of day with the sun at certain angles, water reflections, in my world, do contain flashes of yellow and golden sunlight. | ||
Raliegh Intermediate Member Username: Raliegh Post Number: 60 Registered: 8-2006 |
Jay, Christian Wharton's art didn't strike me as anything exception, however, Bill's water was. If I came across CW's book I'd pick it up. | ||
Eric Unregistered guest |
I think I mentioned this book before on this forum, but I'll mention it again. "Watercolour Impressionists" by Ron Ransom. Each of the following artists are featured along with many of their paintings: Trevor Chamberlain, Frank Webb, Edward Seago, John Yardley, Douglas Treasure, Claude Croney, Jack Merriott, Tony Couch, Sir William Russell Flint, Edward Wesson, Don Stone, Barbara Crowe, Philip Jamison, Tony Van Hasselt, Judi Wagner. It's probably out of print but worth seeking. | ||
Bill Unregistered guest |
I have the Yardley book and am amazed how much mileage he gets out of Sepia. I most hands it would become a dirty disaster, but in his it is striking and effective. | ||
Bill Unregistered guest |
I should have said--interesting (because so unusual and challenging) choice of subject. | ||
Marie Advanced Member Username: Marie Post Number: 145 Registered: 8-2006 |
YES! Those are awesome books. The Chamberlain book in particular is my all time favorite how-to/first-person watercolor book. It's graceful, charming, and civilized. Every time I start feeling pressure to do big, noisy paintings to compete in shows, I pull out the Chamberlain book and remind my self of how marvelous small and quiet paintings can be. The Yardley book is another favorite. Although I like his paintings very much, the writing doesn't have the warmth and humanity that I love so much about the Chamberlain book. | ||
Jay Unregistered guest |
Bill wrote: "...interesting painting by Christian Wharton" I'm really curious what you find interesting about it. (Mindful that 'interest' can be positive OR negative!) I also looked thru the gallery & she(?) seems to see a lot of yellow squiggles in the ?ripples? that I just don't see in water...and I've looked at a LOT of water. Maybe it's me, & I've been blind all along. For some reason, the yellow (in that & others) is just annoying to me....basically ruins about all appreciation for those works. /Jay | ||
A.N. Unregistered guest |
I misspoke--the artist is John Yardley, not David. | ||
A.N. Unregistered guest |
I really keep coming back to Trevor Chamberlain and David Yardley's books--two great British watercolourists. The books may be out of print but can be gotten, for a price, used on Amazon. Has anyone else fallen in love with these artists/books? | ||
Kisha Unregistered guest |
My favorite book is "The figure in watercolor:simple, fast, & focused"--by Mel Stabin. This guy is a true master and shows how to paint figures in watercolor that are not labored but fresh and sparkling. His video is very helpful also. | ||
Bill Unregistered guest |
Here's an interesting painting by Christian Wharton. Note that all but the snakes head is UNDERWATER! http://www.christianwharton.com/various/snake.html | ||
Bill Unregistered guest |
I like Painting Water in Watercolour by Christian Wharton. The waterfall I posted in the other thread is a direct result of skills (albeit, as limited as they extend) I picked up from studying her book. | ||
Eugene Advanced Member Username: Eugene Post Number: 119 Registered: 8-2006 |
Amazon and Alibris both list "Vibrant..." for a little over $23 plus shipping | ||
Rekha Advanced Member Username: Rekha Post Number: 124 Registered: 8-2006 |
I look forward to your comments about the book | ||
SZ Unregistered guest |
Just thought I'd let you know Rekha I found a copy of Vibrant here in the States, ordered it and will get it before I move on. Many thanks again for all your help and thoughtfulness. | ||
SZ Unregistered guest |
It seems as if to rent one video at USD6.00 you must be a member to the tune of USD45.00 (per annum). Not ready to do that, but many thanks for the suggestion. No income here as a recent retiree on the road | ||
Rekha Advanced Member Username: Rekha Post Number: 123 Registered: 8-2006 |
You can actually rent it from the video site! | ||
Rekha Advanced Member Username: Rekha Post Number: 122 Registered: 8-2006 |
For video try http://www.art-video.com/prices.asp?artist=330 For the book try the amazon site | ||
SZ Unregistered guest |
Thanks for the information. I'll see if I can find a copy to borrow. For some reason, unknown, Trevena's books and videos aren't much available here in the States. | ||
Rekha Advanced Member Username: Rekha Post Number: 121 Registered: 8-2006 |
Also, the 'risks' she did take of painting imaginary background colours never ended in disasters so I didn't get to learn how she would have dealt with the risk turning into disaster | ||
Rekha Advanced Member Username: Rekha Post Number: 120 Registered: 8-2006 |
SZ, I loved the idea of taking real life objects and manipulating them in terms of shape and size; she showed that how. Since she only dealt with Amaryllis and lillies in the whole of 60 min. I wasn't able to extrapolate how she may have dealt with en plein landscape work. Borrow it first if you can. You may interpret differently. | ||
SZ Unregistered guest |
Rekha, can you expound on why you liked and disliked the video. I saw it on ebay and was tempted to buy it but resisted the urge as I am on the road and it is hard to carry more than I already have. Many thanks. | ||
Rekha Advanced Member Username: Rekha Post Number: 119 Registered: 8-2006 |
Re. Shirley Trevena's Taking risks in watercolour. I managed to get the video from the library and watched it. I was exhilarated and disappointed at the same time. In the video she paints Amaryllis and lillies in a vase, but she selects the shapes she wants to paint and exaggerates those shapes. She has several magazines from which she will pick the colour that 'matches' the colours she has just painted and then compare this strip of colour with the swatches of pigments she has constructed from her stock of pigments, W/N. Shirley uses a stick to draw with on wet parts of leaves or shapes. She also uses toothbrush and brush to drop paint on the paper in selected places. In this video there was no use of masking or resist. | ||
SZ Unregistered guest |
Whitewater, you might consider getting her older, but not old book first. It's called, "Taking Risks in Watercolour." It is a splendid book, and really provides both eye-candy and good explanations about her techniques. Also I saw several second hand copies at Amazon.com USA. There is something about her use of colour, and form, that totally appeals to me (a collage artist, first). | ||
Rekha Advanced Member Username: Rekha Post Number: 109 Registered: 8-2006 |
She does talk about techniques as well, masking, wax resist. The book has a feel of talking to a person across the table asking for help, but in a book form. Her wonderful way is to take a still life, distort it towards abstraction and produce a riot of colours. I'll try to scan a few pages if you like for you to see, but I think it might be dicey copyright wise. | ||
Whitewatercolor Intermediate Member Username: Whitewatercolor Post Number: 63 Registered: 10-2006 |
I just went back into Trevena's website and went completely through her retrospective. What a treat. I think, for me, the very best watercolors go beyond the visual stimulation to involve the other senses. Trevena's watercolors stimulate my sense of taste and touch... I am sorry to see other media mixed in her latest work ie., graphite and gouche. I think her pure work is the best and I believe she has some of the best work I've seen. | ||
Eugene Advanced Member Username: Eugene Post Number: 106 Registered: 8-2006 |
Rekha Does Trevena talk only about color? Her technique looks interesting. Does she use masking or opaques? | ||
Whitewatercolor Intermediate Member Username: Whitewatercolor Post Number: 62 Registered: 10-2006 |
Wow, what a forum this is. I just checked out Shirley Trevena's website. Her paintings are absolutely stunning. I've never even heard of her. I'll certainly be learning more in the future. Thank you SZ...great contribution. | ||
Jay Unregistered guest |
Order it & have it sent to a friend, or maybe your home office(?), who can contact you when it arrives, & you can tell them where to forward it - or hold until you get home. (I'm an impatient kinda fella! *LOL* ) /Jay | ||
SZ Unregistered guest |
Rekha what a generous and kind offer. I will just endure patiently. It took me half a year to get the first book but it did land here ultimately and I grabbed and gobbled it up. Trevena is among the most freeing of watercolourists, imHo. | ||
Rekha Advanced Member Username: Rekha Post Number: 107 Registered: 8-2006 |
I could get a copy and send it to you (I live in the UK) but the question would be where to send it because you don't know in advance where you'll be | ||
SZ Unregistered guest |
Rekha--I wish I could walk into one of the big booksellers. However, there are no big sellers where I am at present and more importantly, none of the shops are selling this book. Oh, so sad! But I will try patience! | ||
Rekha Advanced Member Username: Rekha Post Number: 106 Registered: 8-2006 |
Jay, you are probably not comparing like with like. When you are studying painting you are looking to learn about: Shape and form, which is helped by knowledge of geometry Texture, contour studies come to mind Colour, you would need to know some color theory about how we see, but also how to see (the book in question).... If you did an index search about books on 'how to see colour' one of the books I mentioned will be listed | ||
Rekha Advanced Member Username: Rekha Post Number: 105 Registered: 8-2006 |
Why can't you walk into one of the large bookstores to buy the book, SZ? | ||
SZ Unregistered guest |
Jay, thanks so much, but in point of fact, I am in the SW of the USA on a lengthy but unpredictable schedule. Amazon USA is calculating 3-6 week delivery, and I know from experience that they are often off by weeks with an imported book. I'll have to wait, I think, until I am more settled. | ||
Jay Unregistered guest |
SZ, kinda hard to tell exactly from your comments, but I take it you're in the UK & want to pick up a copy while there? If you'll check the link that was provided [http://www.amazon.com/exec/obidos/tg/stores/offering/list/-/0007225237/new?tag2=campusicom], it's a listing from Amazon's dealer network. Only the top entry is from Amazon (USA) directly. The next entry, for example, is Aphrohead Books UK in Southport, & is in stock there: Seller: aphrohead_books_uk Rating: 95% positive over the past 12 months (119 ratings.) 119 lifetime ratings. Shipping: In Stock. Ships from United Kingdom International shipping available. See shipping rates. Comments: A BRAND NEW COPY & in MINT NEW condition From Aphrohead Books of Southport - United Kingdom. Delivery time is 4-7 days direct to the USA. & there's others. Else, if you can anticipate your location there for only 2-3 days in advance...do they have Post Office General Delivery in the UK? Gotta be a way! ~8) /Jay | ||
Jay Unregistered guest |
Rekha wrote: "...the title of the book is a bit misleading. the emphasis is on how to see colours and you'll agree that this is equally pertinent to watercolours." ^^^^^^^^^^^^^^^^^^^ Sure. Just as you'll agree that if you truly want to get pertinent comments therefrom, one might think to ask in a forum where it's more likely to've been read. It's called, playing the odds. Supernovae are of interest to galaxy watchers...but you won't hardly see any while lookin' at the moon! ~8) /Jay | ||
SZ Unregistered guest |
Thanks again, but I'm on the road and can't anticipate a mailing address 3-6 weeks hence. But, I know I shall find it in my travels. Such a lovely watercolourist, Ms. Trevena. | ||
Rekha Advanced Member Username: Rekha Post Number: 103 Registered: 8-2006 |
Why don't you try your amazon site? http://www.amazon.com/exec/obidos/tg/stores/offering/list/-/0007225237/new?tag2=campusicom | ||
SZ Unregistered guest |
Rekha, yes, I've seen Ms. Trevena's magical site and I do own one of her earlier books. It is splendid, oh, so splendid. But on this side of the pond (US) she comes late to dinner and I was wondering if anyone had a copy in GB to let me know if I should try to get a copy here. Many thanks, | ||
Rekha Advanced Member Username: Rekha Post Number: 102 Registered: 8-2006 |
SZ, I didn't do much justice in describing the book. Have a look at the site itself for animated displays and details of content of the book http://www.vibrantwatercolours.info/ | ||
Rekha Advanced Member Username: Rekha Post Number: 101 Registered: 8-2006 |
Sorry my post no. 99 was directed to Jay, not SZ | ||
Rekha Intermediate Member Username: Rekha Post Number: 100 Registered: 8-2006 |
SZ, I haven't read Travena's earlier books but I love Vibrant Watercolours and have ordered a copy. The main chapters are What makes a painting colourful Making the most of a single colour Painting with neutrals Mixing colours Favourite colours Heart stoppers Subjective colours She has given plenty of exercise, practical projects with step-by-step demonstrations and most importantly she has roped in other artists to demonstrate their own philosophy on the subject | ||
Rekha Intermediate Member Username: Rekha Post Number: 99 Registered: 8-2006 |
SZ, the title of the book is a bit misleading. the emphasis is on how to see colours and you'll agree that this is equally pertinent to watercolours. | ||
SZ Unregistered guest |
Has anyone had a glimpse of Shirley Trevena's new book, "Vibrant Watercolours" published by Collins. It isn't always easy to get Collins in the States and would love to know if this book is as good or better than her last--which I love! | ||
Jay Unregistered guest |
rekha wrote: I would like some comments on Susan Sarback's Capturing Radiant colors in oils. ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ And this would be in the thread entitled "...Favorite WC Books...", under the "Watercolor Artist Topics" section, why? http://community.cheapjoes.com/forum/messages/27/27.html?1165020188 | ||
Rekha Intermediate Member Username: Rekha Post Number: 97 Registered: 8-2006 |
I would like some comments on Susan Sarback's Capturing Radiant colors in oils. She proposes 'full colour seeing' to paint natural situations. By doing so she claims that each painting should have a full spectrum of colours. | ||
Dake |
How old is it? They all loose their point eventually, even after a couple of years. It will optimize the brush by giving it a shampoo and conditioner treatment(remember to rinse extra well afterwards). Just use what you would normally use yourself. Oh yeah "Anonymous"...you sound like a real wanker...I'd like to punch your lights out! | ||
Vashon |
I have a Kolinsky sable #16 brush that doesn't point well. Are there any remedies? | ||
Anonymous Painter |
Though I hated Alex Powers' style, and his work, I highly recommend his book (Painting People: The Design Approach) because of the wonderful, very long 'style checklist' on one of the spreads. I ran into this list when I was a compleat beginner at transparent watercolor (not even two years ago), and it was a sudden epiphany for me: No wonder most of the advice I was getting wasn't resonating with me! (I'm a colorist not a tonalist... Organic, not geometric... Shapes, not lines... Curves, not angles... and so on. :) )Running into that checklist probably cut many years off my learning 'program,' and definitely saved me many more hours of frustrated incomprehension. Currently I'm very fond of the Chinese watercolor painting books by Lian Quan Zhen. I purchased several used w/c books over the past few months (including old John Pike, Elliot O'Hara lessons, etc.), and one of them was Zhen's. The other (focus on painting animals) is newly published, and I was lucky enough to find it in the library. If you like Reid's stuff on brushstrokes -- appreciate the calligraphic approach to w/c painting -- you might really like Zhen's work. It's not nearly as sloppy as Reid's, though. (In the Chinese tradition, 'detail' painting evolved into 'spontaneous' style, but there are no drops of paint flying around, and no one sticks a little finger onto the paper!) I also appreciate his explanation of the very different dimensions of composition in Chinese art, the different development of 'perspective,' and the way Chinese painters use white space. | ||
Eric |
Thanks, Robert, I just might try to get book II. With many of us, there's a tendency to copy a photo or a scene literally and Millard's book is a good antidote to that tendency. He keeps stressing that it's less "poetic" the more you copy something. | ||
Robert |
Eric, I did notice in More Joy of Watercolor that Millard does use a few photos to develop paintings. I just finished purusing the 2 books, and yes, I feel the paintings in book II are even more interesting. In addition to landscapes, a lot of flowers and still lifes. I saw the book used on Amazon for $15. | ||
Robert |
OOpps--he does mix colors-mea culpa. I checked and he explained that More Joy of Watercolor takes up where the first book left off--exploring a more advanced palette. His tips on loose contour drawing, which I find quite useful, continue in the second book. For about 20 years art supply stores carried the Aquabee sketch book he recommends (he paints mostly on heavy drawing paper rather than watercolor paper!) but in the last year or so the item has been discontinued. His whole point is to quick sketch incessantly. I think he really has a great formula for loosing up one's style. I've noticed some highly Millard influenced work appoear in watrcolor magazine oiver the past 2 years. His books are from the early 80,s BTW. I personally sketch exclusively with a wolff 4B carbon pencil and have done so since I read Millard in '84. | ||
Robert |
Eric-- I recommended the second book rather than the first. Millard doesn't mix colors. He uses them fresh from the palette. It is interesting what he does with such a large palette. Od course, he only uses a few for any painting. He just increases his options. Since his book is about quick sketching rather than studio painting, I suppose the 40 color palette aids in speed as well. However, I just like the book and the paintings. He really brings a child-like eye to landscapes and still lifes. I don't feel too influenced by his palette, though. | ||
Eric |
40 colors? Why so many? The first book, Millard uses a normal number of colors. | ||
Robert |
The second book uses a 40 color palette and has a lot of paintings--I prefer it for the paintings, but it doesn't include work from photos. | ||
Robert |
Yes==second book==more of the same--more interesting paintings. | ||
Eric |
Robert, I picked up Joy of Watercolor by David Millard and have started reading it. Is this different than the book you mentioned, More Joy of Watercolor? If so, how is the latter different from the former? I'm getting a lot out of Millard's interpretation of photos. | ||
Terry |
I just happen to have a 2" Tsunami and it is more suited to bold washes in big areas. Lots of thickness to its hair....the Golden Fleece or the Sceptre Gold II is designed for cutting in as they are Synthetic and Sable Synthetic in that order. Bristles not as thick ergo more control when wet but don't hold as much color. | ||
eugene |
Robert' I've no experience with tsumani flats or wash brushes but I have a # 12 tsunami round, which holds a LOT of paint. But it is VERY soft and floppy. I use it only for a glazing wash over another color. It is so soft that it doesn't disturb the color underneath. Too floppy to be used for anything else. I would expect the 2" wash to be about the same. Would like to know but I'm too cheap to invest $25 to find out. | ||
Robert |
Re. The CJAS Tsunami 2" (cited as a Francese tool)--Can you get sharp edges with it or is just a floppy, bushy mop of a brush? | ||
joanna |
Re Franchese: my aunt, who was my instructor, uses no pencil drawing and loves that kind of freedom. I don't always use her method, but it can yield surprising results. She paints on silk as well as paper to get the color and shape flow without that restriction of draughtsmanship (though she draws well..not the issue here.) Nice recomendation. | ||
midnight_baseball |
eric - from my limited observations (only 3 days), frank francese painted on dry paper - BONE DRY. he starts with a 2" CJAS tsunami wash brush, a webb palette (to accomodate his large brushes) and FRESHLY SQUEEZED PAINT - he says that's key - that way you don't have to add too much water to activate it. oh and to clarify a thing i mentioned before - he is entertaining and instructional during demos. (he doesn't talk much when painting - WHEN HE HAS MUSIC ON.) watching him paint can be quite mesmerizing. | ||
Suzy |
My two favorite books are Edgar Whitneys book on Watercolor and Frank Webb's "Strengthening your Paintings With Dynamic Composition" ...A little known book he wrote. (He claimes its his best book )Its out of print but I cherish my copy! | ||
Eric |
Midnight- Does Francese soak the sheet before painting and then start the painting when it's wet? Yeah, it looks like he slaps the paint on boldly. | ||
Robert |
Any more first hand lessons from Frank Francese that you would like to share, or techniques he uses, would be very welcome. | ||
midnight_baseball |
on frank francese: fun and exciting to watch - splash and dash. avid sketcher and value planner. sketches all the time - really believes in value planning before painting. using his value sketch he starts to the paper with paint - NO PENCIL DRAWING. cool to see him cutting in backgrounds with negative painting shapes. bold colors - mixes and melds on the paper. the main thing i learned from him was PAINT QUALITY. i used to be a little timid with paint application - he'll fix that. frequently unifies his paintings with his purple shadow castings. i really loved his "storm series". a good instructor - but he doesn't like to talk much while he is painting. oh - one other thing i was impressed with: his painting work ethic - he tries to paint a full sheet in the morning and another in the afternoon. every (work) day. | ||
Robert |
The Carl Shmaltz book is actually an Eliot O'Hara book. In it Schmatlz, who assisted with workshops in Maine with O'hara, explains 25 discreet detailed lessons such a reflections, clouds, keyed color and uses O'hara paintings to illustrate the lessons. Best single watercolor book ever published, in my opinion. I also left out How to Make a Painting, by Irving Shapiro, another great oldie. | ||
Eric |
Yeah, one of the book publisher's should get a Frank Francese book out. I would buy it. Robert, my library has an actual Eliot O'Hara book. (I forgot the name of it) Of course, it's extremely old but interesting to read, especially knowing that he was Whitney's instructor. | ||
Robert |
Eric-- I love Frank Francese's work. Everytime I try to sign up for one of his workshops, it is already full. | ||
Robert |
There are good many currently available books out but a couple of the classics that I learn from every time I open them are 1. Watercolor Lessons from Eliot O'Hara by Charles Schmaltz 2. More Joy Of watercolor by David Millard | ||
Eric |
My library just notified me that they have Rex Brandt's Winning Ways of Watercolor. I requested they do a search for that one. I'm looking forward to seeing what I can learn from Brandt. Since I missed out on painting for most of my life, I'm really enjoying finding these old books that are now out of print. | ||
Eric |
Tachee, the Couch book, "You Can Do It" is aptly named. That was the first book that inspired me nine years ago. If it wasn't for that book I don't think I would have continued in watercolor. His book, "Keys to Successful Painting" which is out of print, goes into the Ed Whitney design principles in even more depth. Eugene, I agree, the John Pike Paints Watercolors book is superb. Even if there was nothing written I would love that book just for the paintings. I also like how his personality shows through from the book. An enjoyable read. A book I recently got a lot out of was by Tom Lynch, called Workshop lessons or something like that.(he has two books, this one is not "Watercolor Secrets") It's unlike any other book since it's all reproductions of his workshop lessons that are painted on watercolor paper. It's hard for me to explain, but it's very clear and easy to learn, especially if you like things explained visually. Big emphasis on artistic concepts and design. An artist who's work has gotten my attention in the last couple of years from magazine articles is Frank Francese. There's no book by him but has anyone taken a workshop from him? | ||
Eugene |
Not new books, but my favorites- #1 in my opinion. John Pike Paints Watercolors. #2 Robert Wade's Watercolor Workshop #3 Robert Wade's Painting More Than the Eye Can See #4 Philip Jamison's two books ( I can't recall the names.) A few comments on other books mentioned; Jeanne Dobie's Making Watercolor Sing------I like Dobie's work but don't agree with all of her color theories and don't like her palette-- too many fugitive colors. She also demands a completely transparent set of colors. I think there are opaque and semi opaque colors that are very useful if used properly I love Frank Webb's Watercolor Energies. Should have added it to my list. Had a workshop with him and he's a great teacher. Showed me how to use big flat brushes and great in composition too. Made me realize the importanceof value sketches. AlexPowers, Painting People in Watercolor. I don't like this book because I took one of his workshops and it was one of the most disappointing workshops I have ever experienced. He had one way of doing things- HIS way. He does not encourage his students to develope an individual style. He was nice to me, but absolutely nasty to some others. I actually saw one woman crying. All of his work conveys a massage. Many political. He is an excellent draftsman. Uses very little color. Enough, I've said too much already. You'll love him or hate him. Don Andrews- The Figure in Watercolor. I enjoyed this one. Also took workshops with him. Great, friendy teacher. I had him for landscape, not figure painting, for which he is best known. His colors are a little too strong and sometimes almost garish for my taste. But that's his style. His nudes are (IMHO) a little too sexy, almost Playboy style. But it's a good book. | ||
tachee |
the first watercolor book i bought: "watercolor-you can do it", by tony couch. he made feel like i could and should. last one i bought by jan fabian wallake called "watercolor- pour it on!" chock full of techniques which inspire me. so many, so little room on the bookshelves. | ||
midnight_baseball |
WEBB ON WATERCOLOR - this is my bible - it's like webb's first book WATERCOLOR ENERGIES - but on steroids - and in my opinion, better than his latest book (for watercolor). webb is a master and a great instructor. i always have it out. INTERPRETING THE FIGURE IN WATERCOLOR - don andrews is an excellent teacher and his book reinforces his video and his workshop. don has a new book (on landscapes) coming out next year =) PORTRAIT PAINTING IN WATERCOLOR - this (and charles reid's FIGURE PAINTING IN WATERCOLOR) were my seminal references for life drawing & painting. lately i've been using THE NATURAL WAY TO PAINT (also by reid) more than the other two. i'd love to meet reid and see him paint in person (his videos are great) PAINTING PEOPLE IN WATERCOLOR by alex powers. whereas reid's life paintings are loose, light and bright - i love the loose rich deep emotional quality of mr. powers style. a month or two ago, MASTERING COLOR AND DESIGN IN WATERCOLOR by christopher schenk was permanently attached to my arm after getting it for $5 at a library sale. i learned a lot from that book. i'm sure i'll go back to it. between painting/drying sessions, i pick up THE ART SPIRIT by robert henri. i randomly open it up and read a few passages and i feel like i'm in the same room/studio with him. this book has taken the place of my little hawthorne and o'hara sessions (HAWTHORNE ON PAINTING, o'hara's "WATERCOLOR BEHAVE" trilogy) just missing the cut: WINNING WAYS OF WATERCOLOR - rex brandt MAKING COLOR SING - jeanne dobie PAINTING FROM LIFE - douglas lew i have a *lot* of books so i really, really did cut this list down! | ||
Eric |
I haven't seen much that I want to read among the newer books lately. As for old books, I found Robert E. Wood's Watercolor Workshop at the library and found it to be very good. I think it's from the late 70's or early 80's. For those not familiar with him, he was from the "California school" of watercolor artists. Similar painting style to Frank Webb. | ||
joanna |
I am still in love with the negative space techniques in Watercolor Painting Outside the Lines by Linda Kemp What are your picks for the fall book lineup? |
