Artist's Manual A Complete Guide to Painting and Drawing Materials and Techniques

260 Pages·1996·34.67 MB·English

by  Angela Gair

AR TIST S
A Complete Guide to Painting and |^
1MANIUAL
Drawing Materials and Techniques
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Essential, practical, and inspirational, Artist's
Manual is an easy-to-use guide with a clear,
informative text explaining hundreds of painting
and drawing techniques—and more. From color
use and composition to subject choice and tips
from the professionals, here's everything you need
to begin, develop, and perfect your craft.
Up-to-the-minute, detailed guidelines and a list of
art suppliers simplify buying and caring for essential
artist's materials and tools.
Superbly illustrated with over 500 full-color
photographs and 200 works of art, Artist's Manual
is the definitive guide for today's artists.
ARTIST'S
MANUAL
ARTIST'S
MANUAL
A Complete Guide to Painting and
Drawing Materials and Techniques
Edited by Angela Gair
Afl
CHRONICLE BOOKS
San Francisco
BR BR
N7430
.A739
1996
First published in North America in 1996
by Chronicle Books.
Copyright © 1995 by HarperCollins Publishers.
All rights reserved. No part of this publication may be
reproduced in any form without writen permission from
the Publisher.
Concept, design, and editorial direction: Simon Jennings
Produced, edited, and designed at Inklink,
Greenwich, London, England
Text and consultant editor: Angela Gair
Illustrators: Robin Hams and David Day
Studio photography: Paul Chave
American text editor: Melissa Stein
Cover design: Pamela Geismar
ISBN 0-8118-1377-0
Library of Congress Cataloging-in-Publication
Data available
Printed in Italy
Distributed in Canada by Raincoast Books
8680 Cambie Street. Vancouver, B.C. V6P 6M9
1098 76 543 2
Chronicle Books
85 Second Street
San Francisco. C A 94105
Web Site: www.chronbooks.com
INTRODUCTION
Renoir once observed that "painting isn't just daydreaming, it is primarily a
manual skill, ami our has to be a good workman." Too often it is forgotten that
painting is a craft as well as an art - and a difficult craft to master, at that.
At first sight, dipping a brush into paint and applying it to a surface seems easy
enough. Hut there arc traps for the unskilled: an inadequately prepared surface or
support may warp or buckle: the wrong support can adversely affect the way the paint
handles; ill-chosen colors turn muddy when mixed together; poor-quality or fugitive
colors will fade in time. By understanding the materials and techniques at his or her
disposal, the artist can avoid such pit jails and increase the pleasures ofmaking art.
In recent decades, art schools have tended to dismiss basic skills and techniques as
"irrelevant," and they have been neglected in favor of "freedom of expression." In so
doing, teachers have thrown the baby out with the bathwater, for without a thorough
technicalgrasp ofmaterials and methods, students ofart have no real freedom to express
their ideas - it is like asking someone with no knowledge or concept ofgrammar or
syntax to write a novel.
Of course, this is not to imply that a good craftsperson is necessarily a jjood artist.
Manual dexterity and technical know-how are meaningless if an artist's work is
deficient in thought andfeeling. Along with a learning hand, one must develop a seeing
eye - and for many people, this is the most difficult part. In the desire to produce a
"finished" picture, the impatient student often overlooks the two things that are
fundamental to all art: drawing and observation. It is vital to train your exes by really
looking at the world around you, and to keep sketching and drawing all the time. When
you draw what you sec, you develop your powers of observation and analysis. Tour mind
absorbs many details -for instance, the way lijjht and shadow create form, how tone and
color alter with distance - enabling you to draw a surprising amount from memory
and from imagination.
Art, like music or dance, is all about the partnership between personal vision and
technical ability. These two partners - poetry and skill - must hold each other tightly, or
the dance will come to an end.
The purpose of this manual, then, is twofold. First, by providing an in-depth
examination of the skills and techniques involved, not only in painting and drawing
but also in preparing a support and in choosing and mixing colors, it endeavors to
encourage a pride in the craftsmanship needed to produce a work of art. Second, using a
wide range ofwork by respected professional artists as a source of inspiration, it aims to
help you develop your personal vision of the world and to find your own voice in
interpret i na that vision. ,, , (,-,„<, consi uani editor
2
Contents-
Support n
( lanvas 1
Painting media 6i
Boards >\nd panels 16
Papers for oils & acrylics... 19 Oils .62
Sizing for oils 20 Paints ...64
Priming 22 Oil paint stieks ...70
Watcrcolor papers 26 Basic color palettes. ...72
Supports tor pastels 32 Binders ...74
Drawing papers 34 Diluents ...75
Mediums ...76
Brushes ...78
Palettes ...84
Color
Accessories ...86
& COMPOSITION 167
Techniques ...87
Watercolor 102 Color 168
Paints .104 Composition 1 86
Basic color palettes. .110 Drawing ck observation... 194
Brushes .112
Palettes .116 SUBJH IS & THEMES 199
Accessories .118
Landscapes 200
Techniques .120
Still litcs 214
Gouache 138
The human form 222
Basic color palette.. .140
DRAWING MEDIA 37
Techniques .142
The studio 231
Pencils 38 Tempera .144
Charcoal 44 Acrylics .146 Studio organ i /at ion 2?>2
Pastels 46 Paints .148 Easels 234
Conte crayons 50 Basic color palette.. 152 Protect iim artwork 236
Pen and ink 52 Speciality colors ,153 Varnishing paintings 238
Markers & fiber-tip pens. ..58 Chroma color .154 Mats >uk\ frames 240
Access< >nes 59 Mediums .156
Brushes ,\nd knives. .158 REFERENCE 243
Palettes .159
1 [ealth .\\k\ safety 244
fechniques 160
Glossary of terms 245
Directory of art
materials suppliers
Index ... 2r^2
Acknowledgments
Tins book is the work of ARTISTS GALLERIES
many hands, and is the
result ofseveral years' V
NictkorAnAdmrberwus ALrotndSopna,ceUKGa;llery,
planning and prepar-
Penny Anstice Chris Beetles Gallery,
ation. The designers Paul Apps London, UK;
and editors ofthe Barry Atherton Browse and Darby,
Artist's Manual Gigol Atler London, UK;
are indebted to all who Valerie Batchelor The Fine Art Society,
have contributed and Joan Elliott Bates Alex McKibbin London, L'K;
havegiven freely oftheir Richard Bell Tern' McKivragan Fischer Fine Art,
time and expertise. John Blockley Debra Manifold London, UK;
Jane Camp John Martin Kentmere House Gallery,
CONSULTANTS Sarah Cawkwell Judy Martin York, N. Yorks, L'K;
Trevor Chamberlain Simie Maryles Lizardi/Harp Gallery,
Trevor Chamberlain, Terence Clarke Derek Menary Pasadena, California, USA;
ROI, RSMA Tom Coates John Monks Llewellyn Alexander
David Curtis, Jill Confavreux Alison Musker Gallery,
ROI, RSMA Grenville Cottingham Patricia Mynott London, UK;
John Denahy, NEAC Edwin Cripps Keith New Montpelier Studio,
John Lloyd, technical James Crittenden Ken Paine London, L'K;
adviser, Daler-Rowney Fred Cuming Elsie Dinsmore Popkin Museum of Modern Art,
Tern,' McKivragan David Curtis Penny Quested New York, NY, USA;
John Martin Derek Daniells John Raynes National Gallery,
Ian Rowlands David Day Jacqueline Rizvi London, UK;
Brian Yale John Denahy Keith Roberts New Academy Gallery,
Sarah Donaldson Dennis Mathew Rooney London, LT K;
With special thanks to Roy Freer Leonard Rosoman On Line Gallery,
Ken Howard, Kay Gallwey George Rowlett Southampton, Hants, L'K;
RA, ROI, RVVS, NEAC, Annabel Gault Naomi Russell Redfern Gallery,
and Geraldine Girvan Hans Schwarz London, L'K;
Emma Pearce Peter Graham Hil Scott Brian Sinfield Gallery,
(technical adviser at Gordon Hales Barclay Sheaks Burford, Oxon, L'K;
Winsor & Newton), Roy Hammond Jackie Simmonds Tate Gallery,
for their invaluable Robin Harris Richard Smith London, L'K;
contributions. Desmond Haughton Michael Stiff Thos. Agnew & Sons,
and to Andrew Hemingway Sally Strand London, L'K;
Daler-Rowney Ltd, Ken Howard David Suff Westcott Gallery,
for the use of the majority Michael Hyam Robert Tilling Dorking, Surrey, L'K
of art materials used in the Pauline Jackson Shirley Trevena
demonstrations and Simon Jennings Jacquie Turner
photographs. Ronald Jesty John Turner
Carole Katchen Sue Wales
Grateful thanks alsogo to the Sally Keir Nicholas Wegner
following, who generously Sophie Knight Valerie Wiffen
loaned samples of materials, Ton' Lawrence Jacqueline Williams
artworks and trans- John Lidzey Anna Wood
parencies, and who provided Anna Macmiadhachain Leslie Worth
much time, advice Padraig Macmiadhachain Brian Yale
and assistance. Donald Mclntyre Rosemary Young