ebook img

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

260 Pages·1996·34.67 MB·English
Save to my drive
Quick download
Download
Most books are stored in the elastic cloud where traffic is expensive. For this reason, we have a limit on daily download.

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

AR TIST S A Complete Guide to Painting and |^ 1MANIUAL Drawing Materials and Techniques • 4 c 1 / ,':.*£% 1 IL« <0 mm Boston Pb&p 3£ Library 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

See more

The list of books you might like

Most books are stored in the elastic cloud where traffic is expensive. For this reason, we have a limit on daily download.