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Painting,
Drawing & Sculpture
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here for current Painting, Drawing &
Sculpture titles on ABE Will open in a new window - prices in UK Pounds. |
| Painting is self-discovery. Every good artist paints what he is. Jackson Pollock |
| Selected Titles: |
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Perspective in Art Michael Woods B T Batsford 1st 1984 One of the first problems an inexperienced artist will encounter is how to translate the third dimension to a flat piece of paper, how to convey the same impression of relative positions of lines and objects as the eye perceives. The brain stores the accepted information that all the sides of a cube are equal and at right angles to each other, and only a knowledge of perspective enables us to understand what happens to the appearance of objects when they are presented to the eye. To many, the question of perspective might seem a somewhat daunting prospect, but Michael Woods shows us here that it need not be and that, once the basic rules have been mastered, it is awareness and understanding, rather than a mathematical construction of objects in perspective, that is important. In the opening chapters he builds up a simple picture to illustrate the rules of perspective - a desert landscape with a cube house; the house has a sloping roof, four windows and a door; there is a person at the window; there are hills in the background. From there, and with the help of excellent line drawings and diagrams, the author moves on to the circle, the use of shadow to delineate structure, the introduction of people and animals, landscapes and buildings, water and boats. He then discusses various uses to which perspective can be put in the practical world, such as for the design of theatre sets, and its exploitation in many famous works of art and architecture: Good art is certainly not only that which obeys the laws of perspective, as many great abstract painters have proved, but a knowledge of how it works is one of the most important lessons an artist learns. It is up to him whether he chooses to use or constructively to misuse it. 4to. Sunning to the top + bottom edges of the boards; very, very minor wear + chips to dustwrapper, otherwise VG++ in a VG++ wrapper. 545 gms £10.00 |
Drawing for the Terrified Richard Box David & Charles 1st 1997 A lifetime of experience teaching students to draw has taught Richard Box that the chief obstacle for many is the fear of their own lack of drawing ability. For over ten years his popular course Drawing For The Terrified has taught people from a wide range of backgrounds and abilities to overcome this fear and to draw with complete confidence. This book introduces Richard Box's remarkable teaching methods to a wider audience for the first time. The basic elements of drawing are all covered: materials, equipment, learning to see the subject accurately, drawing in monochrome, tonal values, the theory of colour and shading with coloured pencils - but what makes this book exceptional is the author's unique ability to teach. Richard Box believes that everyone has it in them to draw, although in adults this ability often lies concealed. Through a series of carefully designed, progressive exercises he systematically uncovers this innate talent, building the reader's confidence all the time. To begin with, he shows how to 'see' a subject 'perceptually' rather than 'conceptually' and then demonstrates how what is seen is successfully transferred to paper. Next he covers the use of shading to achieve different tonal values within a composition. Then, with the aid of a viewfinder and his 'perceptual' method of seeing, the author shows how to construct realistic likenesses of a wide range of subjects, building each composition stage by stage so that the progress is clearly visible. Enjoyment and understanding are the key elements to Richard's approach to teaching and from the start he projects a relaxed, positive frame of mind. Highly accessible and carefully illustrated, this book will open up a whole new world of creativity to all those who have longed to draw but never before dared to put pencil to paper. 4to. Mint in a Fine wrapper. 760 gms £45.00 |
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Painting
Crystal and Flowers in Watercolour Susanna Spann North Light Books 1st 2001 Let artist Susanna Spann show you how to paint flowers and crystal as delicate and exquisite as a dream. She'll provide you with everything you should know and more, including advice for: choosing the right materials taking and using reference photos making crystal appear three-dimensional creating a background that makes your subject stand out determining the perfect point if view creating thumbnails that will save you time and materials making and using a colour wheel and value scales creating colour in front of, behind and inside crystal Spann's clear instructions make learning easy and fun, providing you with the knowledge and confidence you need to make your watercolors glow with light and colour. 4to. Very minor bump + very slight wear to the base of boards, otherwise Fine in a VG++wrapper. 815 gms £25.00 |
| Painting
Nature's Details Wendy Jelbert B T Batsford 1st 1996 Wendy Jelbert explores the landscape, showing where inspiration can be found in fields, woodlands, ponds, rivers, gardens and beaches. She teaches how to select compositions from nature using a camera and sketchbook, and how to simplify the painting process. Using clear step-by-step demonstrations you will learn to paint the sun's rays, evening shadows, the intense colours of poppy and cornflower fields, as well as the beauty of plant-laden stone walls, old pots and rock pools. You will discover how to capture mood and atmosphere by glazing colours, texture using pen and wash, the massed effect of leaves, the fragility of white flowers and the crispness of snow. Practical, colourful and easy to use, Painting Nature's Details covers a wide range of techniques and enables artists to develop their own original paintings. 4to. Fine+ in a Fine wrapper. 800 gms £20.00 |
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Watercolour
Flowers David Easton B T Batsford 1st 1993 The transparent quality of water colour makes it the ideal medium for the delicate art of flower painting. By exploring many different approaches, rather than advocating a single method, David Easton encourages the artist to extend his or her range of expression to do full justice to the potential of waterbased colours. Using his own superb paintings as examples, he demonstrates that the traditional approach to watercolouroverlaying transparent colours from light to dark - is by no means the only option available. Opaque pigments, masking fluid, lifting the subject out of a washed background and the use of vibrant primary colours are all features of his work, and can be used to produce fresh and lively results. Drawing and composition are also examined in detail. Central chapters develop themes based on flower families, using a range of cultivated and wild flowers in natural and still-life contexts. A final section gives advice on framing and exhibiting finished work, with a resume of painting materials. The book is beautifully illustrated throughout, and will inspire beginners and more experienced watercolourists alike. Large 4to. Fine+in a Fine wrapper. 800 gms £10.00 |
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