Cover image for Art class : a complete guide to painting
Title:
Art class : a complete guide to painting
Author:
Jennings, Simon.
Publication Information:
San Francisco : Chronicle Books, [1999]

©1999
Physical Description:
192 pages : illustrations (some color) ; 26 cm
General Note:
Includes index.
Language:
English
ISBN:
9780811825375
Format :
Book

Available:*

Library
Call Number
Material Type
Home Location
Status
Central Library ND1500 .A67 1999 Adult Non-Fiction Non-Fiction Area
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Central Library ND1500 .A67 1999 Adult Non-Fiction Non-Fiction Area
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Summary

Summary

From the team behind Chronicle Books' best-selling art reference book Artist's Manual comes the ultimate painting compendium, Art Class . The perfect complement to its predecessor, Art Class is filled with page after page of beautiful paintings and expert teaching. It is packed with ideas and inspirations, tools and techniques, photos and illustrations, as well as detailed instructions on working with media ranging from watercolor to acrylic to oil. With an entire section devoted to step-by-step demonstrations by renowned artists--where they reveal their personal secrets, tips, and methods-- Art Class is like having an instructor guiding each and every brush stroke. Learn how to paint an eye or a portrait, a tree or an entire landscape, by following the many artist-led descriptions and full-page color spreads that illustrate the most basic to the most advanced painting techniques. Whether they work in gouache or watercolor, oil or pastel, aspiring or seasoned artists will find that Art Class offers everything they need to create successful paintings. With 500 color photographs and featured works of art, a visual glossary of the language and mechanics behind painting, and an extensive resource listing, Art Class is the definitive studio companion for every painter.


Author Notes

Simon Jennings is an accomplished graphic artist and painter who has taught at art schools throughout Britain. He lives in England.
Sally Bulgin has a doctorate in Art History from the Courtauld Institute of Art in London. The editor and owner of The Artist and Leisure Painter magazines, she has also written several books on painting.


Reviews 1

Library Journal Review

Jennings surveys a broad variety of media, from charcoal to pastels, watercolor, gouache, oils, and more, and he relies on the advice and work of a large group of artists to help the beginner choose media, tools, and techniques. Unlike the authors of Art School, Jennings creates an actual curriculum here. Exercises that compare the same subject, e.g., a red-enameled coffeepot, painted in both acrylic and pastel, are enlightening. Very highly recommended. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.


Excerpts

Excerpts

Chapter One Where do I start? Where do I start? INTRODUCTION Drawing for painting Starting to paint Where do I start? A difficult question but an easy answer -- you have taken the first step by picking up this book and leafing through the pages. Maybe you are returning to painting and have not picked up a paintbrush since leaving school, but have a warm memory of a rewarding and engaging pursuit. Or maybe you are an absolute beginner whose experience of landscape painting is to put blue at the top, brown in the middle, and green at the bottom. This book covers many levels of ability, but this page is aimed at the absolute beginner rather than the painter whose interests have been focused and techniques honed through years of dedication and experience. Beginner painters As an inexperienced painter, you will probably be among those who find it difficult to begin a painting. However, there are plenty of instances where the the serious amateur or semiprofessional artist, or even the full-time professional, will "draw a blank" or have considerable difficulty in getting going. Indeed, getting going is often the hardest part of all. Making those first marks on a blank canvas can be a daunting prospect. If you feel daunted, you will not be alone.     Many of the artists who have contributed to this book have remarked that there are no rules in painting. This seems to be particularly true of getting started. There are all sorts of ways to begin a painting, but the desire to do so is the most important requirement. Once you have made a start, you can pick the route you want to go down. Professional advice Among the words that kept cropping up during interviews with the professional artists who contributed to this book were expressions such as "choices," "freedom" and "satisfaction." These key words point to the fact that although painting is not an easy process, it is an enjoyable and rewarding one. They also imply that there are a number of steps you can take to help you get started -- and that, combined with perseverance, these steps gradually lead toward a pleasing finished painting.     Opposite and on the following pages you will find a variety of practical hints and suggestions for choosing subjects and starting a painting. Getting started So, in order to get started, what do I do? From the outset try to avoid setting yourself up for disappointment. Choose a subject and a medium that you feel comfortable with, one that you feel you can handle. Don't try to run before you can walk -- but by the same token don't be too timid or too tight in your approach, or scared to try an unfamiliar medium. Be bold and confident, and remember that it is your choice. You have decided to paint and what to paint; you are not in a competition, and you aren't under any pressure or under an obligation to anyone other than yourself. Shine through Choose a subject that is enjoyable and interesting. Be open-minded in your approach. Let the painting sometimes lead you -- celebrate the accidental brushstroke, the chance blending of colors, the misplaced or quirkily drawn object. Painting is not photography; if you want to get an exact copy of a scene or an object, go out and buy a camera.     Let your own style and personality come through. Painting is an opportunity for you to be yourself, and it will give you an opportunity to convey feeling and atmosphere. Do not be afraid of paint or color. Artists' paints are relatively expensive materials and you may be reluctant to squander them -- but many a potentially good amateur painting has been spoilt through lack of boldness in the application of paint. First steps Many painters like to start by making pencil or color studies and sketches. Some make meticulous drawings and transfer them to canvas; some put in the simplest and most basic of drawn lines; some make a thin wash drawing with a brush; and others prefer to jump right in with brush and knife and pure, umixed color. Shown right is a selection of photographs of the first steps taken in the creation of four paintings. Keeping a sketchbook An artist's sketchbook takes on many guises. It can be a means of recording fleeting impressions, color notes, and compositions for turning into paintings. It can be a portable scrapbook in which to collect interesting pieces of printed ephemera and pictorial references. It can be a notebook for observations and ideas that, one day, may provide that essential spark of inspiration. And if nothing else, a sketchbook gives you somewhere to develop and practice your drawing and painting skills. Collecting resources and references Artists are invariably avid collectors of what to the uninitiated eye is nothing short of junk. Accumulating anything and everything of interest is a fascinating and often amusing way to build an invaluable resource of objects for the still-life table. Printed ephemera and reproductions can inspire ideas for paintings and provide visual information that may be difficult to acquire firsthand. They also constitute a rich yet inexpensive source of material for collages.     In the world of art, "copying" is a time-honored way of learning to paint and draw. Traditionally, students were encouraged to make studies of what were known as "antiques" -- plaster casts of statues from antiquity, usually including Venus de Milo , Michelangelo's David and fragments of the Parthenon frieze. Eventually students would progress to copying Old Masters in museums and galleries. In addition, a sound knowledge of human anatomy was required before pupils were allowed to set foot in the life studio. In many ways, students sought to become accomplished artists by learning to see through other people's eyes.     Today these traditional approaches to teaching have mostly been superseded by a quest for free expression and personal exploration. However, while slavish copying is not recommended, it is always of value to see how other artists have tackled particular themes, and you may be able to pick up useful tips on methods and materials along the way. A lively interest in the world around you is an essential grounding for good observational drawing and painting. Training yourself to see with an artist's eye develops an awareness of form, color, texture and pattern, without putting brush to canvas.

Table of Contents

1 Where do I Start?p. 12
Starting to paintp. 14
Keeping a sketchbookp. 16
Collecting resources and referencesp. 18
Choosing your mediump. 20
Organizing your studiop. 24
Classic themes and approachesp. 26
Still lifep. 28
Rooms and interiorsp. 30
Buildings and townscapesp. 32
Painting outdoorsp. 34
Landscapesp. 36
Water and seascapesp. 38
Figures and portraitsp. 40
Wildlife paintingp. 43
Imaginative paintingp. 44
2 What should I paint?p. 46
The curriculump. 48
Painting three dimensionsp. 50
Experimenting with paintp. 52
Interpreting color and patternp. 54
Interpreting surface texturesp. 56
Fish on a platep. 60
Painting a bowl of fruitp. 64
Painting a vase of flowersp. 68
Painting a still-life groupp. 72
Painting your roomp. 76
Painting against the lightp. 80
Painting a gardenp. 84
Painting a landscapep. 88
Painting trees and foliagep. 94
Landscape on locationp. 96
Painting skies and weatherp. 100
The changing landscapep. 104
Capturing waterp. 110
Painting a townscapep. 112
Painting space, depth and distancep. 116
Putting life into a paintingp. 118
Painting a facep. 120
Working on the featuresp. 126
Painting a friendp. 128
Painting a personp. 132
Experimenting with posesp. 136
Figure painting in the studiop. 138
Painting hands and feetp. 144
Painting your petsp. 146
Getting your ideas onto paper and canvasp. 150
Composing a picture from imaginationp. 152
3 What are the Basics?p. 156
Colorp. 158
Paintsp. 160
Diluentsp. 163
Mediumsp. 164
Primers and groundsp. 165
Varnish and sizep. 166
Brushesp. 167
Knives and accessoriesp. 169
Palettesp. 169
Canvasp. 171
Boards and panelsp. 172
Papersp. 173
Painting techniquesp. 176
Pastelsp. 181
Drawing equipmentp. 182
Glossary of termsp. 185
Indexp. 188

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