Book Description

Top wildlife artist John Seerey-Lester shares his award-winning techniques for capturing the look and feel of wild animals. Through detailed demonstrations in oil and acrylic, aspiring and advanced wildlife painters will learn how to:

-Research painting ideas -Develop a composition -Use color and value -Re-create fur textures -Paint weather and atmosphere conditions -Make or break a painting with light -Work in the field

Artists will appreciate the blend of easy-to-follow step-by-step instructions and beautiful samples of Seerey-Lester's work that demonstrate the principles in each chapter. ... Read more

Reviews (1)

Painting Wildlife with John Seerey-Lester
The layout of this book is clear and concise making it easy to follow. However, I did feel that the author relied on some known artistic knowledge of such things as tonal values, lighting, etc. As a beginner, I found there were many words and ideas that I did not understand which I floundered on. Nevertheless, in fairness the demonstrations were excellent and some of the best that I have seen. I liked the way the colours to each painting were shown which I found a great help. If you already have some wildlife painting experience then this book is ideal for furthering technique. ... Read more

Book Description

In April 1919 Walter Gropius founded the Bauhaus in Weimar, Germany. Until 1925, the year it moved to Dessau, this was the meeting-place for the wide spectrum of often contradicory ideas, utopias and experiments that formed the basis of the institution's renown. With more than 400 illustrations, this book illustrates the achivements of the Weimar Bauhaus-the first time they have been given such extensive coverage in a publication. The main focus is on the outstanding works by students from all workshops, from the studies in the famous introducory cours given by Johannes Itten to the design sketches that have become classics today. Another section is dedicated to Weimar's important Bauhaus collections, especially the world's only authorised collection on the Weimar Bauhaus at the Kunstsammlungen zu Weimar, which contains more than 8000 exhibits. Finally, the original "Bauhaus locations" in Weimar are brought to life, such as Henry van de Veldes' art school buildings and Walter Gropius's memorial to those who died in the Revolution of 1848. Thanks to the great wealth of material, some of which is published for the first time in this book, what emerges is a colorfull, pluralistic world that contradicts the common idea of one single Bauhaus. ... Read more

Book Description

Exhibitions have become the medium through which most art becomes known and assessed.But the art exhibition is an increasingly critical and unstable category.Constantly reshaped by artists and curators, the exhibition has become both a prominent and diverse part of contemporary culture. Thinking About Exhibitions presents a multi-disciplinary anthology of writings on exhibition practice by curators, critics, artists, sociologists and historians from North America, Europe and Australia. Texts in the collection are grouped in sections which focus on the history of the exhibition, forms of staging and spectacle, and questions of curatorship, spectatorship and narrative.As well as critical essays, the anthology includes exhibition proposals, dialogues, position papers, case studies, polemic articles and interviews. ... Read more

Book Description

There's no better way to add interest to any piece of artwork than with reflections, textures and backgrounds. This unique photo reference helps both fine and decorative artists tackle these subjects with ease. Readers will find stunning photos of a wide variety of scenes and objects, including: -The textures of nature, such as autumn leaves, stones, fruits, weathered wood and sand -Man-made textures like rusty metal, bricks and pottery -Breathtaking settings from deserts to meadows and mountains -Reflections in calm, rough and rippling water -Scenes featuring waves, clouds, snow and forests

There are also painting demonstrations in all the major mediums that show readers exactly how to get the most out of reference photos. Artists of all levels will appreciate this inspiring guide! ... Read more

Reviews (1)

More than a collection of beautiful reference photographs
Photographer and artist Gary Greene has assembled a collection of reference photographs that has something for every artist. As reflected in the title, this book has a useful mixture of photos subdivided into the three categories: Reflections, Textures and Backgrounds. Here is a sampling of what you will find.

Reflections
- Subjects reflected from water such as buildings, bridges, daylight, sunset and artificial light
- Water in motion
- Light reflected from man-made objects such as metal and glass

Textures
- Natural subjects such as tree bark, weathered wood, mosses, autumn and winter trees
- Man-made subjects such as rusted metal, old buildings, fabrics, pots and baskets

Backgrounds
- Mountains, deserts, barns and fields, seascapes, autumn and winter scenes

This book has more than a collection of beautiful reference photographs. Greene has included some very useful information. For those who wish to take their own reference photos he discusses the timely topic of digital versus film photography. Next he covers in detail the different equipment and techniques for photographing reflections, textures and backgrounds. Throughout the book Greene discusses how he used the Adobe Photoshop software to digitally enhance his photographs. Finally he and five other artists demonstrate how they interpreted reference photos in various artistic media.

The first demonstration was a photorealistic interpretation by watercolor artist Beverly Fortheringham. Her painting strongly resembled the reference photo of a boat reflected in water.

In the second demonstration watercolorist Pia Messina took a different approach. In an impressionistic style, Messina chose to emphasize certain elements and omit others from a reference photo of antique items.

For the third demonstration Greene used Adobe Photoshop to create a better reference photo. He combined major elements from two photos to make the third reference photo of a tree trunk in a bed of flowers. Multi-media artist Liana Bennett used this photo for her demonstration.

In the fourth demonstration Greene used Photoshop to rearrange elements in the reference photo of "the perfect door". The artist Steve Whitney interpreted this photo in acrylic and molding paste.

Greene painted the fifth demonstration. First he used Photoshop to remove the distracting shadows from his reference photo of a wagon wheel which he then interpreted in colored pencil.

For the last demonstration Greene used Photoshop to add a vibrant colored background to silhouetted trees. He called this technique "sandwiching". This reference photo was interpreted by the pastel artist Paulette Johnson.

The major attraction of this book is the collection of beautiful reference photos and by including the additional information Greene has not attempted to write a complete how-to for photographers or a Photoshop manual. However he does offer suggestions for taking good reference photos and digital enhancing those photos.

Gary Green is an accomplished artist and photographer. He has written many other books including Creating Radiant Flowers in Colored Pencil, Painting with Water-Soluble Colored Pencils, Creating Textures in Colored Pencil, Artists Photo Reference: Landscapes, Artists Photo Reference: Buildings & Barns, Artist's Photo Reference: Flowers, and Artist's Photo Reference: Boats & Nautical Scenes. ... Read more

Book Description

The New Art History provides a comprehensive introduction to the fundamental changes which have occurred in both the institutions and practice of art history over the last thirty years. Jonathan Harris examines and accounts for the new approaches to the study of art which have been grouped loosely under the term "the new art history." He distinguishes between these and earlier forms of "radical" or "critical" analysis, explores the influence of other disciplines and traditions on art history, and relates art historical ideas and values to social change.

Structured around an examination of key texts by major contemporary critics, including Griselda Pollock, Fred Orton, Albert Boime, Alan Wallach and Laura Mulvey, each chapter discusses a key moment in the discipline of art history, tracing the development and interaction of Marxist, feminist and psychoanalytic critical theories. Individual chapters include: Capitalist Modernity, the Nation-State and Visual Representation; Feminism, Art, and Art History; Subjects, Identities and Visual Ideology; Structures and Meanings in Art and Society; and The Representation of Sexuality. ... Read more

Reviews (2)

Great Reference Source for Lesson Planning
The majority of the lessons compiled in 100 Creative Drawing Ideas originate from college-level instructors. Therefore, as an art educator experienced in teaching K-12 and higher education students, I must warn you: these are serious lessons aimed at specific problem solving; not meant as a beginning artist's handbook. For educators, this book is filled with ideas that can be adapted up or down, depending upon the desired target age or level. The text is well organized in terms of complexity. Consequently, it is possible to utilize these drawing exercises as preliminaries for other media. Some might find the informal paragraph style of "talking through" the activity a bit confusing. Teachers K-12 will need to adapt the lessons into a format consistent with state standards. Artists looking to expand or brush up on skills will really benefit from this text. As an artist and teacher, I think it's a great reference tool reminding us of what we've learned and what we need to teach.

Excellent idea book for upper grades or college drawing!
The book covers various drawing ideas that other teachers have used in their classes. Although it is a compilation book, it does give added ideas to the starving art educator who needs ideas for classes. The only gripe I would have is that I was hoping that I could use it for some of my middle school students. It is really geared towards the upper grades levels and college drawing classes. I am hoping that I will be able to adapt some of the ideas for my gifted and talented art students. ... Read more

Book Description

From soft, atmospheric effects to powerful images, this guide provides artists with the insight and instruction they need to illuminate their paintings with the magic of light.

Utilizing 7 complete painting demonstrations, artists will learn how light behaves, where and how to find the best light, and how to use the personality of light to express the feeling and character of a subject. In-depth guidance features specific instruction for capturing light effects on glass, metal, water, landscapes and architecture-and also offers methods for experimenting with candlelight, shadows and more. ... Read more

Reviews (15)

A really stunning watercolor book!
I ordered the book after visiting Paul's website which has many of his beautiful paintings online and I was really delighted to receive my copy yesterday. The book is done on a very professional level, filled with gorgeous step-by-step projects, and it serves as the door to the Paul's spectacular watercolor world. I've recently realized (I'm a beginner watercolorist) that a painter needs to train ones vision the same way as a musician needs to train fingers, and Paul gives many valuable hints on such perception development, seeing beyond the still life objects and taking them to life by help of light effects. The many projects in the book are very interesting and tempting, earlier I used to sigh when seeing some amazing paintings depicting colored glass, crystal and metal objects, but now I'm sure I'll be trying to paint them myself by using Paul's instructions! Also the architectural paintings demand special attention, painted Paul's way, the churches, monuments and city buildings create a special mood and they become messengers to the viewer. I really recommend this inspirational and at the same time very practical book to watercolorists of any level.

Great examination of how light affects paintings
This book is aimed for an intermediate to advanced level watercolorist. The majority of the book focuses on the author's fascination with portraying light as it hits colorful subjects. The subjects range from beautiful colored glass such as wine and perfume decanters to brass musical instruments to breathtaking architectural and landscape paintings.

Other than the first chapter that gives a very quick overview of a few techniques such as blotting, drybrushing, scraping, pouring, etc. it is not an overly comprehensive book on every aspect of watercolor painting. For example, only 1-2 page cursory discussions are given to subjects such as composition, creating textures, values, leading eye movement arrangements of a painting, etc. When they are discussed the subjects are always tied back to the book's main theme - light. So eye movement is discussed, for example, in how light helps achieve this goal to make a strong painting.

Another subject which the author doesn't address is color mixing and color theory. Some of the paintings use of alizarin crimson which some new painters may not know is a fugitive color. Fortunately there are 2 relatively new very permanent pigments on the market that are dead-on ringers for traditional alizarin crimson when you mix them together. W&N Permanent Carmine, which is a quinacridone/diketo-pyrole pigment + any brand with only PR122 as the listed pigment. In fact, W&N offers these two pigments as a convenience color mix named Permanent Alizarin Crimson. I have painted washes of my true alizarin crimson right next to the quinacridone/PR122 mix and could not tell the difference. Neither could my boyfriend when I asked him to try to pick which was the real alizarin crimson and which was the mix.

One of the most intriguing chapters was on painting light at night. The cover painting is only one of the types of night scenes this chapter covers. There are others such as streetlight fog at night and architectural spotlighting. I am especially envious of the author's beautiful architectural themed paintings. I'm still trying to get down perspective myself so anyone who demonstrates such mastery is someone I pay attention to.

Overall this book is a very good look at seeing how one element of painting - light - can be pushed to amazing effect. It is fascinating to see how just one of the criteria (in this case, light) needed for a successful realistic painting can contribute to creating your own signature style. And although I said this book is of most use to intermediate to advanced watercolorists it can not fail to help beginners since the paintings are so inspiring and beginners will eventually move up to intermediate level anyway.

Review of his Video: "Painting Light & Landscapes"
This is a review of his *VIDEO*, "Painting Light & Landscapes".
I couldn't find it on Amazon.com so I'm putting the review under his book.

This title is separated onto two videos, part 1 about 1 hour 15 min, part 2 about 1 hour. (I couldn't get an exact time count for tape 2. It varied every time I timed it. Maybe the tape material was stretching?)

It begins with a brief bio of his training and awards, showing several of his painings in the background.

Then, a brief intro to some basic techniques, flat wash, graded wash, wet in wet, but nothing else.

Then he begins to demonstrate his painting, a foggy landscape, mostly done wet in wet.

The value of these videos is to see his demonstration of him actually painting. You see every stroke, which is very good for learning. Camera angles and audio are excellent.

But he doesn't teach design, composition, value sketch, color mixing theory, etc. If you want to learn these basics of painting you are better off with Tony Couch or Tom Lynch videos. But it is valuable to see Paul do his demo because he talks about his thinking process as he paints. It is always valuable to see how a painter thinks about his painting, his process, rather than just staying with cold techniques. These videos are excellent for that.

He points out how the water & paint behaves, how he corrects or covers up mistakes, how he layers paint to get rich values, how he choses colors he is using, how he changes his designing, etc. Its amazing how he gets his effects with his huge brushes and lots of water.

He usually names the colors he uses, mostly Winsor & Newton. But as he doesn't talk about color mixing theory, or quality of paints, he doesn't talk about permanant or fugitive clolors. At one point he mentions he is now using a *permanant* Alizarin Crimson, a historically fugitive color. (Genuine Alizarin is fugitive, which means it will fade or change over time with sunlight shining on it, and you shouldn't use it since there are permanant substitute paints for this color. *Premanant* Alizarin is most likely made up from these permanant substitue paints, but companies preserve the old name so thay can make money.) But then he uses *huge* amounts of Winsor Violet, which I belive is made of of Dioxazine, which is a fugitve color! (I hope I'm correct in this and not making a fool of myself. If I am, I appologize in advance.) According to Michael Wilcox's book, "The Wilcox Guide to the Best Watercolor Paints", he states that Dioxazine is a fugitive color. So why 1) does Mr Jackson use it if he switched to a *Permanant* Alizarin, and 2) why does Winsor & Newton continue to put out fugitve colors for sale at all???? (Read Wilcox's books to learn how to mix violets and purples using permanant colors as well as find out which paints are fugitive and which are permanant.)

While it is wonderful to see Mr. Jackson demo his painting, the whole video is *continually* broken up everytime he needs a break to dry his paper with *numerous* silly interviews of clients and samples of his paintings. These breaks happen at different times, after 5min, 12min, 17min, 24min, etc.

Showing samples of his beautiful paintings at these breaks is acceptable, although time consuming if you want to keep the actual demo on *one* VHS tape. You can go to his web site to see all his paintings. But the interviews are totally frustrating.

The interviews are of some of his clients/patrons: eg. Gov of Missouri, his 1st Lady, and several Doctors. These are more like infomercials. All they say is how wonderful Paul Jackson is, how much they like and are amazed by his art work, how his art is so detailed "it looks like photographs", how he paints upside down even though "that's impossible, but he does it!", etc. These "infomercial" commentaries are TOTALLY USELESS!!! They take up valuable video time and waste the viewer's time. These are all distinguised people, clients, patrons, nice people who really appreciate his work, but with all due respect, who cares about their comments! They are not artists. I bought the video to see Paul paint, not hear non artists babble on and on singing his praises and their amazments! I already know how wonderful he is and am amazed by his art myself, otherwise I wouldn't have bought the video and his book! I don't need nor want their comments. Its a total waste!

These breaks are short, 30 sec to 1 min each, but are so numerous, between 20-30 of them or more, they break up the flow of the video. I tried to time them to see how much time they took. Between the two videos, the infomercial interviews totalled to about 8 min, and the gallery of his paintings totalled to about 8-10min. Not much time total, but because there are so many of them, they are very frustrating and intrusive.

If the tapes had totally eliminated these useless interviews/comments and edited down the samples of his gallery of paintings, he could have fitted his *actual demo* onto a single 2 hour tape. Why, we need to ask, was it spread out onto 2 tapes with so much filler?

I rated the video with 4 stars instead of 5 because of these useless interviews. I would recommend this set of videos to actually see him paint. You just need to ignor the interviews. You can learn a lot just from observation and hearing *HIS* comments! If you get his book, you will get more step by step instructions.

If he ever does another video, which I would love to see of his tighter style, I would recommend: 1) DROP THE USELESS INFOMERCIAL INTERVIEWS! LET YOUR ART SPEAK FOR ITSELF. LET YOUR PAINTING DEMO SPEAK FOR ITSELF. and 2)show more of your planning, design stage. This is just as important as seeing you actually paint.

A beautiful book, but how much do I actually use it
I am an intermediate level painter. I appreciate the technique and artistry that goes into the paintings in this book. I also study them and read the artists comments and recomendations. They are sometimes vague and it is more of a read than a workshop book. I do not use it nearly as much as I hoped I would. This book does contain very impressive work and I would like to apply some of what I see to my own art.

excellant!
This is the best watercolor book I have found yet. The light effects are stunning and inpiring. I really learned a lot and improved my skills after reading this book. ... Read more

Amazon.com

PBS painting star Jerry Yarnell follows the success of his beginner's lessons in Painting Basics with intermediate painting projects in Painting Inspirations. Yarnell reviews some basic terms and techniques; presents his materials list (as in volume one, he uses a limited but effective palette); explains glazing, an important skill for acrylic artists; and speaks to his mixing technique. The bulk of the book contains 10 complete paintings presented in Yarnell's popular step-by-step method. The compositions feature several landscapes in predominantly cool tones, such as a squirrel perched on a gnarled tree in a purplish, fantastic winter storm; a lonesome fence jutting across a cloudy lavender sky and soft green foliage after a rain; and a solitary lighthouse emitting a hazy beacon of yellow light against the deep blues of a crashing ocean and evening sky. Some of the techniques Yarnell explores include back lighting, the use of negative space, monochromatic effects, and discovering the exhilaration of fearlessly employing pure color. As usual, Yarnell intersperses his straightforward instructions with friendly advice: "You will want to do some experimenting with both brushes and different consistencies of paint. Each of us handles this kind of detail work very differently. The secret, however, is the consistency of the paint and the pressure applied to the brush." --Mary Ribesky ... Read more

Reviews (1)

Best beginning artist book I ever read !
This is a fabulous book for beginning artists. My 12 year old was inspired to try drawing with other kinds of materials besides drawing pencils. She has now used charcoal sticks, Water-color pencils, graphite sticks, andpastels. The basic instructions are easy to understand and follow. I highlyrecommend this book. ... Read more

Reviews (1)

It tells you where to draw instead of how to draw!
The book doesn't have any exercise materials to practice on, it mostly talks about tips instead of technics. It has plently of pictures on the back which would have been nice, if they draw all of it in steps and show me how. ... Read more

Book Description

The projects in this superb teaching guide not only offer enjoyable drawing exercises, but are also designed to instill good working methods to benefit artists at all levels. Readers are shown different ways to look at a subject by studying shape, form, space, light, texture, and movement as applied to figure drawing, still life, landscape, and abstract subjects. Rather than prescribing a single, absolute technique, the book presents drawing as an act that reflects the complexity of human experience in numerous ways.

Peter Stanyer and Terry Rosenberg, painters who have exhibited their own work in numerous shows, are both dedicated teachers who conduct highly regarded art courses in London for students at all levels. ... Read more

Reviews (6)

if you are lucky
mr.mary ivens report..all books especially on art are either appreciated or not and the reviews attest to that..in my own case i found this book to be ideal for my needs.....it provided me with many ideas and to the reviewers who did not like try reading from outside your square....i think you will find something....i say buy it .

Just another co-authored
"A Foundation Course in Drawing"by PETER STANYER & TERRY ROSENBERG

As a general rule,there are not many"really good"co-authored books out there.This rambling and disjointed introduction to drawing is no exception. It seems as though, when books have two authors, that both persons simply agree to give a half-effort,in hopes that the two of them can put together a whole, dynamic book.It just doesn't seem to work here.

What I look for, when judging a book, is the KEYWORDS of the title. Words such as "complete guide"...."complete course" ..."basic"....
"foundation"...etc. This establishes that a beginner must be able to pick up the book, grasp it,be entirely inspired and satisfied with it and all the material covered therein. Such words establish that these books are not for INTERMEDIATE students with a foundation in drawing principles, but this book does move into INTERMEDIATE material, and sacrifices BASICS to get there.

The problem with a multitude of these drawing instruction books are flaws that fall into several categories:

(1) they try to cover virtually EVERYTHING in art generally, including PAINTINGor COLOR, or COMPOSITION which means they must skip quickly over their DRAWING BASICS for the beginner to do so.A good drawing book must start with DRAWING, and stick with DRAWING only,for at least 3/4ths of its chapters. The really good drawing books do this.

(2) the author is extremely dull and uninspiring to begin with, illustrating the book with ordinaryhousehold objects for suggested drawing exercises;objects like can openers,coffee pots,key chains,tables, chairs, bicycles and has no true justificationfor putting another drawing book on the market (good books are already in print), and copying the same outline for growth that other books have.

(3) the author is too wordy, loading down the book with unnecessary theory and intellectualizations.

With those flaws in mind,it is clear that"A FOUNDATION COURSE IN DRAWING"is too broad in scope and moves too quickly away from basics into intermediate material (flaw 1),is no better than other books on the market (flaw 2) and the drawings and illustrations are among the worst availble in a basic drawing HOW-TO. (they are REALLY BAD!) The text is alternatively overly-simplistic or overly-complex.

"A FOUNDATION COURSE IN DRAWING" is a poor introduction for any beginner, but the book is inexpensive for 276 pages if that's all you want.

Excellent.
One of the best drawing books I have found.Covers a lot.

Novices and Art Teachers Get This Book!
This is a great book filled with constructive projects for Drawing.It is good for people who are beginning to draw to Art teachers.If you are an Art teacher the projects are useful for your classroom in developing student's drawing skills.It thoroughly covers the basics of Drawing.It covers drawing from still life to abstract.I highly recommend this book.It is easy to understand and filled with diagrams for those visual learners out there.

only if it is free
would I recommend this book.I am a professional artist and I find there are so many good books out there... this is not one of them.The drawings are good but not great, and certainly not great to learn by.The lessons are so, so.Each time I open and close this book, I get hardly anything at all... ... Read more

Book Description

The art of painting watercolors with spontaneity, so hard for beginners to achieve, is just a few brushstrokes away under the guidance of this great best-selling primer that shows how to achieve freely flowing images.

In step-by-step exercises, readers learn how to use watercolor's unique characteristics to interpret flowers, fruits, and vegetables with two brushes-one to lay in color, the other to manipulate form, resulting in loose, soft contours and beautifully blended colors. ... Read more

Reviews (1)

I find this book fresh and inspiring.
This book has good demonstrations for the painting of flowers and vegetables.In it Mrs. Walsh tells a little about her own personal preferences for painting, her studio, etc., making it fun to read.I foundthis information very useful.There are many examples on how to paint thevarious types of fruits and vegetables, and a variety of flowers as well. The instruction makes one not afraid to try it!I am a visual learner, andthis book met that need. ... Read more

Book Description

Revised and updated with 280 sketches and paintings, this new edition will appeal to the large market of nature lovers, aspiring artists, botanists, birdwatchers, teachers, hikers and naturalists. ... Read more

Reviews (3)

Don't let the title fool you
This book provides a tremendous amount of information on sketching in nature but don't let the title fool you- this is a terrific general sketching and drawing book. Johnson covers topics that are rarely covered in other books. The use of pens, watercolors, pencils and colored pencils (both water soluble and not) are covered. This is an invaluable book and is an asset to both the beginner and more advanced student. I'm on Amazon right now trying to find other books by Cathy Johnson- I'm that impressed.

Cathy keeps it simple...and affordable.
This is a very refreshing book. Cathy Johnson not only makes it look easy to draw and paint loose, yet accurate, watercolor sketches outdoors, but she tells you everything you need to know. This book will actually teach you how to draw and paint what you see, without making things overly complicated. Best of all, her supply list is well within the means of most people. I really enjoyed this book, and learned a great deal from it. This summer, I caught Lyme disease. It's nasty. For months, I could hardly walk, let alone hike and garden and do stuff I used to love. But Cathy's book has helped draw me back outside, and I'm learning to love nature all over again, one leaf, flower, and bug at a time. This book would make a great gift.

Fine for the Arteest on the Go
This is a pretty complete little volume. When you get it, you really do have to assume some knowledge and practice of making art and the media, however, she goes over materials and techniques, which can serve as a good refresher or initial exposure.

The best part is a discussion early on about how to pack all the materials so you don't keel over from exhaustion, hauling too much art gear, along with the usual standard hiking goodies. (I especially needed help with that, given my childlike adoration of way too many pretty colors.)

The emphasis is on SKETCHING, not doing the Mona Lisa. This is important in outdoor work as light changes and speed can be of the essence. I sometimes pick up this book so that I can just relax my techniques a bit.

The examples in the book, in many media and in monochrome or color are a delight to view. Sometimes, it's just fun to sit down with a cuppa and flip through the nice drawings of objects and scenes in nature. ... Read more

Book Description

Book Description

Book Description

Everything around you is a subject for drawing--a potted plant, a sneaker, a beach, a bowl of vegetables, people. Almost as varied as what you can draw is the way you can draw. No two artists approach their work in the same way, and there are many different techniques and materials that you can use. Before experimenting with different materials, examine the fundamental principles of drawing, including outline and contour, shading and texture, planes and proportions, mass and volume, and perspective. As you progress through these exercises and examples, you will work with a variety of drawing media and find out about the marks and effects that can be achieved with charcoal and chalk, color sticks, pens, brush and ink, pastels, pencils and graphite, colored pencils, and markers.
... Read more