Böcker i Dover Art Instruction-serien

Clear and concise guide to pen-and-ink work offers material for artists at every level. Thirty-seven step-by-step presentations illustrate the progression from pencil sketch to ink outline to shadows and details to completed work.

A truly admirable book.--Bookman's Journal and Print CollectorAs a book of reference to the practicing artists who wants to solve some particular difficulty, the book could hardly be bettered.--FieldRex Vicat Cole makes learning about perspective an enjoyable and fascinating pursuit in this clearly written and profusely illustrated book. Over 390 diagrams illustrate every aspect of the text, and more than 80 illustrations reproduce drawings and paintings--by old masters and by the author--that indicate how perspective is utilized in practice. The book is so well illustrated that many perspective problems can be answered without reference to the text at all. The text itself clarifies the theory of perspective and offers numerous practice exercises. Among the topics covered are the principle of perspective in theory, the rules of perspective and their application, depths, the use of plans in sketching foreshortened surfaces, inclined planes, the circle, arches, how to draw curves by straight lines, perspective of the sky and sea, perspective of shadows, and more. Two additional sections cover perspective in the history of art and mechanical perspective.A noted landscape painter and art instructor, Mr. Cole combines common sense with an understanding of Nature's laws to make perspective a subject that every artist can approach with confidence. Art students will also find this book extremely valuable.

Both experienced and aspiring artists can benefit from this practical guide. More than 400 detailed illustrations include fundamentals for drawing trees, rocks, buildings, mountains, lakes, and other scenic elements.

A teacher for over 60 years, painter Hensche placed great emphasis in his classes on Monet's Impressionist tradition of seeing and painting color under the influence of light. Hensche taught students to "see the light, not the object," says Robichaux, who in this book reveals the basic painting philosophy and methodology of a great teacher.

Hawthorne was an American painter who founded the Cape Cod School of Art. This work, collected from notes taken by his actual students, offers hundreds of direct lessons, ideas, suggestions, and more.

Exhaustive, profusely illustrated guide to technical aspects of sculpting in stone, metal, wood, other materials. Tools, techniques, modelling, casting, firing, much more. 281 illustrations.

Without shading, even a beautiful drawing can appear flat. But artists can learn to add dimension to their work with these techniques, illustrations, and exercises that show how to achieve effects with light and shadow.

In this thought-provoking practical guide, a noted artist and educator demonstrates that learning to violate the rules of perspective (profitably) is as important for the practicing artist as learning the principles of perspective themselves. Only in this way can students free themselves from the constraints of tradition and find their own imaginative paths. However, it is vital that students first have a solid grasp of classical perspective before they can think about adapting it creatively.In presenting the principles of perspective drawing, Mr. Watson devotes a chapter each to step-by-step discussions of such topics as the picture plane, foreshortening and convergence, the circle, the cone, three-point perspective, universal perspective, figures in perspective, and much more. To illustrate his points he offers expert analysis of the works of such leading illustrators as John Atherton, V. Bobri, R. M. Chapin, Jr., Albert Dorne, Robert Fawcett, Constantin Guys, W. N. Hudson, Carl Roberts, Ben Stahl, and Aldren A. Watson, as well as drawings by Pieter de Hooch and Paul Cézanne. The result is a ground-breaking study that artists, illustrators, and draftsmen will find invaluable in learning to create works with convincing perspective.Ernest W. Watson taught at Pratt Institute for over 20 years, co-founded and served as editor-in-chief of the magazine American Artist, and co-founded the prestigious art publishing house of Watson-Guptill.Dover (1992) republication of How to Use Creative Perspective, originally published by Reinhold Publishing Corporation, New York, 1955.

Fifteenth-century handbook, written by a working artist of the day, reveals techniques of the masters in drawing, oil painting, frescoes, panel painting, gilding, casting, more. Direct link to artists of Middle Ages.

Intermediate and advanced art students receive a broad vocabulary of effects with this in-depth study of light. The guide offers detailed descriptions that start with the basics--the direction of light, reflections, and shadows--and advance to studies of light in natural and manipulated situations. Examinations of subtler light effects include foreshortening, field effects, multiple light sources, colored light, depicting the light source, and the behavior of light on shiny surfaces.Lavishly illustrated with diagrams and paintings, this volume applies its principles to figure, still life, and landscape paintings. Author Ted Seth Jacobs stresses the importance of comparing real-life vision to the canvas, since no system of rules can substitute for close and careful observation. Jacobs points out common errors, suggest light effects that artists should keep in mind, and discusses how preconceptions can be put aside in order to see the world more clearly.Dover (2104) republication of the edition originally published by Watson-Guptill Publications, New York, 1988.

An inspiring sourcebook, this guide helps artists discover a wide variety of subjects and ideas for their next sketch. More than 140 of the author's drawings illustrate nostalgic scenes, old engravings, atmospheric effects, photographs, and landscapes.

Is there art after modernism? Many of today's art students and professionals are finding the answer--yes--lies in the long-neglected field of figurative sculpture, a demanding form of expression that requires extremely rigorous technical training. Most modern schools, however, are simply not equipped to provide the necessary technical background. The republication of this highly valuable text by Edouard Lanteri, renowned teacher, sculptor, and intimate friend of Rodin (Rodin called him my dear master, my dear friend), makes it possible for serious students to gain the requisite skills and bridge the gap between artistic concept and figurative realization. Representing at least three thousand years of studio lore, this readily understandable, authoritative guide is a goldmine of technical information, easily comprising a four-year sculpture curriculum unavailable elsewhere.Beginning with a detailed study of modelling a head from a cast model, Lanteri gives meticulous descriptions of the anatomical features that comprise the head. Next, there are instructions for sculpting a bust from a live model: how to place the model, use the clay, take measurements, set up the all-important framework, put on hair, etc. The author also covers modelling the figure from nature, including such factors as the scale of proportions, posing the model, the chief line, contrasts of line, building up the figure, and more.Part III covers sculpting in relief (poses, fixing the background, tools, superposition of planes, color, change of light, etc.); drapery (arrangement of folds, principles of radiation, flying drapery, etc.); and medals (proportion, working the mold, inscriptions, etc.). Also discussed are principles of composition, both in relief and in the round. Profusely illustrated with hundreds of photographs, drawings, and diagrams, this work is the kind of comprehensive resource that should be a lifelong studio companion to the figure sculptor. 107 full-page photographic plates, 27 other photographs, 175 drawings and diagrams.

Focusing on harmonic relations between lines, color, and dark and light patterns, this manual influenced generations of artists. Practical and well-illustrated, it conveys its insights in a convenient workbook format.

Thorough step-by-step guide discusses anatomy of horse, lion, and bull; methods of construction; tools, materials, etc. Also comprehensive exposition of casting in plaster. 63 full-page photographic plates. 138 drawings and diagrams.

Learn principles of composition, classical and modern, through analysis of works from Middle Ages to present -- Goya, Cezanne, Hopper, many others. 148 illustrations, 9 in full color.

"Monumental book . . . Mr. Vicat Cole is a born teacher."--Contemporary Review"Mr. Vicat Cole's ability as a landscape painter is well known, and he unites to his executive talents the qualifications of an accomplished teacher."--Connoisseur"The name of the author is itself a guarantee that the subject is adequately treated. It is handled in a systematic and lucid way, which the novice . . . can follow with ease."--StudioFor years greatly admired and widely used, this excellent text by one of Britain's foremost art instructors has achieved the status of a classic in its field. The author, also a noted landscape painter, offers complete and accurate instruction in painting and drawing trees to all serious artists--beginner or advanced, amateur or professional. Its extremely comprehensive and detailed coverage has earned this volume a permanent place in the libraries of landscape painters, students, and teachers. Every aspect of trees and how to depict them--in any style--is covered with unusual clarity and precision; problems of balancing tree groups, relations of light and shade, delicacy and weight, distance, sky apertures and their patterns, curves and straight lines in tree branches, tree color, the influence of special environmental factors (age, frost and snow, wind, moonlight), the effects of bud arrangements on the anatomy of trees, etc. Of special value is the very thorough and lucid analysis of tree anatomy: the proportion of boughs, branches, and twigs; the positioning of leaves on twigs; the form, texture, and color of leaves; leaf patterns; flower arrangement; stipules, bracts, buds, scales, spines, seedlings, the bark, and all the other essential details of structure. Specific information is given for each tree discussed: oaks, sycamores, willows, pines, maples, etc.; abstract and inaccurate generalizations are avoided. Nearly 500 illustrations by the author accompany the text, demonstrating all the anatomical features discussed. In addition, there are 48 full-page plates: magnificent landscape paintings and drawings by Giorgione, Rubens, Rembrandt, Van der Neer, Watteau, Hobbema, Turner, Gainsborough, Dupré, and many others, showing their compositional use of trees, their details in rendering, and similar material. Unabridged and unaltered republication of second edition.

The combined training and experience of the authors of this classic in the varied activities of painting conservation, cultural research, chemistry, physics, and paint technology ideally suited them to the task they attempted. Their book, written when they were both affiliated with the Department of Conservation at Harvard's Fogg Art Museum, is not a handbook of instruction. It is, instead, an encyclopedic collection of specialized data on every aspect of painting and painting research.The book is divided into five sections: Mediums, Adhesives, and Film Substances (amber, beeswax, casein, cellulose, nitrate, dragon's blood, egg tempera, paraffin, lacquer, gum Arabic, Strasbourg turpentine, water glass, etc.); Pigments and Inert Materials (over 100 entries from alizarin to zinnober green); Solvents, Diluents, and Detergents (acetone, ammonia, carbon tetrachloride, soap, water, etc.); Supports (academy board, dozens of different woods, esparto grass, gesso, glass, leather, plaster, silk, vellum, etc.); and Tools and Equipment.Coverage within each section is exhaustive. Thirteen pages are devoted to items related to linseed oil; eleven to the history and physical and chemical properties of pigments; two to artificial ultramarine blue; eleven to wood; and so on with hundreds of entries. Much of the information--physical behavior, earliest known use, chemical composition, history of synthesis, refractive index, etc.--is difficult to find elsewhere. The rest was drawn from such a wide range of fields and from such a long span of time that the book was immediately hailed as the best organized, most accessible work of its kind.That reputation hasn't changed. The author's new preface lists some recent discoveries regarding pigments and other materials and the pigment composition chart has been revised, but the text remains essentially unchanged. It is still invaluable not only for museum curators and conservators for whom it was designed, but for painters themselves and for teachers and students as well.

This book introduces not only the techniques of oil painting but also the underlying principles of figure drawing. A series of images by the Old Masters includes 32 full-color pages.

The whys and hows of the various aspects of landscape painting: angles and consequent values, perspective, painting of trees, more. 34 black-and-white reproductions of paintings by Carlson. 58 explanatory diagrams.

"In any exhibition of amateur work . . . it is not at all unusual to find many charming water-colour drawings, but . . . it is very rarely that the work in the oil medium is anything but dull, dead, and lacking in all vitality and charm."--Harold SpeedSuch provocative assertions are characteristic of this stimulating and informative guide, written in a highly personal and unique style by a noted painter and teacher. Brimming with pertinent insights into the technical aspects and painting in oils, it is also designed to help students perfect powers of observation and expression.Harold Speed has distilled years of painting and pedagogical experience into an expert instructional program covering painting technique, painting from life, materials (paints, varnishes, oils and mediums, grounds, etc.), a painter's training, and more. Especially instructive is his extensive and perceptive discussion of form, tone, and color, and a fascinating series of detailed "Notes" analyzing the painting styles of Velasquez, Reynolds, Gainsborough, Franz Hals, and Rembrandt.Nearly 70 photographs and drawings illustrate the text, among them prehistoric cave paintings, diagrams of tonal values, stages of portrait painting, and reproductions of masterpieces by Giotto, Vermeer, Ingres, Rembrandt, Titian, Reynolds, Gainsborough, Hals, Giorgione, Poussin, Corot, Veronese, and other luminaries. In addition to these pictorial pleasures, the author further leavens the lessons with thought-provoking opinion.Clear, cogent, and down-to-earth, this time-honored handbook will especially interest serious amateurs studying the technical aspects of oil painting, but its rich insight into the mind and methods of the artist will enlighten and intrigue any art lover.

This handy guide provides numerous insights and shortcuts to drawing and sketching effectively. Describing mandatory skills for beginning and advanced students, the text covers such subjects as diminution, foreshortening, convergence, shade and shadow, and other visual principles of perspective drawing.Accompanying a concise and thoughtfully written text are more than 150 simply drawn illustrations that depict a sense of space and depth, demonstrate vanishing points and eye level, and explain such concepts as appearance versus reality; perspective distortion; determining heights, depths, and widths; and the use of circles, cylinders, and cones.Artists, architects, designers, and engineers will find this book invaluable in creating works with convincing perspective.

Much of the learning to practice as well as to appreciate art is concerned with understanding the basic principles. One of these principles is what Harold Speed calls "dither," the freedom that allows realism and the artistic vision to play against each other. Very important to any artist or work of art, this quality separates the scientifically accurate from the artistically accurate. Speed's approach to this problem is now considered a classic, one of the few books from the early years of this century that has continued to be read and recommended by those in the graphic arts.In this work, Harold Speed approaches this dynamic aspect of drawing and painting from many different points of view. He plays the historical against the scientific, theory against precise artistic definition. He begins with a study of line drawing and mass drawing, the two basic approaches the artist needs to learn. Further sections carry the artistic vision through unity and variety of line and mass, balance, proportion, portrait drawing, the visual memory, materials, and procedures. Throughout, Speed combines historical backgrounds, dynamic aspects which each technique brings to a work of art, and specific exercises through which the young draughtsman may begin his training. Although not a technique book in the strict sense of the terms, The Practice and Science of Drawing brings to the beginner a clear statement of the principles that he will have to develop and their importance in creating a work of art. Ninety-three plates and diagrams, masterfully selected, reinforce Speed's always clear presentation.Harold Speed, master of the art of drawing and brilliant teacher, has long been cited for this important work. For the beginner, Speed will develop a sense for the many different aspects which go into an artistic education. For the person who enjoys looking at drawings and paintings, Speed will aid developing the ability to see a work of art as the artist meant it to be seen.