Bøger i Dover Art Instruction serien

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.

With trademark humor, Doust turns his expert eye toward the "dreaded, horrid word" perspective. He carefully explains the roles of lines, boxes, and circles, and shows how visualizing shapes and forms can be used in accurate depictions of perspective. One of the most concise introductions available for beginners. 33 illustrations.

The guidance to be found within these covers reflects the author's inspired ability as a teacher and artist of the highest magnitude. It is probably the finest book on the subject of drawing the human form that I have ever seen.--Irving Shapiro, A.W.S., Director, American Academy of ArtThis unique guide offers a bold, innovative approach to drawing from life. Instead of teaching the traditional method of building up a drawing from lines, leaving mass and tone till later, noted art instructor Douglas R. Graves takes precisely the opposite tack. The student is encouraged to begin seeing and thinking in terms of tonal masses immediately. This approach enables students to draw quickly and accurately without the need for a line drawing first. The author compares it to learning to paint with charcoal.Step-by-step demonstrations and over 200 of the author's own drawings offer inspiration and practical guidance in the technique. You'll learn how to see tonal quality, how to key a drawing, how to translate color into black and white, and valuable techniques for keeping the figure from looking stiff. Other topics include the role of alignment in achieving proper proportions, foreshortening, male and female figure distinctions, the use of modeling to achieve added dimension, drawing the face, positioning the figure, and many other aspects of life drawing.For students of drawing--beginner to expert--this book is an invaluable guide not just to drawing from life but to the essential principles of observation, composition, and draftsmanship that underlie all successful drawing and painting. It belongs in the library of every artist. For this edition, the author has revised previous chapters and added a new one on Different Modes of Charcoal.Revised and enlarged Dover (1994) republication of the work published by Watson-Guptill Publications, New York, 1971.

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.

I have made it my concern to hunt out this technique for your study as I learned it by looking and listening. On Divers Arts, c. 1122, is the oldest extant manual on artistic crafts to be written by a practicing artist. Before Theophilus, manuscripts on the arts came from scholars and philosophers standing outside the actual profession. On Divers Arts describes actual 12th-century techniques in painting, glass, and metalwork, which the Benedictine author wished to pass on to those gifted by God with a talent for making beautiful things. Theophilus teaches, with rigorous attention to fact but also with great reverence the making of pigments for fresco painting, the manufacture of glue, the technique of gold leaf on parchment (the first recorded European reference to true paper), how to blow glass and design stained glass windows, how to fashion gold and silver chalices, and how to make a pipe organ and church bells. Precise instruction on enameling, chasing, repoussé, niello, and beaded wire work prove Theophilus's first-hand knowledge of his craft.While 90 percent of Theophilus's writing is sound technical knowledge, medieval folk lore occasionally spices his text: Tools are also made harder by hardening them in the urine of a small red-headed boy than by doing so in plain water. But the magnificent fact of On Divers Art remains its status as the first technical treatise on painting, glass, and metalwork, for which actual specimens still survive. The editors have taken care to ensure both philological and technological accuracy for this authoritative edition of a medieval classic, a manual of great importance to craftsmen, historians of art and science, and all who delight in the making of the beautiful.

Master techniques for using pattern in wide range of design applications including architectural, textiles, print, more. Wealth of technical information. Over 270 design illustrations.

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.

This is the first inexpensive republication of probably the finest work on the techniques of etching, drypoint, soft-ground etching, aquatint, and the allied arts. Lumsden, the renowned etcher, Associate of the Royal Scottish Academy, and author of the article on etching technique in the Encyclopaedia Brittanica (14th edition), was unsurpassed in his knowledge of the methods and the background of the art. His work is invaluable for the absolute beginner as well as for more advanced etchers, who will find it a matchless survey of various techniques and a major sourcebook for the history of their art. Professor Lumsden carefully and clearly explains each step in the creation of an etching, from essential materials to completed proof. Fifty-five figures in the text illustrate each implement and each phase in the process, while 24 annotated plates of etchings by the author exemplify every technique and approach that he discusses. Well acquainted with all the beginner's problems, the author shows you how to prepare etchings at home in the most economical way. He includes many different choices of method and a great variety of recipes and formulas, some dating from medieval times, and many virtually unobtainable elsewhere. His discussion covers grounds and grounding the plate; points, scrapers, burnishers, and gravers; mordants; plan of an etching room; methods of biting; printing; mistakes and their remedy; transferring; aquatint, drypoint, and mezzotint; flattening and mounting; restoring; and every other aspect of etching. In addition to these valuable practical lessons in etching, the book also features a rich historical survey of the art, illustrated by 105 annotated plates, and containing a full description of each artist's oeuvre and techniques. Fullest coverage is given to the central position of Rembrandt (27 plates) and Goya (8 plates), but such men as Callot, Piranese, Durer, Leyden, Hogarth, Blake, Whistler, and 35 others are also included.

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.

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.

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.