- Copertina flessibile: 180 pagine
- Editore: Watson-Guptill Pubns (17 marzo 2009)
- Lingua: Inglese
- ISBN-10: 0823099202
- ISBN-13: 978-0823099207
- Peso di spedizione: 762 g
- Media recensioni: 4.5 su 5 stelle Visualizza tutte le recensioni (2 recensioni clienti)
- Posizione nella classifica Bestseller di Amazon: n. 26.970 in Libri in altre lingue (Visualizza i Top 100 nella categoria Libri in altre lingue)
Colored Pencil Painting Bible: Techniques for Achieving Luminous Color and Ultrarealistic Effects (Inglese) Copertina flessibile – 17 mar 2009
|Nuovo a partire da||Usato da|
- Scegli tra gli oltre 8.500 punti di ritiro in Italia
- I clienti Prime beneficiano di consegne illimitate presso i punti di ritiro senza costi aggiuntivi
- Trova il tuo punto di ritiro preferito ed aggiungilo alla tua rubrica degli indirizzi
- Indica il punto di ritiro in cui vuoi ricevere il tuo ordine nella pagina di conferma d’ordine
Spesso comprati insieme
Chi ha acquistato questo articolo ha acquistato anche
ALYONA NICKELSEN is an award-winning artist whose work has been featured in numerous national and international exhibitions as well as in most of the country’s major art magazines, including American Artist, American Artist Drawing, The Artist’s Magazine, International Artist, American Art Collector, and Art Business News. Ms. Nickelsen is a signature member of the Colored Pencil Society of America. Ms. Nickelsen lives with her family in Southern California.
Non è necessario possedere un dispositivo Kindle. Scarica una delle app Kindle gratuite per iniziare a leggere i libri Kindle sul tuo smartphone, tablet e computer.
Per scaricare una app gratuita, inserisci il numero di cellulare.
Garanzia e recesso: Se vuoi restituire un prodotto entro 30 giorni dal ricevimento perché hai cambiato idea, consulta la nostra pagina d'aiuto sul Diritto di Recesso. Se hai ricevuto un prodotto difettoso o danneggiato consulta la nostra pagina d'aiuto sulla Garanzia Legale. Per informazioni specifiche sugli acquisti effettuati su Marketplace consulta… Maggiori informazioni la nostra pagina d'aiuto su Resi e rimborsi per articoli Marketplace.
Se sei un venditore per questo prodotto, desideri suggerire aggiornamenti tramite il supporto venditore?
Quali altri articoli acquistano i clienti, dopo aver visualizzato questo articolo?
Principali recensioni dei clienti
Il libro fornisce sia esempi specifici concentrandosi sulla rappresentazione di un singolo soggetto che esempi generici in cui dimostra particolari e inusuali tecniche pittoriche.
L'autrice tramite l'utilizzo di solventi e procedure di sovrapposizione cromatica ad esempio riesce a creare magnifici effetti di traslucenza con delle semplici matite a base cerosa.
Tutti gli esempi che vengono esposti sono corredati da immagini e sono approfonditamente spiegati, il libro è inusuale e unico nel suo genere dimostrando tecniche davvero innovative e ci da inoltre un idea in che modo artisti come Alastair Lockwood, Ann James Massey , Linda Hardy, Arlene Steinberg e Howard David Johnson riescano a raggiungere gradi di realismo incredibile, riuscendo a far passare per vere e proprie fotografie dei semplici dipinti, la stessa autrice è un artista rinomata e il libro è pieno di splendide illustrazioni di diverse sue opere.
L'unico appunto che si può fare e che per seguire più facilmente il libro sarebbe consigliabile utilizzare le stesse matite a base cerosa che usa l'autrice le " Prismacolor " marchio americano difficilmente recuperabile in italia, le tecniche comunque sono sempre applicabili con qualsiasi matita per artisti di pari qualità anche se a base oleosa.
Anche in questo caso Amazon si è dimostrato un venditore serio e affidabile recapitando il libro tempi brevissimi e in perfette condizioni.
Consiglio questo libro a chi cerca qualcosa di nuovo e a gli artisti più smaliziati che vogliono capire effettivamente come sia possibile raggiungere certi gradi di realismo con un medium così semplice.
Le recensioni clienti più utili su Amazon.com (beta) (Potrebbero essere presenti recensioni del programma "Early Reviewer Rewards")
If you're new to colored pencils like I am this is not the right book for you. It starts out covering a lot of things as if you have never used colored pencils, then moves onto advanced topics.
What bothers me is the book title and description saying: `incredible realism- with simple you-can-do-it-processes!'. Which is very misleading. Same thing when you look inside the book and see it starting with basics like colored pencil choices and paper choices. I assumed that it was going to progress from the very basics all the way through.
The highest rated 5-star review is titled: `Great for beginner to expert' and says: `If you have no experience with colored pencils or colored pencil realism, this book will take you from total beginner to gallery level brilliant hyper-realism'.
Almost every example goes something like this: I layered black, blue, red and green on the background and used yellow, pink, etc on the light areas. And it shows one small photo of the drawing. Then I applied a solvent and touched up areas. Then showing a beautiful completed photo. I would have appreciated to see way more steps and photos.
If you're a beginner I would recommend to start drawing and watching online tutorial videos. With the videos you can watch the artist drawing and pause the video while trying to recreate what they are doing. Once you understand color better and how to make decent looking drawings then look into this book.
I don't know who would disagree with me about that. You should be able to draw a decent drawing with colored pencils BEFORE you try to create ultra realistic effects. You need a lot of experience drawing and working with colors and so much else to create drawings that look ultra realistic. It's not just a matter of following along with the 'simple you-can-do-it-processes' in this book.
A more accurate title would be `advanced colored pencil techniques'.
While browsing online, I discovered this book and read some really positive reviews. I was intrigued to read that the author favored Prismacolor pencils (one of the two brands I prefer - the other is Lyra) and I was very impressed by the ultra realism of the cover and the drawings I saw in the previews. I also liked the fact that it said Colored Pencil PAINTING, because I have always thought the style and technique I favor - a heavy, opaque coloring, rather than a soft sketchy style - was more akin to painting than the drawing/sketching that most people think of when they think of colored pencils. I knew that when I was last heavily involved in this medium, a good 25 or so years ago, this style or approach, and the colored pencil medium in general was still considered a relatively new medium (in the general scheme of artist's media through the ages) and that people had been experimenting and pushing the techinique envelope, and new products had been developing as well. So when I saw that there were several used copies of this book available, I thought I would give it a chance, surely there would be something between the covers for me.
What a huge, happy surprise awaited me when the package arrived! Not only does this book cover the ultrarealistic effects and luminous colors that are the author's forte, it also gives a good overview of principles of design, composition, color theory, fundamentals of light, shading and shadows, and other topics that are applicable to just about all visual art media, not just colored pencil. It even contains a different approach tto color theory than what I had been taught all those many years ago, and that quickly deepened my understanding of layering and blending colors in a way that years of trial and error (and yes, more error) hadn't accomplished.
The focus of the book, as promised by the title, is on colored pencil drawing (painting), specifically with "dry" wax or oil based pencils (not watercolor pencils) So naturally a lot of pages are devoted to materials, media, supplies and tools. It covers the difference and similarities between wax and oil based pencils and specific brands thereof - including hardness, blendability, color range, and the "feel" of the pencil on the page plus an appendix with charts of all the major manufacturers' colored pencils and their ratings for lightfastness. It also explains the pros and cons of different types and weights of paper, even mentioning some by brand. Erasers and erasing technique, blending//burnishing and the use of solvents are covered. Just about anything you need to know about stocking and setting up your studio to enable you to use this medium to its maximum potential can be found in this book. No matter what your level of experience and expertise, you are bound to find something in the tools and techniques section of this book to make you say "wow! I did not know that!"
And finally, we get to one of the main objectives of this book - creating textures and surfaces. Step by step, section by section it covers the techniques and "tricks" for rendering various surface and background textures: greenery, flowers, fruits and vegetables, water, ice, fire, wood, metal, pearls, cut crystal, various fabrics, all covered step by step. This is followed by an introduction to practicing with simple still lifes, one of the most accessible subjects and an excellent study in texture, color, light and composition. The book ends with a series of exercises in technique -- single object studies from start to finish, each featuring a different type of surface texture.
This book is an essential in the library of anyone who is interested in making art with colored pencils. It doesn't specifically cover some of the more common subjects -- landscapes, portraits, etc, but gives you the building blocks for the solid foundation you will need even when taking on such subjects. I am sure that I will return to it over and over for reference, and look forward to deepening and expanding my understanding of the medium, and to honing my technique. With this book, and more practice (and I am sure more trial and lots of error) I hope to tackle some of those "weak points" that have perplexed me since I first put pencil to paper, which will greatly improve my enjoyment of the medium that I love.
I do have one complaint: there are links to the artist's website from the appendix indicating that if and when color specification and lightfastness information becomes available for pencil series currently lacking it, the reader can go to the website and find that info. I did go visit the website to see of there had been any newly-available info webbed about pencils I'd be interested in and found that any substantive content whatsoever can only be viewed if you subscribe to the website's "art logistics" information at $5/mo. That was a real turn off, especially since it looks like much of the info in the book comprises the bulk of the for-pay info on the website. So buy the book and skip the website as a source of info. Going straight to the various manufacturers' websites for color and lightfastness info may be a bit of a pain but it is almost always free. (I check lightfastness info on pigments and paints anyway, and always have, since I'm published academically on the subject of inorganic pigments).
Since the website is not the subject of this review and the book is, my quibble over the website has no bearing on the quality of this well-written and informative book - so it gets five stars from me.