Blue and Yellow Don’t Make Green: How to mix the color you want—every time
by Michael Wilcox
“Have you ever wondered why it is so difficult to mix the exact colors that you need? And why it is so easy to mix dull, grayed colors, commonly known as mud?… In order to obtain a wider range of colors we purchase a variety of reds, yellows and blues, together with several greens, oranges, violets, browns, and grays. Painting starts to become expensive and confusing.”
The main premise of this book is that the three-primary color system needs to be abandoned in favor a six-color system. To begin, we need to understand how portions of the color spectrum are either absorbed or reflected by a surface. A surface appears black because it absorbs all colors. A surface appears white if it reflects all colors.
So what happens if you mix pure yellow and pure blue? Continue reading
The Figurative Artist’s Handbook: A Contemporary Guide to Figure Drawing, Painting, and Composition
by Robert Zeller
Unlike other figure drawing instruction books, this one begins with a 67-page crash course in art history. “Figurative art always conveys a narrative, a point of view. At the present, it is considered vital for a figurative artist to have his or her own artistic voice, and to exhibit some originality. How can you hope to be original, to continue the conversation, if you do not listen to the past, to those who have come before you?”
The instructional chapters of the book are divided by pose category: Standing Figure, Front View; Standing Figure, Back View; Reclining Figure; Portrait Drawing; and Portrait Painting. Here are some of the common themes.
“Gesture is a river of movement, energy, and rhythm that flows through the figure in any given pose… Once you understand gesture you will be able to see the essential rhythm of a pose, which will allow you to properly plan your drawing. Think of gesture as a conceptual road map. Before you start drawing with your hand, first learn to draw with your eyes… Begin by scanning the entire figure for gestures that flow through the various forms, learning to see how all of the parts of the figure are connected… Learn to see this axis of energy first so that when you draw, you will be able to forge greater unity among the various parts of the figure.”
What Art Is
by Arthur C. Danto
The dust jacket sums up Arthur Danto’s definition of art nicely. “A work of art is always defined by two essential criteria: meaning and embodiment, as well as one additional criterion contributed by the viewer: interpretation.” Continue reading