Welcome to the wonderful world of painting with gouache, with the creative guidance of popular artist and illustrator Zoe Ingram. In this comprehensive beginner's guide, Zoe shares everything she possibly can about getting started with gouache painting. Why gouache? Because this exciting paint medium creates opaque effects making it more vibrant and graphic than traditional watercolours, meaning you can layer it, paint on dark backgrounds and much more. Gouache is one of the easiest of paint mediums to use. It’s very forgiving and fun to use and is also versatile. Gouache paint can mimic watercolour and can give the opacity of oil paint if used with less water. You can use it to paint large, smooth, flat blocks of background colour and the finest lines and details. Gouache paint also dries quickly too, which is a big bonus! Starting at the very start, Zoe takes you through the basics and explains what tools and materials you’ll need, then explores a wide range of techniques and finally, there are a host of fun and vibrant step-by-step projects that you can follow along with or use as a springboard for your own ideas. Zoe Ingram’s distinctive art makes this book a visual treat, as she shows you how she paints a variety of subjects, from birds and bugs, to flowers and foliage, to abstract collages, hand lettering and patterns. Along the way you’ll learn about colour theory, colour mixing, sketching, washes, mark making, line work, overlaying, working on dark backgrounds, how to get crisp edges, how to add details, different approaches to collage and even how to digitise your work so that you can create repeat patterns and custom prints. In the projects section you can follow along step-by-step as Zoe paints a very handsome pheasant, a funky beetle pattern, a trendy houseplant, colourful caterpillars, bright butterflies, jumbled geometric patterns, a striking owl, pretty florals, creative lettering, a curious cat and a free-flow abstract floral piece – after which there will be no stopping you! Beautifully illustrated, expertly explained and a riot of colour, this book will kickstart your love affair with gouache, so all that's left is deciding how to pronounce it... “gooash”...“gwash”...“goo-uhsh”?!

Create Better Compositions by Design The path to better painting begins with Mastering Composition. This effective guide blends clear, visual instruction with 5 step-by-step demonstrations to show you how to plan and paint your best work yet. Composition is the key, and here you'll learn to design paintings with new skill and confidence. It all begins with the armature or structure of the picture plane. Every great painting has one, and you'll see through several famous examples exactly how the Old Masters used armatures to create movement, narrative, harmony and fluidity. Based on these examples, you'll practice what you've learned following a series of hands-on demonstrations. Once you understand the basic principles of design, you'll be amazed at how quickly and effectively your compositions come together. Soon you will be painting more boldly and confidently than ever before with less reworking and overworking. Whether you're a beginner looking for basic instruction or a more advanced painter troubleshooting a specific problem, the proven methods in this book will work for you. Ideal for all mediums, Mastering Composition gives you the knowledge you need to create powerful paintings out of every subject.

In the short novels that make up this beautiful collection, Mary Gordon presents a quartet of finely rendered, emotionally resonant stories. Here we meet the ferocious Simone Weil during her last days as a transplant in New York City; a vulnerable American graduate student who escapes to Italy after her first, compromising love affair; the charming Irish liar of the title, who gets more out of life than most; and Thomas Mann, opening the heart of a high schooler in the Midwest. At every turn, Gordon revels in the interactions and crucial flashes of understanding that change lives forever. Entrancing reading, The Liar’s Wife is a wonderful demonstration of Gordon’s literary mastery and human sympathy.

Hot Cold Heavy Light collects 100 writings—some long, some short—that taken together forma group portrait of many of the world’s most significant and interesting artists. From Pablo Picasso to Cindy Sherman, Old Masters to contemporary masters, paintings to comix, and saints to charlatans, Schjeldahl ranges widely through the diverse and confusing art world, an expert guide to a dazzling scene. No other writer enhances the reader’s experience of art in precise, jargon-free prose as Schjeldahl does. His reviews are more essay than criticism, and he offers engaging and informative accounts of artists and their work. For more than three decades, he has written about art with Emersonian openness and clarity. A fresh perspective, an unexpected connection, a lucid gloss on a big idea awaits the reader on every page of this big, absorbing, buzzing book.

Geoff Kersey shares his expertise in this book packed full of tips for watercolour painters. Learn all you need to know, from what to buy, composing a painting and mastering techniques such as wet into wet and dry brush work, to how to paint skies, water, trees, buildings and more. The tips are clearly explained and illustrated through artwork and step-by-step photographs.This title was previously published as Geoff's Top Tips for Watercolour Artists. In this new, easy-to-use flexibinding format with an updated design, the books in the Watercolour Artists' Pocket Books series bring you the best tips from some of Search Press's leading authors.

Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.

John Singer Sargents approach to watercolour was unconventional. Disregarding late-nineteenth-century aesthetic standards that called for carefully delineated and composed landscapes filled with transparent washes, his confidently bold, dense strokes and loosely defined forms startled critics and fellow practitioners alike. One reviewer in England, where Sargent spent much of his adult life, called his work swagger watercolours. For Sargent, however, the watercolours were not so much about swagger as about a new way of thinking. In watercolour as opposed to oils his vision became more personal and his works more interconnected. Presenting nearly 100 works of art, this book is the first major publication of Sargents watercolours in twenty years. Each chapter highlights a different subject or theme that attracted the artists attention during his travels through Europe and the Middle East: sunlight on stone, figures reclining on grass, patterns of light and shadow. Insightful essays by the worlds leading experts enhance this book and introduce readers to the full sweep of Sargents accomplishments in the medium, in works that delight the eye as well as challenge our understanding of this prodigiously gifted artist.

Ever since its original publication in Germany in 1938, Max Schweidler's Die Instandetzung von Kupferstichen, Zeichnungen, Buchern usw has been recognized as a seminal modern text on the conservation and restoration of works on paper. To address what he saw as a woeful dearth of relevant literature and in order to assist those who have 'set themselves the goal of preserving cultural treasures, ' the noted German restorer composed a thorough technical manual covering a wide range of specific techniques, including detailed instructions on how to execute structural repairs and alterations that, if skilfully done, can be virtually undetectable. By the mid-twentieth century, curators and conservators of graphic arts, discovering a nearly invisible repair in an old master print or drawing, might comment that the object had been 'Schweidlerized.' This volume, based on the authoritative revised German edition of 1949, makes Schweidler's work available in English for the first time, in a meticulously edited and annotated critical edition. The editor's introduction places the work in its historical context and probes the philosophical issues the book raises, while some two hundred annotati