Bøger i Dover Art Instruction serien

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.

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.

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.

Both experienced and novice sculptors will appreciate this manual, written by an expert, that addresses every practical detail necessary for a complete knowledge of the craft. Topics include modelling a portrait bust; casting; modelling for terra-cotta, in relief, and for bronze; and modelling in clay. 36 plates. 82 line illustrations.

A valuable tool for intermediate artists, this volume treats the figure as a unit in the overall composition of a sketch or drawing. Discusses light and shade, draped figures, folds, movement, much more.

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.

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.

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.

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.

Expert guidance on how to draw shirts, pants, skirts, gloves, hats, and coats on the human figure, including folds in relation to the body, pull and crush, action folds, creases, more. Over 200 drawings.

Veteran artist, illustrator, and teacher shows how simple and rewarding it can be to draw two of the most challenging of artistic subjects. 160 pages of figures; 25 halftones; 4 charts.

As Doust enthusiastically states, if a drawing "is not alive, it is a failure." With this practical, encouraging guide, even the most novice sketchers can learn how to capture the vitality and character of their models. Clear instructions and 23 step-by-step illustrations highlight all students need to know.

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.

From one of America's favorite artists comes one of the most popular watercolor books ever written. Drawing upon a lifetime of perfecting the craft he loves, Pike provides artists at all levels of expertise with information on everything from choosing a brush to producing a variety of washes. Abundantly illustrated with 166 paintings.

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.

This classic guide by noted British painter Adrian Hill starts with a brief history of tree painting and advances to general principles, color choices, and techniques. Its 150 illustrations include 7 in full color.