More pictures at parkablogs. This book is as good as I expected. He dispenses his knowledge as freely as he does on his blog. In every chapter, James Gurney shares with us what he learned when creating his paintings. There are topics on people, dinosaurs, architecture, vehicles, composition and his step-by-steps not techniques but process. The tips he gives can be applied on other subjects as well.
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To support my blogging habit. Long answer adapted from the introduction : Because it needed to be written. It is intended not only for artists interested in fantasy and science fiction but also for anyone who wants to recreate history, visualize extinct wildlife, or simply tell a story with a picture. When you make a still life, a portrait, or a landscape, you generally begin with the subject in front of you. Oil on panel, 12 x The task is to learn to observe the subject accurately and arrange it into a pleasing design.
You learn first how to see and then how to paint what you see. This kind of observational art training enables you to capture a likeness or to render a landscape. This problem always puzzled me as a young artist. For a while I kept two separate sketchbooks, one from life and the other from imagination, and I felt as if they were done by two different people. Around the same time I got a job as a background painter in the film industry Fire and Ice, Later I painted science fiction paperback covers and illustrated for National Geographic magazine.
All the while in my spare time I was sketching and painting from life outdoors. I started to discover that my separate skills of observation and imagination were beginning to grow together and to reinforce each other. Along the way, I have researched the art instruction methods from fifty and one hundred years ago, when imaginative art was taught more systematically.
I have taken those lessons to heart in my professional approach and have shared them with art students across the country. I also have shared many of those insights on this blog. Your feedback has pushed my understanding much farther, and your encouragement about doing a book got me started.
It was a very long process to compile the information into a page book with illustrations. They apply equally to professionals and to beginning art students. You might use a traditional technique such as watercolor, gouache, oil, or acrylic.
Or you might prefer a digital program such as Photoshop. My own art media are traditional: pencil, paper, pens, paint, brushes, cardboard, and modeling clay. Regardless of your medium, there are no shortcuts to research and planning. The methods in the book will save you time in the long run and yield much better results. This book is designed to show you how by taking you behind the scenes. Every page spread covers a separate topic that builds on previous material. You can browse it like a magazine or read it straight through.
The chapters are organized by subject: sketches, history, people, dinosaurs, creatures, architecture, and vehicles, concluding with a look at the various professions that are looking for artists who have developed these skills. The section on composition is different from most other treatments of pictorial design, which tend to be based on abstract formulas of line, shape, or geometric proportions.
My approach is centered more on tonal organization in the service of a representational image. Because the art vocabulary in English lacks some words to describe key concepts, I have had to invent several terms such as clustering and shapewelding to describe compositional principles that artists often think about but lack the vocabulary to talk about.
But they used the very best paper and printing technology, and the pages are folded and stitched into signatures to make the book extremely durable.
I heartily recommend it to all my students. Please mail in a check, money order, or cash. Instead, we suggest that you ask a friend or family member living in the USA to order the book for you, and then they can transport it to you.
Imaginative Realism : How to Paint What Doesn't Exist
Imaginative Realism: How to Paint What Doesn't Exist