WONDERFUL ADDITION TO YOUR ART LIBRARY
This work has been around since around 1993 in its revised edition. This is one of the better books I have found for those who want to push their skills and test their curiosity. Edward Betts has given us some real challenges here. The book covers such areas as sketching on location, sketching in the stuido, sketching from photographs, transparent water color techniques, mixed media, painting with a brush and even delves into the subject of abstract techniques. It should be noted that this work is not ment for the beginner and is, at times, quite complex. That being said, I cannot help but feel that those at any level can and will learn from using this work. I did enjoy the author's ability to go from water color to acrylic, covering both areas quite well. As with all art books, no single book can do it all, but, as with others, this is a great tool when used with your present knowledge and other works. This is a book I have enjoyed over the years and still use it. Recommend highly.
Master Class in Watermedia: Techniques in Traditional and Experimental Painting
A good basic classic book. Every watercolorist must have in their library
Not your ordinary watermedia book
This book is not for beginners, but if you are searching for inspiration to move beyond more conventional approaches to painting in watercolor and acrylic, this might be a book worth owning. Edward Betts' observations are well-grounded in his academic experiences (at the U. of Illinois, where he went to grad school and later taught painting for many years, and at Yale, where he studied art history). As a result, he gently but insistently nudges his readers away from more traditional sorts of painting methods (although he still finds some value in doing that sort of painting from time to time, and he provides examples of such work). Betts advocates a much more experimental, abstract, painterly and, therefore, a more personal approach. Some readers may find that his painting style is not all that much to their liking, but if they keep an open mind, they still should find value in the ideas about painting that Betts articulates so well. These ideas have been around for quite a while now, but he does a fine job of explaining them to those readers who still think of painting in more traditional, illustrative terms. Betts challenges such painters to create art that is distinctive and inspired, rather than imitative and predictable.
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