Artists have used mechanical devices to enhance and refine their work for nearly 300 years. Now there’s an innovative, one-stop guide that demonstrates scores of ways to use imaging-editing software (along with scanners, digital cameras, and printers) to develop drawings and paintings, no matter what the medium.
Here are dozens of tested tools and no-fail techniques for working with multiple photos . . . creating moods . . . working with layers . . . zooming in on detail . . . developing an abstract painting from a photograph . . . and much more. Examples from over 40 professional artists, including Ron Ranson, Richard McDaniel, and Penny Soto, cover a variety of mediums, styles, and subjects and clearly detail, step by step, proven ways to experiment with color, composition, value, scale, and proportion. This one-of-a-kind reference offers infinite possibilities!
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Jann Lawrence Pollard is a watercolor artist who specializes in landscapes and architecture. She teaches workshops in California and Europe. Jerry James Little is a watercolor and collage artist whose work has been exhibited in shows and galleries throughout the US. Both authors live in the San Francisco area.From Library Journal:
Someone once said, "To err is human, but to really foul things up requires a computer." Whether computers will dehumanize art or free up our creative impulses remains to be seen, but these two books are worthy additions to the discussion. Illustrator Ashford's career was completely changed by the computer. The result was six books on computer graphics, including Start with a Scan: A Guide to Transforming Scanned Photos and Objects into High-Quality Art, written with John Odam. In this follow-up, she enters the arts-and-crafts world. She begins with an excellent chapter on understanding digital tools (bitmaps, PostScript, software for graphics, resolution, etc.), then adds sections on working with photos and scans, using type and design, and gathering the art supplies needed for projects. The second half of the book takes computer-generated art and applies it to the making of cards, small books, and other decorative projects. The book as a whole is packed with historic facts (on typefaces, the development of color greeting cards, and the politics of paper) and usable information (on computer safety and the varieties of binding methods). While Ashford has created images solely within the machine, Pollard and Little seek to use computer-generated images only as reference tools for traditional art media. The authors present over 40 demonstrations that show how to use image-editing software to improve one's drawings and paintings. Each of the 30 artists included uses the computer to develop photographs or sketches into fully developed ideas. They combine photos, apply textures, crop, and edit, and they vary perspective, color, and scale as they create studies. After working out compositional problems, each study is used as the basis for artwork in watercolor, pastel, acrylics, or oils. Each of these books can be used with a variety of available graphic programs, with either a Mac or PC/Windows. Both are solid additions to this rapidly morphing field.
Copyright 2002 Reed Business Information, Inc.
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