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Catching Light in Your Paintings, by Charles Sovek
Ebook Download Catching Light in Your Paintings, by Charles Sovek
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Techniques to use for various light degrees
- Sales Rank: #12269077 in Books
- Published on: 1984-11
- Binding: Hardcover
- 176 pages
Most helpful customer reviews
8 of 9 people found the following review helpful.
Excellent in itself, this also looks forward to the author's Oil Painting: Develop Your Natural Ability
By Amazon Customer
This is a gem of an art instruction book. The 1980s was not a good point in time for representational art or for solid, almost classical backgrounding in basic techniques and skills, yet Sovek manages to amass fine example paintings from the past as he is presenting solid skill in seeing and portraying light in paintings.
Someone at the wetcanvas Internet forum site made the astute observation that this book really comes alive when paired with Sovek's Oil Painting: Develop Your Natural Ability. Oddly enough, pairing (tri-ing?) with Sovek's Painting Indoors adds even further dimension. And don't miss the Lessons from the Easel at Sovek's web site, generously maintained by his widow and filled with many gems of information.
Another reviewer here, Anne, would like to have seen more color. Odd to say in this day of cheap, all-color printing, Sovek's classical approach would not have benefited for all-color-ness. He deliberately plays in black, white and gray for more than half the book.
His emphasis is on the tonal elements of light, how shadows and halftones express form and texture. Theory is, by the time he gets to color -- where there are quite a few color plates -- you will have worked through the issues of value, arming you for confident expression of form and shadow. In doing so, he gives you a solid foundation for learning about color temperature, complements, reflected light, and color expression.
As he says in the book, "When this stage [of moving from gray to color] is reached in my classes..., I find two simultaneous reactions.... 'Gee, I can't wait,' then a short pause followed by a bewildered, 'But how do I do it?'" I'm arguing that his gray period, so to speak, is what gives you a quality springboard for "doing color."
In this book he also presents a number of truths about photography as a source for art, illustrating how the camera lets you down. First, the camera cannot edit, and Sovek's discussions and examples around editing of objects is top-notch (as is his oft-repeated bit of advice, "don't include everything" when you're out painting at the scene.)
Second, the camera can't see into shadows (or, if it can, the highlights are blown out), losing a great deal of the representational information that makes a scene come alive.
Then, when he talks about edges, light keys, times of day, and color temperatures, he's as cogent and thought-provoking as Richard Schmid in Alla Prima -- and he talks about these in much less space. But they (Richard and Charles) end up working together: both books reinforce the means and methods of superlative techniques.
As with all art books, Charles goes over basic materials and mediums, and that's too bad, kind of a waste of page real estate. But the meat of the book... there is a great deal of content here. It is one of the best.
5 of 7 people found the following review helpful.
Everyone tells me that seeing values is the key to watercolor
By zunderzee
I am getting back into art after a 30-year layoff for career and family things. My wife nudged me back with a watercolor class gift for my birthday that was both exciting and terrifying. The 10-week class I joined was taught by a wonderful teacher and the bulk of the class was made up of students who had been taking her watercolor classes for several years. So there were nine veteran watercolor folks and me and another rookie who could not lay a wash nor go into a paint store and confidently buy art supplies. She and I were second graders in a calculus class and it was overwhelming. Two great things happened though.
First, the class had benefits similar to being in a foreign language immersion class. Even though I could not understand much of it, just by sitting and watching and paying attention, I learned how to talk watercolor and my paintings actually improved over the class sessions. I became more satisfied with my paintings and less terrified during the critique periods. Importantly, I learned that watercolor is about letting the watercolor do its work rather than making the paintings happen like in acrylic (and I suspect oils). Second, two clever students in the class saw I was struggling early and took me under their wing and gave me some tips on the side. I still don't fully understand what they were telling me, but I realized quickly that they knew what they were talking about and their guidance was tremendously valuable in helping me get the idea of watercolor. Even if I still can't pull off much of what they told me, I have the idea of it. Their advice--"think in terms of values and not color" and "before you ever pick up a brush, do several value studies and see the big-area, value relationships." All that stuff you read about and teachers say but the stuff you zoom by to get to painting.
So how does this relate to Catching Light in Your Paintings? I could not fully understand what my kind mentors were really talking about and so, as is my way, I researched and bought several books that emphasized this value-seeing business and how to do it. Charles Sovek's book was one of the best of the whole lot that I examined and/or purchased.
Why? He gets right to the heart of the matter with great illustrations of how to take a 5-point value scale and to apply it to seeing values prior to painting. I, like one of the other reviewers, was initially put off by the lack of color in the first hundred pages of the book but, "Duh!" that's the whole point. It is exactly what I needed to better see what my painting friends were pointing to. Words are helpful in learning this values-study idea but sticking a values scale right next to a values sketch and linking each value level to an area on a sketch is the key. I get the author's idea of printing the examples in the initial third of the book to black, white and grey values. Exactly what I needed.
If I were going to recommend four books for newbie watercolorists to get started, I think Mr. Sovek's book would certainly be one of them. If seeing values and doing sketches is what separates an amateurish watercolorist from an accomplished one, his book is one to examine and to consider seriously. Should a first-day watercolor student buy this book? Probably its value will be limited at first because it's hard to understand the values-first thinking until you've put your first paintings up in the class for all to see and you can't figure out why theirs are so much better than yours. It's not till you get humbled by that experience that you will likely see the value of values and then to see the value of Catching the Light.
The other three books I think I'd invest in would be Watercolor Painting: A Comprehensive Approach to Mastering the Medium by Tom Hoffmann; Interpreting the Landscape in Watercolor by Don Andrews and Making Watercolor Sing: Practical Lessons in Color and Design by Jeanne Dobie.
2 of 2 people found the following review helpful.
This is a thoroughly useful book. Even inspiring
By Hardy Jones
This is a thoroughly useful book. Even inspiring. It helps you nail down how to use values to produce effect of light. I read it over and over.
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