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2005 is the
tenth anniversary
of this amazing
hardcover edition.
Time flies!
I am honored to
appear
with a number of other
accomplished and well-known artists:
Notably
Dean Mitchell
William Hook
and
twenty others.
My heartfelt
thanks to Earl Killeen and the hard-working people at North Light Books who
made it happen.
See inside the book...
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Available in paperback since '98.
- Paperback: 135 pages
- Publisher: North Light Books (January 1, 1998)
- Language: English
- ISBN: 0891348972
- Product Dimensions: 10.9 x 8.5 x 0.5 inches
- Shipping Weight: 1.2 pounds.
- Average Customer Review:
- Amazon.com Sales Rank:
#76,874 in Books
- Other Editions:
Hardcover (1st ed) |
All Editions
Customer Reviews
 So
cool!, September 10, 2003
I like this book. The techniques are awesome. This is a good
book for a beginner, or one who wants to explore other ideas
that they may not have thought of. What I like is that it is
focused on acrylic only. There are not many books on just
acrylic. Many painting books seem to cover oil techniques and
claim that the techniques can be applied to other mediums. But,
you can only go so far, becuase oil and acrylic have two
different characterisics. |
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Terrific
resource, April 11, 2001
This book gives a wealth of information on different
techniques, materials, and styles. The step-by-step lessons do a
great job of showing how the work evolves, and how that
evolution varies according to the style chosen by the artist.
Just as important, at least to me, is that there are so many
color photographs of so many really good paintings. Often, books
like this have mostly mediocre work. This is a book am I sure to
revisit a lot. |
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 Acrylic
Painting Techniques, February 12, 2000
Reviewer: A reader
found this book extremely helpful in learning the techniques of acrylic
painting |
Inside the book...
Dust Jacket
Acrylic Painting Techniques
Ed. by E. G. Killeen with Leah Raechel Killeen,
North Light Books, January, 1995.
Explores the creative potential of acrylics. Instructional
Page 50 & 51
Page 52 & 53
From page 50:
A Color Celebration |
From page 51:
DEMONSTRATION: ROBERT BISSETT
The Importance of Rich Color and
Value |
"Robert Bissett's celebration
of color reflects the serious study and hard work he brings to bear as
a painter. Bissett's first recommendation for mixing colors is to
mix ample quantities. Experience has shown him the difficulty of
matching a color on the palette to one that has dried on the painting,
for acrylics darken as they dry. He cautions, also, about the
dulling and cooling effects of white: 'When lightening a color
with white, add something else as well - like yellow, cadmium red light
or cerulean blue - to maintain the chroma (saturation). As a last
resort, chroma can be restored by glazing.'" |
"Although Bissett works with about sixty colors in
his palette and has made three different color charts for his own use,
covering both transparent and opaque mixtures, his far from a formula
painter. He's not afraid to try something; if it doesn't work, he
simply changes it. Bissett's handling of color translates into
pictures of striking intensity, but the artist believes that more
important than color itself is value: 'Seventy to eighty percent
of your focus should be on nailing the values and their relationships to
one another.'"How does Bissett use value
to breathe life into his acrylic paints, keeping them from looking flat
or dull? 'When building up values,' he says, 'I generally go
darker than intended, then correct by scrubbing on a semi-opaque.
This results in much richer character than just a flat coat of paint.
The darkest darks and the lightest lights are reserved for small
touches of accents and highlights, respectively.'" |
Page 64 & 65
Page 66 & 67
From
page 64:
Glazing Loosely on a Firm Foundation |
From page 65
DEMONSTRATION: ROBERT BISSETT
Experimenting With Colors, Values
and Shapes |
"Robert Bissett is an artist who utilizes glazing to its fullest
potential. His expertise was not easily won, but as a Vietnam
veteran, he had learned never to give up. Drawing on this
ingrained attitude enabled Bissett to embrace the challenge of
mastering a new medium."Of all that
Bissett has learned as a painter, perhaps his most unshakable
conviction is that the most important part of the painting process is
the foundation - the composition or design, and the 'map' of values and
colors. I know, having worked in construction, that a house does
not stand because it is nailed together, but rather by its won weight
bearing down on a level foundation: bad foundation - shaky house.
In painting, Bissett starts with the groundwork, and until his
blueprint is crystal clear, he does not even consider his choice of
colors, focusing instead on shapes, values and two-dimensional design." |
"Once the fundamentals are set in a scaled-down
pencil study, Bissett sets out to work with the understanding that
mistakes are an expected - and welcome - part of the painting process.
Working on Masonite- mounted watercolor paper or gessoed canvas,
Bissett first uses thin paint. This is his wash-in stage, and it
is deliberately loose and sloppy, usually done with a window-trim
brush. 'Now there's plenty to correct,' Bissett says. 'All
the corrections except the final ones are mistakes. I keep
everything as loose as possible and in a state of flux; nothing is
final until the end.'"Bissett will
continue glazing and layering pa9nt, making mistakes and correcting
them. He will experiment with color, values and shapes as well as
proportions and the sense of feeling of the pictorial relationships.
'Experiments that work are retained on a tr4ial basis because something
better may happen. I remain willing to risk everything to make a
painting better. This process takes you to the limit of your
artistic vision and aesthetic judgment.' For Bissett, the process
of changing shapes and colors through the natural evolution of layers
leaves wonderful residues that might not ever hove occurred if they had
been intentional in the design." |
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