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Library | Item Barcode | Call Number | Material Type | Item Category 1 | Status |
|---|---|---|---|---|---|
Searching... | 30000010078872 | TK5105.7 S46 2003 | Unknown | 1:CHECKING | Searching... |
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Summary
Summary
Few painters realize that in order to give their paintings a luminous glow they must also manipulate the darks. Ong Kim Seng is a master of this method and in this book se shows readers exactly how to do it. He does so with a stimulating, logical progression of lessons that begins with materials and finishes with the complete planning of a light-filled composition. Readers will learn to use color to intensify light, devise areas of color contrast and discover the best methods for using tonal values to capture light in a dramatic, evocative way. Kim Seng also illustrates the important role that shadows play in creating luminosity. He shows how to mix the color of shadows and suggests alternate approaches for different paintings. Multiple step-by-step demonstrations, examples, ideas, inspiring storytelling and a gallery of gorgeous paintings cap off this exceptional book. Ong Kim Seng was the first Asian to become a member of the America Watercolor Society and, after winning six AWS awards, is now an elected Dolphin Fellow. He is a signature member of the National Watercolor Society of the U.S. and life president of the Singapore Watercolor Society. He lives in Singapore.
Reviews 1
Library Journal Review
Moyer and Ong offer different methods for achieving luminous light effects in watercolor. Moyer's layering technique begins with learning brush lines, wash, and wet-into-wet applications. Following are larger issues of creating convincing form and space, building texture, and layering colors to emphasize light. Ong was the first Asian to become a member of the American Watercolor Society, from which he has won six awards. His book takes a less common path, emphasizing the important role that shadows play in creating light effects. A superb draftsman, Ong composes specifically for luminosity and contrast. His demonstrations of subjects from around the world are more varied than those of Moyer, who works primarily with nature themes. Of the two, Ong's is the stronger volume. Larger collections will also want Rachel Rubin Wolf's Spash 7: A Celebration of Light for examples from 95 artists. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Table of Contents
| ForewordRobert a Wade | |
| Introduction | p. 8 |
| Chapter 1 Tools of Expression | p. 10 |
| Brushes | |
| Color | |
| Paper | |
| Chapter 2 Composition for Luminosity and Contrast | p. 12 |
| Action Plan! | |
| The composing process Examples: how to compose for luminosity and contrast | |
| Tone | |
| Color | |
| Contrast | |
| Shape | |
| Size | |
| Line | |
| Texture | |
| One and Two-point Perspective | |
| Chapter 3 Expression with Color | p. 22 |
| Action Plan! | |
| Working with color | |
| Mixing grays | |
| Working with a base color | |
| Mixing darks | |
| Fusion | |
| Color and focal point | |
| Color for mood and atmosphere | |
| Layers of color | |
| Earth colors | |
| Base color | |
| Contrasting warm and cool color | |
| Chapter 4 To Master Light You Must Make A Shadow Plan | p. 32 |
| Action Plan! | |
| The how and why of portraying light and shade | |
| Making a shadow plan | |
| Why light and shade suggest depth | |
| Different places--different types of light | |
| Using the right glaze can enhance the light | |
| Reserving white paper | |
| Shadow for atmosphere and mood | |
| Delineating areas of light and shade | |
| Reinforcing the focal point with shadow | |
| Applying limited color and contrasts | |
| Making the most of the light | |
| Creating harmony in sundrenched scenes | |
| Balancing color, tone and white paper | |
| Using tonal divisions for effect | |
| Chapter 5 Working With Shadow Shapes | p. 44 |
| Action Plan! | |
| Be precise when painting shadows | |
| Pinpointing shadow direction | |
| Color for shadow | |
| Planning shadow shapes | |
| Suggesting reflected light in shadow | |
| Texture and light | |
| Big shadow shapes | |
| Glazing to develop shadows | |
| Mood, shadow shapes and color | |
| Contrast | |
| Thinking about light and shade before color | |
| Treating shadows as part of the composition | |
| Perspective in shadows | |
| Chapter 6 Different Approaches Make Paintings Different | p. 58 |
| Action Plan! | |
| The glazing approach and how it works | |
| The wet-in-wet approach | |
| Combining soft and hard techniques | |
| Dry brush treatment | |
| Transparent washes | |
| Chapter 7 Finishing Off for Impact | p. 66 |
| Action Plan! | |
| Placing your figures early | |
| Checking tonal value | |
| Checking focal point | |
| Checking Color | |
| Checking balance | |
| How to check if your painting is really finished | |
| Chapter 8 Critiquing Your Own Work | p. 74 |
| Action Plan! | |
| Pinpointing what's wrong with the painting | |
| Making improvements | |
| Adding life with color and contrast | |
| Avoiding problems in the first place | |
| Art in the Making Demonstrations | |
| Demonstration 1 Luminosity and contrast | p. 82 |
| Demonstration 2 Working with a light and shadow plan | p. 86 |
| Demonstration 3 How I use white paper and careful shadow to enhance the effect of early morning light | p. 90 |
| Demonstration 4 Dramatizing a busy street scene with dazzling light and carefully placed darks | p. 94 |
| Demonstration 5 Developing the darks to enhance the lights | p. 98 |
| Demonstration 6 Balancing color, light and shade | p. 104 |
| Demonstration 7 Handling light and shade | p. 108 |
| Demonstration 8 Fusing color ensures you don't detract from the point of interest | p. 112 |
| Demonstration 9 Working with transparent, luminous washes | p. 118 |
| Demonstration 10 Using everything we know to paint a complex scene | p. 122 |
| About the Artist | p. 128 |
