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Alla Prima II: Everything I Know About Painting - and more
Uncover important technique and theories to improve your painting. Take a look at visual refrences and concepts from historical and contempary artists.
Unknown Binding
First published January 1, 2013
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Displaying 1 - 26 of 26 reviews
November 11, 2014
It's a wonderful book, of course, but frustrating to read because of the larger, wider format than the previous edition. More pictures, more text, but as is the case with so many self-published books, would have been better and more powerful if there was a more vigorous editing process to cut some of the extra verbiage that in my opinion makes it harder to separate the fluff from the important stuff. It seems like he literally included everything he knows, and that doesn't make for as useful a book as I would have preferred since some of it is just random story-telling.
That said, it's still one of the best books on alla prima oil painting, just a bit of a bear to hold and read.
That said, it's still one of the best books on alla prima oil painting, just a bit of a bear to hold and read.
January 15, 2022
Richard Schmid has left a great legacy to all the artists, this book is a part of it. It is definitely one of my favorite books written with a great care, attention to every subject he is explaining here, and in a very warm and lively style that makes it not only very useful, but also an exciting, inspirational reading material. I will treasure it forever.
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Reading it the second time was just as interesting and possibly even more beneficial. I was doing it during the breaks while resting from painting, and Richards words were like a wise friend giving a very needed and timely good advice. He was a great master indeed.
———————————————————————————————
Reading it the second time was just as interesting and possibly even more beneficial. I was doing it during the breaks while resting from painting, and Richards words were like a wise friend giving a very needed and timely good advice. He was a great master indeed.
January 16, 2015
This is an excellent book, well laid out with and easy to follow narrative. I am an accomplished artist and I feel this book is an excellent resource for the beginner through to the professional artist. I have the paperback version and am impressed with the larger size, suitable for the reading room or the studio.
Richard's extensive knowledge combined with his sometimes lyrical humour make this an informative and easy to read book. A little pricey but if your serious about your art you should get a copy.
Richard's extensive knowledge combined with his sometimes lyrical humour make this an informative and easy to read book. A little pricey but if your serious about your art you should get a copy.
March 15, 2024
What a delightful book! Richard Schmid's sense of humor made it more entertaining than I expected, and not only that, he made it more relatable, so it's easier to remember.
What I loved about this book is that it felt like I was having a light-hearted and serious discussion with my best friend about the myriad of art topics. I don't think I've found that kind of atmosphere in other books. At least not yet!
In this book he showed a different way of painting and showed that painting itself can be a spiritual experience by getting to know yourself and learning how to see what moves you.
Highly recommended!
What I loved about this book is that it felt like I was having a light-hearted and serious discussion with my best friend about the myriad of art topics. I don't think I've found that kind of atmosphere in other books. At least not yet!
In this book he showed a different way of painting and showed that painting itself can be a spiritual experience by getting to know yourself and learning how to see what moves you.
Highly recommended!
August 12, 2026
I’m glad I got my hands on this book. It is full of tips from the levels of general ways of conceiving of what one is doing in making an artwork all of the way to specific techniques with respect to specific elements of art (e.g., composition, color, linework). My only complaint is that it is pretty darn repetitive. I’d love to see an abbreviated version of this book, like something under 50 pages with the major tips Schmidt offers. Sometimes repetition is important or even indispensable in a book that is offering advice. In this case, I don’t think it added anything. Also (as not a complaint but as a piece of skepticism) I wonder about Schmidt’s vision of what fine art ought to consist in or aim for. (I’ll make this skepticism clear below.)
(A side note, as something that isn't relevant to the purpose of this book, i.e., as providing guidance for a craft: Schmid's own artwork is strewn across these pages. For some reason, I think the examples of it early on in the book are the worst of his work. He has some very interesting pieces, but they come onto the scene later on and are interspersed with others, which can be tacky or sentimental in a way that lacks freshness. Seeing his not-as-good paintings during the early sections of this book was a bit off-putting; but even then, his advice was obviously general enough such that I imagined one's quality of work does not necessarily constrain the quality of the insights one can have on making such work. By the end of this book, however, I do have the overall sense that the kind of art Schmid makes does shape the advice he gives. I'll have some notes on that below. But, on the whole, his insights, I think, apply to painters of any stripe looking to develop their skill.)
Here are some tips I want to keep to heart. First, a crucial first step in making an artwork is to have it clear to oneself what about the subject matter has attracted one to it and what one wants to reveal about it.
While I think this is great advice, here’s my skepticism. Schmid appears to think that what we ought to do in representational art is to bring out what is offered by nature. I’ve found that my natural inclination in making art is to first play around with what nature is offering, but then at a point, I notice some distinctive feature of the piece itself that is unfolding before me (rather than of the original subject matter found in nature). Then, it is usually this feature of the piece that fascinates me; it makes me feel something, and I get the sense that that feeling could be augmented, and that sense drives what I’m to do to come. Also (this is an obvious point but I’m not sure why Schmid never says it) what brings one to a subject matter at the outset need not be static. In fact, I think a particularly exciting aspect of making art is how what one sees in a given subject matter changes over the minutes or hours of rendering it.
Second, Schmid points out that a temptation that is a trap that novices easily fall for is to mindlessly swab away at a certain part of the piece they’re developing. Upon reading this, I realized that I do this not infrequently. When I don’t like how something looks, I can feather my brush over it again and again with sort of new colors, but it is all relatively mindless. The better thing to do is instead to step back, figure out what has gone wrong, and envision what new path to take in light of that. This can take time. It almost certainly literally takes the time of a break and then starting at the work from a distance when one returns. This can be aided by taking a photograph of one’s work and distorting it digitally (e.g., mirroring it or increasing the contrast). I haven’t made this mistake again since reading this bit, and boy has it been helpful.
Third, as an initial stage of painting, one should “block-in.” This means to cover the whole canvas with relevant blocks of suitable colors. This helps organize the space and enables one to better attend to relevant features that one desires to ultimately do and to render accordingly. There are two overall strategies of this: (1) “introduce accurate pictorial elements more or less gradually,” or (2) “establish accurate pictorial elements quickly or even immediately.”
Strategy (1) allows one to “sneak up” to one’s subject. “One can avoid making specific commitments until a comfortable approximation of the subject is on the canvas—to be able to visualize the painting as a whole before the application of the true colors, values, edges, and drawing.”
Strategy (2) aims to minimize preliminaries and start with accurate painting immediately. To do this, one needs a well-developed vision ahead of time, which can serve as one’s guide. One also needs tighter discipline, especially with respect to line work or contouring.
I hadn’t before explicitly considered this distinction. Somehow, intuitively, whenever I’ve drawn portraits, I’ve used (1), and for anything not a portrait (e.g., a particular nature object or a landscape), I’ve used (2). My decisions to do (1) for portraits, I think, are motivated by laziness or fear of getting things wrong, however, rather than as a strategy to set me up for success. I’d like to keep this distinction into account in the future. I imagine much could come of working with it; if I get the hunch that I don’t yet know what I could “discover” with a certain subject matter, I could take up (1) and be selective about which aspects of it I can render for now, for example.
Fourth, whatever one lays down on the canvas is not innocent, like a passive condition. It has active effects on one’s capacities in continuing one. One is inevitably going to be influenced by what one sees there, already laid out. While this is obvious in retrospect, I haven’t considered this before. I know it is true; if I already lay out certain colors, this will constrain what colors next I think are sensible to apply. So if it’s foul at the outset, to continue on appropriately can never be as simple as just fixing one’s mistake. Whatever one can possibly do next is already impacted by the mistake one has made. Imagined solutions in response to a mistake are restricted and not as good as imagined solutions in response to something that is just not yet fully developed.
Fifth, when beginning with a painting, it can be valuable to aim to establish a “color key.” We may think of this analogously to the key of a song or symphony. Of course, one will come to use many different colors, but they are harmonized by and work in relation to this key color.
Sixth, when approaching the edges of objects, it is important to take into account that one must decide how sharp or blurred to make them. There are ultimately three ways of rendering an edge: (1) by degrees of blending or refraining from blending, (2) by mixing and applying intermediate colors instead of blending, and (3) applying immediate colors and blending them.
I think some of my painting behavior reflects an intuitive sense of these as the available possibilities. But it is helpful to think of them explicitly. It is certainly a powerful difference in effect when I mix colors individually, apply them, and blend them, or when I slab on a color and refuse to blend it. I get the sense that when blurred edges are needed, it is always better to do (3) over (1) or (2), but this may reflect that I haven’t yet explored enough possibilities of painting and haven’t yet “found my voice.”
Seventh, temperature and hue are distinct concepts. (I’ve confused them so far.) Temperature is not intrinsic and rather relational. A red can have a cool temperature, for example. Temperature is determined by the overall colors laid down and their relations. I can imagine that keeping this in mind and separating it from my sensitivity to the hues I use (the major color consideration, in addition to value, I’ve attended to so far) can enable me to have more control over a work, as well as to have a more articulated outcome.
Here is a smattering of nice pithy things to avoid in Schmid’s words (or at least these are things I know I’ve failed much at):
- “Trying to paint things instead of color shapes”
- “Timid painting”
- “Faking it”
- “Working too close, not stepping back frequently”
- “Overworking what should be left alone”
- “Trying to paint too much, especially detail”
- “Trying to paint what is not possible to paint”
There were some helpful prints in here, too. They were especially helpful when Schmid presents a series of images each recording a work at a certain stage in its development. I think I’ll seek out representations like this in the future. It is notable to study them.
A side note. I was amused by Schmid’s consistent way of describing colors in guttural or gustatory terms. He thinks of the brilliant warm hues in a landscape as “candies,” or the cool temperature of a portrait as “luscious.” I haven’t thought about color in this way explicitly before, and it speaks to me. I want to develop my visual perception to be more “synesthetic” in this way. What a nice way to be in this world.
I know I haven’t yet figured out the sort of paintings I’d like to make—let alone have honed my skills to the extent necessary to create good art. At the moment, I face this tension: on the one hand, I like staying close to nature. At the very least, doing so feels “safe.” I don’t have to come up with my own objects or color arrangements, but I can steal from nature’s choices with respect to these matters. On the other hand, however, I often have the temptation towards maximally realistic painting, and I already know about myself that I don’t enjoy doing this, while it is tempted. Not only is the act of painting more pleasurable and interesting to avoid maximal realism, but also, the paintings I admire and like are never maximally realistic (e.g., post-impressionism, like the Der Blaue Reiter movement, symbolism, Fauvism, expressionism). Ideally, I don’t just just want to copy the styles of artists across these movements. Also, I know I’m not aiming to be a real-life artist, so it shouldn’t matter so much to have my own distinctive style. But somehow this feels quite important to me. I’m glad, however, that I have no time line in my way for mucking around and seeing where stuff goes.
(A side note, as something that isn't relevant to the purpose of this book, i.e., as providing guidance for a craft: Schmid's own artwork is strewn across these pages. For some reason, I think the examples of it early on in the book are the worst of his work. He has some very interesting pieces, but they come onto the scene later on and are interspersed with others, which can be tacky or sentimental in a way that lacks freshness. Seeing his not-as-good paintings during the early sections of this book was a bit off-putting; but even then, his advice was obviously general enough such that I imagined one's quality of work does not necessarily constrain the quality of the insights one can have on making such work. By the end of this book, however, I do have the overall sense that the kind of art Schmid makes does shape the advice he gives. I'll have some notes on that below. But, on the whole, his insights, I think, apply to painters of any stripe looking to develop their skill.)
Here are some tips I want to keep to heart. First, a crucial first step in making an artwork is to have it clear to oneself what about the subject matter has attracted one to it and what one wants to reveal about it.
While I think this is great advice, here’s my skepticism. Schmid appears to think that what we ought to do in representational art is to bring out what is offered by nature. I’ve found that my natural inclination in making art is to first play around with what nature is offering, but then at a point, I notice some distinctive feature of the piece itself that is unfolding before me (rather than of the original subject matter found in nature). Then, it is usually this feature of the piece that fascinates me; it makes me feel something, and I get the sense that that feeling could be augmented, and that sense drives what I’m to do to come. Also (this is an obvious point but I’m not sure why Schmid never says it) what brings one to a subject matter at the outset need not be static. In fact, I think a particularly exciting aspect of making art is how what one sees in a given subject matter changes over the minutes or hours of rendering it.
Second, Schmid points out that a temptation that is a trap that novices easily fall for is to mindlessly swab away at a certain part of the piece they’re developing. Upon reading this, I realized that I do this not infrequently. When I don’t like how something looks, I can feather my brush over it again and again with sort of new colors, but it is all relatively mindless. The better thing to do is instead to step back, figure out what has gone wrong, and envision what new path to take in light of that. This can take time. It almost certainly literally takes the time of a break and then starting at the work from a distance when one returns. This can be aided by taking a photograph of one’s work and distorting it digitally (e.g., mirroring it or increasing the contrast). I haven’t made this mistake again since reading this bit, and boy has it been helpful.
Third, as an initial stage of painting, one should “block-in.” This means to cover the whole canvas with relevant blocks of suitable colors. This helps organize the space and enables one to better attend to relevant features that one desires to ultimately do and to render accordingly. There are two overall strategies of this: (1) “introduce accurate pictorial elements more or less gradually,” or (2) “establish accurate pictorial elements quickly or even immediately.”
Strategy (1) allows one to “sneak up” to one’s subject. “One can avoid making specific commitments until a comfortable approximation of the subject is on the canvas—to be able to visualize the painting as a whole before the application of the true colors, values, edges, and drawing.”
Strategy (2) aims to minimize preliminaries and start with accurate painting immediately. To do this, one needs a well-developed vision ahead of time, which can serve as one’s guide. One also needs tighter discipline, especially with respect to line work or contouring.
I hadn’t before explicitly considered this distinction. Somehow, intuitively, whenever I’ve drawn portraits, I’ve used (1), and for anything not a portrait (e.g., a particular nature object or a landscape), I’ve used (2). My decisions to do (1) for portraits, I think, are motivated by laziness or fear of getting things wrong, however, rather than as a strategy to set me up for success. I’d like to keep this distinction into account in the future. I imagine much could come of working with it; if I get the hunch that I don’t yet know what I could “discover” with a certain subject matter, I could take up (1) and be selective about which aspects of it I can render for now, for example.
Fourth, whatever one lays down on the canvas is not innocent, like a passive condition. It has active effects on one’s capacities in continuing one. One is inevitably going to be influenced by what one sees there, already laid out. While this is obvious in retrospect, I haven’t considered this before. I know it is true; if I already lay out certain colors, this will constrain what colors next I think are sensible to apply. So if it’s foul at the outset, to continue on appropriately can never be as simple as just fixing one’s mistake. Whatever one can possibly do next is already impacted by the mistake one has made. Imagined solutions in response to a mistake are restricted and not as good as imagined solutions in response to something that is just not yet fully developed.
Fifth, when beginning with a painting, it can be valuable to aim to establish a “color key.” We may think of this analogously to the key of a song or symphony. Of course, one will come to use many different colors, but they are harmonized by and work in relation to this key color.
Sixth, when approaching the edges of objects, it is important to take into account that one must decide how sharp or blurred to make them. There are ultimately three ways of rendering an edge: (1) by degrees of blending or refraining from blending, (2) by mixing and applying intermediate colors instead of blending, and (3) applying immediate colors and blending them.
I think some of my painting behavior reflects an intuitive sense of these as the available possibilities. But it is helpful to think of them explicitly. It is certainly a powerful difference in effect when I mix colors individually, apply them, and blend them, or when I slab on a color and refuse to blend it. I get the sense that when blurred edges are needed, it is always better to do (3) over (1) or (2), but this may reflect that I haven’t yet explored enough possibilities of painting and haven’t yet “found my voice.”
Seventh, temperature and hue are distinct concepts. (I’ve confused them so far.) Temperature is not intrinsic and rather relational. A red can have a cool temperature, for example. Temperature is determined by the overall colors laid down and their relations. I can imagine that keeping this in mind and separating it from my sensitivity to the hues I use (the major color consideration, in addition to value, I’ve attended to so far) can enable me to have more control over a work, as well as to have a more articulated outcome.
Here is a smattering of nice pithy things to avoid in Schmid’s words (or at least these are things I know I’ve failed much at):
- “Trying to paint things instead of color shapes”
- “Timid painting”
- “Faking it”
- “Working too close, not stepping back frequently”
- “Overworking what should be left alone”
- “Trying to paint too much, especially detail”
- “Trying to paint what is not possible to paint”
There were some helpful prints in here, too. They were especially helpful when Schmid presents a series of images each recording a work at a certain stage in its development. I think I’ll seek out representations like this in the future. It is notable to study them.
A side note. I was amused by Schmid’s consistent way of describing colors in guttural or gustatory terms. He thinks of the brilliant warm hues in a landscape as “candies,” or the cool temperature of a portrait as “luscious.” I haven’t thought about color in this way explicitly before, and it speaks to me. I want to develop my visual perception to be more “synesthetic” in this way. What a nice way to be in this world.
I know I haven’t yet figured out the sort of paintings I’d like to make—let alone have honed my skills to the extent necessary to create good art. At the moment, I face this tension: on the one hand, I like staying close to nature. At the very least, doing so feels “safe.” I don’t have to come up with my own objects or color arrangements, but I can steal from nature’s choices with respect to these matters. On the other hand, however, I often have the temptation towards maximally realistic painting, and I already know about myself that I don’t enjoy doing this, while it is tempted. Not only is the act of painting more pleasurable and interesting to avoid maximal realism, but also, the paintings I admire and like are never maximally realistic (e.g., post-impressionism, like the Der Blaue Reiter movement, symbolism, Fauvism, expressionism). Ideally, I don’t just just want to copy the styles of artists across these movements. Also, I know I’m not aiming to be a real-life artist, so it shouldn’t matter so much to have my own distinctive style. But somehow this feels quite important to me. I’m glad, however, that I have no time line in my way for mucking around and seeing where stuff goes.
August 22, 2014
Thorough outline of the basics and not-so-basics of painting.
Very expensive book though, and I don't like that there is a companion that you have to buy separately.
Also did not like the size of the book - the pages are really wide which wasn't as comfortable reading as a narrower page is.
Very expensive book though, and I don't like that there is a companion that you have to buy separately.
Also did not like the size of the book - the pages are really wide which wasn't as comfortable reading as a narrower page is.
June 9, 2020
I found the section on edges - and squinting (p. 162) - extremely helpful.
January 11, 2020
Excellent resource for serious oil painters especially. Dabblers like me can’t use all the detailed information about light and color, for example, but now I know where to find this information. The lessons on values, color rendition, edges, and blocking-in are applicable to any medium and I haven’t seen them elsewhere.
Most readers criticize the format, weight, and cost of the book, but these decisions were clearly based on presenting the paintings as effectively as possible, on high quality paper (hence the weight and landscape orientation). And the text is wordy, but the author’s conversational style forces the reader to slow down and take in the information at a rate the brain can actually absorb. The cost follows from these decisions.
I borrowed the book from a very distant library (through my local library) and read it thoroughly over 4 weeks, making my own notes. I also photographed some of the more important pages.
Highly recommended.
Most readers criticize the format, weight, and cost of the book, but these decisions were clearly based on presenting the paintings as effectively as possible, on high quality paper (hence the weight and landscape orientation). And the text is wordy, but the author’s conversational style forces the reader to slow down and take in the information at a rate the brain can actually absorb. The cost follows from these decisions.
I borrowed the book from a very distant library (through my local library) and read it thoroughly over 4 weeks, making my own notes. I also photographed some of the more important pages.
Highly recommended.
November 1, 2018
took a long time to finish this book but totally worth it.
Richart is amazing! he taught me to find the real freedom and pleasure of painting while simultaneously preserve the ability to make a wonderful painting.
he explains his technique with simple language and adds to it a sense of humour every now and then so that's very pleasant to read, unlike other boring art books fill with longs instructions and difficult words.
and overall what I like about Richart, is his open-mindedness and experimental side. he's always somewhere in between...not very strict with specific art movement and nor strictly against one.
Richart is amazing! he taught me to find the real freedom and pleasure of painting while simultaneously preserve the ability to make a wonderful painting.
he explains his technique with simple language and adds to it a sense of humour every now and then so that's very pleasant to read, unlike other boring art books fill with longs instructions and difficult words.
and overall what I like about Richart, is his open-mindedness and experimental side. he's always somewhere in between...not very strict with specific art movement and nor strictly against one.
April 20, 2021
Highly recommended to any artist/painter. A book that has so much. First, a came across it in my first atelier where I started learning a visual language. Before the class, I would skim through it, and I would pick a small bit here and there that would help me to "click" things in place while I was practising. Later in life, I got my own copy and read it all, I knew that this book is not meant to be finished ever, you can always come back to it. Sadly Richard just recently left the world with us, but his legend will stay for very long.
January 21, 2022
This is a superb reference book if, like me, you wish to understand more about what is generally now called the ‘atelier’ technique of painting. Schmid has plenty of gentle wisdom and practical tips for training your eye and brush. I will admit, the thought of the multi-week colour panel exercise made me want to lie on the floor and die a little bit. But that’s what this technique entails. I’m sure I’ll be making great use of this book for the rest of my painting career.
This entire review has been hidden because of spoilers.
May 30, 2022
Thought it was wonderful. The author is a pleasure to read, and I appreciate his clear expression of the difference between the experience of seeing a thing and what's there.
The sections that I felt I benefitted from the most were those talking about specificity of idea, edges, and color temperature.
The sections that I felt I benefitted from the most were those talking about specificity of idea, edges, and color temperature.
January 8, 2023
This is one of the best technical art books I've ever read. A beast of a book at 300+ pages and big enough to be a text book, it took me 5 years to pick it up in the first place and I finished it in 3 days. Highly recommend picking this up to study if you are a beginner/intermediate oil painter of any kind.
May 31, 2018
A painting manual illustrated by many paintings and advise on how to reach the goals of well composed paintings- he is a master artist. So much to learn and to absorb in so many pages- a great reference book.
July 18, 2020
Full of helpful information. I wish I had read this years ago, but it is only now that I would’ve understood a lot of it. This is true of many art books...by the time you’re ready to absorb the advice, you’ve already made all the mistakes the author warns you about.
May 28, 2021
A generous and no-nonsense treatise on Alla Prima oil painting. I've had good and bad art classes - reading this feels like I found the perfect art teacher. Beautiful in print - worth the investment I read it often.
January 30, 2024
This has tons of really helpful tips and some helpful exercises/ guides. However there’s no reason it needed to be 300 pages. Super repetitive sections and too much prose.
Great painter with great tips though!
Great painter with great tips though!
September 4, 2024
I understand now why every artist raves about this book. Definitely a must-have- from beginner artists to pros.
Two big take-aways from this book
1) Squint! Squint! Squint!
2) Do a colour chart.
Two big take-aways from this book
1) Squint! Squint! Squint!
2) Do a colour chart.
January 24, 2021
A must for any painter.
April 7, 2025
The way you look at me makes my breath hitch. Let's rewrite the script for tonight, with a touch more passion in every glance.
April 27, 2025
The "Must Read" if you want to learn to paint from life. BTW, you get colorful pictures of Richard's work. His amazing brushwork is so delightful!
April 14, 2016
If you are looking for the classic how to guides, don't bother. If you are further down the path and want to learn the approach, general workflows, advise on traditional practices, this is the book for you.
Richard is very generous with his information, and he tells you about his half a century of development as an alla prima artist in a collaborative way.
There are tons of paintings in here and they are all beautiful and inspiring. The quality of the book is worthy of showing them to you.
Richard is very generous with his information, and he tells you about his half a century of development as an alla prima artist in a collaborative way.
There are tons of paintings in here and they are all beautiful and inspiring. The quality of the book is worthy of showing them to you.
July 2, 2017
Beautiful reproduction of Richard's paintings. He talks like an old friend, telling his life stories and his thought process, sometimes quite repetitive, sometimes he raises his voice (in bold, italics, or capitalization or all at the same time), but he puts it all out there. Like in painting class you would hear your teachers repeats a thousand time "Go darker," you thought they have gone mad. The book could have been much shorter, more bullet points, straight to the ideas, more elegant and effective in a sense, but surely much less authentic.
October 21, 2021
I can't resist buying every book on how to improve my paintings. I delayed buying this one for years because of its $100 price tag. But you get what you pay for.
This is easily the best and most comprehensive book on painting that I've ever found.
Richard Schmid passed away earlier his year as a true master artist of everything he touched -- from portraits and floral still lifes to landscapes. This heartfelt book shares 70 years of what he learned to become the art master.
This is easily the best and most comprehensive book on painting that I've ever found.
Richard Schmid passed away earlier his year as a true master artist of everything he touched -- from portraits and floral still lifes to landscapes. This heartfelt book shares 70 years of what he learned to become the art master.
April 14, 2016
Talk about action packed! (At least for painters, that is.) I love how he addresses that painting is full of contradictions.
May 31, 2020
Learn how to paint with all types of tips and tricks from this master artist in this friendly read. It's all in this book.
Displaying 1 - 26 of 26 reviews