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The Fundamentals of Drawing Landscapes
Description A practical and inspirational course.
- GenresArtDrawingNonfiction
208 pages, Paperback
First published February 20, 2004
67 people are currently reading
85 people want to read
About the author
Barrington Barber
179 books28 followersBarrington Barber originally worked in advertising and television as designer and art director. Then taught at Ealing Art School. Then practiced as a freelance designer, illustrator, painter at Augustine Studios. He was Head of Art at St James’s Independent Schools. Author and illustrator of Fundamentals of Drawing and about 20 other books for Arcturus Publishing. Now paints, draws and writes about art.
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Displaying 1 - 4 of 4 reviews
April 4, 2021
Oh dear. I wanted to, and normally would, give this book four or five stars. It is a fantastic resource that covers the entire range of the topic of landscape drawing. I enjoy Barber's encouraging and engaging way of presenting the concepts, that he encourages practice and willingness to try even if mistakes can, and do, happen. I appreciated that Barber covered skies, stones, water, etc., etc., etc. I had to restrain myself from tearing out the pages on trees for my own reference (the copy I read is a library book, and the library wants their copy back).
BUT someone needs to tell Barber that people of all genders, and all colours, are able to make art, that we are all humans, that we all live places, that we all design, create, make, and build things. Why do I say this?
i) from literally hundreds of examples referenced in this book, there are fewer than 10 works by women. Actually, I was not keeping too careful a count, but I would be surprised if there were even five pieces referenced that were by women, and in one case the work (by Georgia O'Keefe) was immediately followed by one by a male artist, that Barber clearly thought was the better work compared to O'Keefe's. Yes, in the book Barber makes comparisons between paintings but in all of the other examples it is an objective look at technique 'notice how in this picture the lines are thin, straight and tight, in contrast to that picture where the lines are thick, wavy, and loose, and consider how the difference in style affects the overall look.' Only in this one case 'the man's work is better than that of the woman' does Barber make a comparison of better/worse between two works. Additionally, I again did not keep careful count, but have to say with the exception of a small number of unnamed Japanese painters (maybe three?), virtually all (if not all) of the other artists whose work was included in the book are/were white. Plus,
ii) Barber seems to think that places where HUmans lives are 'man's domain', that structures that HUmans built are 'man made' and that an artist following this book must take 'HIS' supplies to find locations that inspire 'HIM', because what, women and people of diverse genders exist only as inanimate background figures (or maybe foreground ones to add interest to the composition)?!?
UGH and DOUBLE UGH!
Someone really needs to explain to Barber that people of all colours and all genders are able to make art... How, in a book first published in the 21st Century did NO ONE - not writer, the publisher, editor, agent, or anyone who read this book before it went press - understand this basic fact?!?
Aside from that, I really could have done with out the highlight of Christianity at the end, though I suppose that goes hand-in-hand with deciding only white males are worth accounting for or discussing.
It is a shame, because this book is otherwise an excellent resource, and one that I would normally have put at the top of my to-buy list. But, this level of casual sexism and racism just literally sets my teeth on edge, so I think the book will not end up on my to-buy list at all, and instead I will return the copy I read back to the library from whence it came, happy that I gained a lot of good information and ideas from it, but also happy that I don't have to clench my teeth every time I pass my book shelves.
UGH!!
BUT someone needs to tell Barber that people of all genders, and all colours, are able to make art, that we are all humans, that we all live places, that we all design, create, make, and build things. Why do I say this?
i) from literally hundreds of examples referenced in this book, there are fewer than 10 works by women. Actually, I was not keeping too careful a count, but I would be surprised if there were even five pieces referenced that were by women, and in one case the work (by Georgia O'Keefe) was immediately followed by one by a male artist, that Barber clearly thought was the better work compared to O'Keefe's. Yes, in the book Barber makes comparisons between paintings but in all of the other examples it is an objective look at technique 'notice how in this picture the lines are thin, straight and tight, in contrast to that picture where the lines are thick, wavy, and loose, and consider how the difference in style affects the overall look.' Only in this one case 'the man's work is better than that of the woman' does Barber make a comparison of better/worse between two works. Additionally, I again did not keep careful count, but have to say with the exception of a small number of unnamed Japanese painters (maybe three?), virtually all (if not all) of the other artists whose work was included in the book are/were white. Plus,
ii) Barber seems to think that places where HUmans lives are 'man's domain', that structures that HUmans built are 'man made' and that an artist following this book must take 'HIS' supplies to find locations that inspire 'HIM', because what, women and people of diverse genders exist only as inanimate background figures (or maybe foreground ones to add interest to the composition)?!?
UGH and DOUBLE UGH!
Someone really needs to explain to Barber that people of all colours and all genders are able to make art... How, in a book first published in the 21st Century did NO ONE - not writer, the publisher, editor, agent, or anyone who read this book before it went press - understand this basic fact?!?
Aside from that, I really could have done with out the highlight of Christianity at the end, though I suppose that goes hand-in-hand with deciding only white males are worth accounting for or discussing.
It is a shame, because this book is otherwise an excellent resource, and one that I would normally have put at the top of my to-buy list. But, this level of casual sexism and racism just literally sets my teeth on edge, so I think the book will not end up on my to-buy list at all, and instead I will return the copy I read back to the library from whence it came, happy that I gained a lot of good information and ideas from it, but also happy that I don't have to clench my teeth every time I pass my book shelves.
UGH!!
April 21, 2022
Така и не успях да установя за кого е написана книгата - от една страна се твърди, че е за напълно начинаещи, от друга - липсват детайлни обяснения на основни техники, показани в нея, а съветите са тип "Просто излез и нарисувай дърво". Ако рисувате с някакъв вид бои, това надали ще е вашата книгата - коментира се предимно рисуването с молив.
Сериозен недостатък на книгата е, че всички референтни "снимки" всъщност са рисунки на автора, което според мен ограничава допълнително полезността им. За мен лично е важно да видя оригиналния пейзаж и да го сравня с нарисуваната версия - така мога да установя по какъв начин художникът е пренесъл един 3D образ върху 2D пространство, какви техники е използвал, за да създаде правдоподобност, какви решения е взел в целия този процес. Книгата напълно лишава от възможността за подобен анализ.
Съвсем очаквано, във всяка глава ще намерите множество рисунки, част от които са авторовата версия на известни творби. Тяхната привидна цел е да ни покаже успешен пример за това, което в момента се учим да правим. Истината обаче е, че вместо полезен коментар, всяка рисунка бива описана в текст - какво е нарисувано на нея и къде се намира то (горе в дясно, долу в ляво..). Надали е нужно да казвам, че това може да го видим и сами... По-полезно би било да се обсъди кое точно прави рисунката успешна и какви техники са ползвани, за да се постигне това. Например, ако главата е за предния план - да се покаже рисунка с ясно изразен преден план и да се обясни, че в него всичко е нарисувано с детайл, тоновете са най-силни и т.н. и затова той привлича погледа. А не просто да се каже: "Постарайте се да го направите интересен"...
Уменията на автора да рисува са безспорни, но да обучава, са доста под въпрос.
Сериозен недостатък на книгата е, че всички референтни "снимки" всъщност са рисунки на автора, което според мен ограничава допълнително полезността им. За мен лично е важно да видя оригиналния пейзаж и да го сравня с нарисуваната версия - така мога да установя по какъв начин художникът е пренесъл един 3D образ върху 2D пространство, какви техники е използвал, за да създаде правдоподобност, какви решения е взел в целия този процес. Книгата напълно лишава от възможността за подобен анализ.
Съвсем очаквано, във всяка глава ще намерите множество рисунки, част от които са авторовата версия на известни творби. Тяхната привидна цел е да ни покаже успешен пример за това, което в момента се учим да правим. Истината обаче е, че вместо полезен коментар, всяка рисунка бива описана в текст - какво е нарисувано на нея и къде се намира то (горе в дясно, долу в ляво..). Надали е нужно да казвам, че това може да го видим и сами... По-полезно би било да се обсъди кое точно прави рисунката успешна и какви техники са ползвани, за да се постигне това. Например, ако главата е за предния план - да се покаже рисунка с ясно изразен преден план и да се обясни, че в него всичко е нарисувано с детайл, тоновете са най-силни и т.н. и затова той привлича погледа. А не просто да се каже: "Постарайте се да го направите интересен"...
Уменията на автора да рисува са безспорни, но да обучава, са доста под въпрос.
March 16, 2020
Good Introductory Book
This is good introductory book on drawing landscapes. It starts with the basic skills and techniques. The underlying concepts and thoughts of the author are also explained and illustrated in the text and drawings. Eventually as a reader I am invited to join the author in his creative journey from his home to the nearby park and hills.Through this trip he is able to show how a piece of art work is produced in reality.
This is good introductory book on drawing landscapes. It starts with the basic skills and techniques. The underlying concepts and thoughts of the author are also explained and illustrated in the text and drawings. Eventually as a reader I am invited to join the author in his creative journey from his home to the nearby park and hills.Through this trip he is able to show how a piece of art work is produced in reality.
July 4, 2019
An effective method to tackle landscape drawing
Fun an engaging, this book is a good reference to come back at any time, it’s easy to follow and full of beautiful pencil landscape illustrations.
Fun an engaging, this book is a good reference to come back at any time, it’s easy to follow and full of beautiful pencil landscape illustrations.
Displaying 1 - 4 of 4 reviews