This practical and inspirational guide; in a handy sketchbook format; is aimed at the practised beginner and shows how to achieve successful watercolour landscapes in just 30 minutes ndash; ideal for the busy amateur artist who doesnt have much time to paint.Many people think they dont have enough time to paint; but in this attractive guide Paul Talbot-Greaves encourages quick and simple painting. By working with just a few materials and focusing on the key techniques it is possible to achieve successful; realistic landscape paintings in no more than half an hour. And for those artists who already have a little painting experience; learning to work more quickly enables them to free up their style and paint more spontaneously.All the key topics are covered; from watercolour techniques; colour and tone to learning about creating distance; composing pictures and selecting scenes.
#1343193 in eBooks 2013-11-01 2013-11-01File Name: B00GDEKLI8
Review
133 of 137 people found the following review helpful. Incredible Interview and Commentary by WattersonBy j douglas sanders(originally posted at jdouglassanders.blogspot.com)I have hadnbsp;Exploring Calvin and Hobbes: An Exhibition Cataloguenbsp;on preorder ever since I first heard about it. nbsp;It arrived on the release day; Tuesday; March 10 (thanks Prime!) and; of course; I read it immediately! It is a pretty quick read; but; for me anyway; this will be a book I will end up rereading and using more in the long run as reference and inspiration.Let me just go ahead and say this: nbsp;If you evennbsp;thinknbsp;you want this book or have the slightest interest in "Calvin and Hobbes" or the daily comic strip format whatsoever- nbsp;Stop reading this and buy the book right now. nbsp;It is that good and it is that important to comic strip history.If youre still here; Ill outline what to expect from the book and one thing I wish the publisher had done.The bookThe book itself is printed on really nice; thick; glossy paper. nbsp;It is 152 pages long not including an 8 page preface. nbsp;The book retails for $19.99 but you can probably get it cheaper here at (I did).The book is a little smaller than the landscape format treasuries. nbsp;It is the same width as thenbsp;Sunday Pagesnbsp;book but not quite as tall.The book is beautiful. nbsp;Artwork ornaments almost every page; even in the interview. nbsp;Some of the artwork is full color. nbsp;The majority is reprinted original artwork. nbsp;This original artwork is mostly black ink on paper. nbsp;If you look closely; you can make out penciling; correction; paste ups of copyright info strips; and other such "behind the scenes" things. nbsp;Looking at Wattersons originals; I am reminded of Schulzs work where theres actually not a lot to see beyond the actual comic. nbsp;As Schulz; Watterson is a tremendous artistic talent in the daily strip field and there doesnt seem to be a lot of revealing correction or revision going on. nbsp;I think this is indicative of the amount of planning and writing both artists put in before ink every touched the comic board. nbsp;Still; the bits of process you can divine from these reproductions is fascinating.The presentation of the material is as if you are there; touring the Watterson exhibit at The Billy Ireland Cartoon Library and Museum. nbsp;The text reads as a museum exhibit plaque might; describing the piece of artwork you are looking at on the page. nbsp;Having the book seems to be the next best thing to actually seeing the exhibit when it was on display at the museum.The interviewFace it. nbsp;This is why you bought the book. nbsp;Youve read every Calvin and Hobbes strip a hundred times; own every treasury; the complete hardcover set; the complete soft cover set; the 10th anniversary book; the book devoted to the Sunday strips; and youve read every scrap of information you can find on the net about Watterson and his creation.Ok; maybe thats just me.But the interview is why youre getting the book. nbsp;Watterson speaks!The rest of the book is great; but after the interview; it is bonus material.nbsp;Anyway; in case you didnt know; the book starts with a wonderful interview between Jenny Robb and Bill Watterson that goes on until page 35. nbsp;It is a basic Q and A type setup with Wattersons artwork throughout. nbsp;Very nice. nbsp;If you are anbsp;CHnbsp;completist or enthusiast; some of the information will be rehash- nbsp;Mr. Wattersons career path that led him tonbsp;CH; how the camping strips are based on real life experiences; Calvins dad was based on Wattersons father; the way Watterson challenged (and changed) the Sunday strip format. nbsp;But; even for the enthusiast; there is a lot of new information presented here. nbsp;Mr. Watterson comes across very well. nbsp;Not at all the bitter hermit his "reputation" might suggest. nbsp;He seems very down to earth and humble; almost to the point of being dismissive of his own talent. nbsp;He describes a lot of the process that went into creatingnbsp;CH.nbsp;He describes how he juggled the unique demands of writing/drawing a daily comic strip; how he handled the balance of daily gags with longer story arcs; and one particular account of how he lost his lead on his deadline (and how he got it back). nbsp;I personally love Wattersons comments on anti-plot. Great information for those interested in creative process.Toward the end; Watterson gives (hopefully) a definitive answer to why he ceased the strip and an optimistically (for me anyway) vague answer to whether he would consider doing another comic strip. nbsp;And; of course; you cant have any form of media featuring Bill Watterson without the obligatory discussion of merchandising.Some of the most fascinating parts of the interview involve Wattersons discussion on his attitude toward the future of the daily comic strip format and what has happened during the fragmentation of our pop culture. nbsp;During the technology portion of the interview; I also had a great mental image of Calvins dad (as an analog for Bill Watterson) fumbling with an iPad while trying to read his online newspaper. nbsp;Youll know what Im talking about when you read it!After the interview; the remainder of the book is divided into chapters focusing on different topics. nbsp;The first 3 are a chronological look at the development of Watterson as an artist (Influences; Early Work; and Getting Syndicated).InfluencesIn Influences; Bill Watterson describes influences on his comic work. nbsp;Each book page is devoted to an artist and has a sample piece of artwork from the artist; as well as commentary by Watterson. nbsp;Artists featured here start with the oft mentioned influences of Schulz; Kelly; and Herriman. But this group is also extended to include Alex Raymond; Trudeau; Berke Breathed; Oliphant; Borgman; and Ralph Steadman.The influence artwork is presented in the same manner as Wattersons own: nbsp;Ink on paper original submissions. nbsp;The strips are well represented; especially the Walt Kelly strip. nbsp;It is evident much of the Calvin/Hobbes dynamic was pioneered innbsp;Pogo. nbsp;In fact; replace Pogo and Albert with Calvin and Hobbes and you could almost keep the same dialogue; save the swamp-speak. nbsp;That is to take nothing away from Wattersons work. nbsp;He refined the premise and took it to a sublime level of perfection.It is also nice to see influences acknowledged by Watterson that go beyond his big 3 (Peanuts; Pogo;nbsp;andnbsp;Krazy Kat). nbsp;nbsp;nbsp;Early WorkInfluences is followed by Early Work. nbsp;A few political cartoons followed by a couple Wattersons early strip submissions to syndicates. nbsp;The last couple strips end up being about a sort of Proto-Calvin named Marvin; only with bangs covering his eyes.The pieces are all here; its just time to get them into place. nbsp;You can see the teddy bear with the almost-Hobbes-face in a talking animal strip Watterson pitched. nbsp;Theres little blond boy with a tiger named "Hobbes" in the next strip. nbsp;Marvin; our missing link to Calvin; battles Mrs. Wormwood in the next strip; complete with Spaceman Spiff-esque imaginings.nbsp;It is as if all these ideas perfect stormed into a cohesive strip. nbsp;Maybe thats just part of the magic of Wattersons work.Getting SubmittedGetting Syndicated is a page of the originalnbsp;CHnbsp;submission follow by a page of the first 3nbsp;CHnbsp;dailies. Even in the submission strips; you can see the Calvin we would all read for the next 10 years. nbsp;He may have a little different hairstyle; but its him alright. nbsp;This section is followed by a two page spread featuring the art supplies Watterson used drawing the strip.ToolsI have to admit; I love to read about the tools artists use. nbsp;Whether it be drawing or photography or writing or whatever; I like to talk tools. nbsp;It is easy to fall back on the old cliche of "it is the artist; not the brush"; but an artists choice of tools can give precious insight into their process and their choice can drastically impact their final results.One especially interesting piece is the mechanical pencil Wattersons father bought him as a child that was used to pencil all of thenbsp;Calvin and Hobbesnbsp;strips. nbsp;That is how far this book takes you into not just the world ofnbsp;CH; but the creation of it as well.The remainder of the book is a look at different facets of the strip; devoting a chapter to each topic. nbsp;The following is a quick overview.CharactersIf youve readnbsp;Calvin and Hobbes; you know theres not a lot of characters to discuss. nbsp;Its basically Calvin; Hobbes; Calvin and Hobbes (the book lists them together as a character); Calvins parents; and then the "supporting cast" (Susie; Rosalyn; Moe; and Mrs. Wormwood). nbsp;This section illustrates the power of the simplified approach Watterson took to his strip. nbsp;Whilenbsp;Peanutsnbsp;is an excellent strip; one weakness often cited is the confusing; sometimes weak; sometimes redundant cast of characters. nbsp;Of course Schulz had 50 years of strips to fill; butnbsp;Peanutsnbsp;sometimes felt as if it lost its way the farther the strip strayed from Charlie Brown and the elder Van Pelts. nbsp;Watterson had the same basic cast; give or take (Uncle Max?); for 10 years. nbsp;His material stands very strong to this day despite/because the limited array of characters Watterson employed.SeasonsThe seasons depicted innbsp;CHnbsp;may as well be another character. nbsp;Watterson made the change of seasons in Calvins world and iconic touchstone of the strip. nbsp;The rainy freshness of spring; the unbridled release of summer; the leaves and school sessions of autumn; the snowmen and sled rides of winter- nbsp;its all here.DevicesThis section covers recurring actions and motifs in Calvins life. nbsp;The most obvious and well known is the first listed- nbsp;Attack of the Tiger. nbsp;(Hobbes pounced Calvin so regularly; in one strip the joke is Hobbes didnt.) nbsp;These vary from a simple one panel gag to a 16 panel slow motion reenactment.Then 8 pages are devoted to Calvins spacefaring alter ego; Spaceman Spiff. nbsp;Four full Sunday strips are featured. nbsp;Also; there is an examination of landscapes of the American Southwest and their influence on the vistas Watterson created for Spaceman Spiff.Finally; a two page spread about dinosaurs gives the reader a look at Wattersons magnificent command of tyrannosaur anatomy. nbsp;I love how he can so realistically illustrate a dinosaur doing such absurd things. nbsp;Brilliant.StorytellingCalvin and Hobbesnbsp;has many memorable story arcs. nbsp;Storytelling is one of many areas wherenbsp;CHnbsp;excelled. nbsp;Many of these arcs capture the wonder of childhood fantasy (the transmogrifier; the duplicator; time travel; the snow goons; etc.) nbsp;Many of my favorite arcs are the more serious and touching ones- nbsp;the baby racoon; when Calvins home is broken into; the Calvinball game with Rosalyn; when Hobbes is lost.It would be impossible to address even just a few of the most memorable ones in a book like this; sonbsp;reprinted here are 11 dailies covering the transmogrifier story. nbsp;This gives a nice feel of how Watterson executed a storyline. nbsp;The transmogrifier is iconically Calvin; so this is a fitting representation for this chapter.Social CommentaryWatterson was never afraid to address social issues withnbsp;Calvin and Hobbes. nbsp;I must admit; I sometimes find Wattersons commentary a little preachy and heavy-handed- nbsp;not all of the time; but sometimes. nbsp;I dont dislike these types of strips by any means; but they can seem forced next to some of Wattersons more effortless work (see "The Meaning of Life" below).nbsp;nbsp;The strips reprinted here touch on the environment; animal treatment; talk radio; and television. nbsp;The interplay between Calvins blind self absorption and Hobbess dry clarity is classic. nbsp;nbsp;I enjoy the parodied fanaticism Calvin has for his bizarre interests (i.e. Calvins "Chewing" magazine) and Wattersons comments on advertising and consumerism; but those arent included here. nbsp;This book is not meant to be a comprehensive collection; though; and the chosen strips give a nice look at how social biting the strip could be; all while keeping the cast in character.The Meaning of LifeCalvin and Hobbesnbsp;could be silly and playful but it could also be just as touching and profound. nbsp;These strips strike a chord and Watterson is truly in his element here. These strips are a huge part of what elevates the strip from a momentary diversion to fine art.ColorThis is a short chapter featuring Wattersons mastery of watercolors. nbsp;Beautiful reproductions; but I am sure these were incredible to see at the actual exhibit.SundaysThe chapter devoted to Sunday strips is divided into two sections- nbsp;1985-1991 and 1992-1995. nbsp;Why? nbsp;During his 1991 nbsp;sabbatical; Watterson proposed changes to the format of Sunday strips. nbsp;The pre-1992 format called for strict formatting to allow editors the option of trimming the strip to their papers needs. nbsp;This rendered the first row of Sunday panels to be basically "throwaway" panels. nbsp;Since not all papers printed the entire strip; the first row needed to be an independent gag. nbsp;Instead of being able to use the larger Sunday format to its maximum potential; Watterson felt the art and storytelling was compromised by this set of business decisions.nbsp;Watterson flourished in the freedom of this new format. The difference is amazing as you compare the old format and new format Sundays with the flip of a page.The One Thing I Wish the Publisher Had DoneMAKE THE BOOK BIGGER. nbsp;I understandnbsp;Exploringnbsp;is not meant to be the definitive version of Calvin and Hobbes for casual reading. nbsp;However; it would be my preference for original art to be reproduced at actual size (think IDWs Artists Editions). nbsp;So; I wish they had made this book larger. nbsp;That way; it would be much closer to mirroring the experience of actually being at the exhibit.Or; better yet; release two versions. nbsp;The smaller paperback version we have now and a huge $200-$250 edition with the artwork reprinted at ACTUAL SIZE. nbsp;It is at actual size you can really see artifacts of the artists process. nbsp;Think of how invaluable that would be. nbsp;Most people will never own an original Watterson strip to study. nbsp;I have thenbsp;The Rocketeernbsp;reproduced at actual size and the difference is huge. nbsp;Dont let that deter you from buying this book; though. nbsp;This book is the book Calvin fans have been waiting for and it does not disappoint.nbsp;nbsp;nbsp;nbsp;0 of 0 people found the following review helpful. Then the long wait--I felt like Calvin waiting for his beanie to arrive in the ...By LauraWhen I learned to read; one of the first books I picked up at the library was a Peanuts book. It didnt take long for me to discover a Calvin and Hobbes book siting nearby. I would sit in the evenings and giggle my way through page after page. Before long I had introduced my siblings; parents; cousins; and friends to the magical world of Calvin and Hobbes. Though Ive read the books over and over again; I never tire of them. So you can imagine my response when I discovered this book in the works.As soon as this book became available for pre-order; I did so. Then the long wait--I felt like Calvin waiting for his beanie to arrive in the mail...except that this wait ended up being worth it! When you admire a writer or an artist; its a beautiful privilege when they let you peek inside their mind; their creative process; and their life. This book provided just such a privilege. I savored every page: from the interview to the comics Ive already read a billion times; but appeared in a new light to me when I got to see his original drawings. What a delight!0 of 0 people found the following review helpful. Love the tiger boy!By Debra WilsonThis book is a delight. The information about author stories; as well as the art; are great! This book is in great shape arrived packed well arrived in good time. Very happy with this purchase!