Color And Light James Gurney Pdf
* **Title:** Color and Light: A Guide for the Realist Painter * **Author. Color and Light: A Guide for the Realist Painter by James Gurney (.PDF Format) 1. ** Color and Light. A Guide for the Realist Painter by James Gurney. Com/file/3564wtulwvcq2xm/Color_and_Light_-_A_Guide_for_t_-_James_Gurney.pdf; Tags. Download Color and Light - James Gurney.pdf torrent from books category on Isohunt. Torrent hash: 3ed613a782e7bdcc179ba1ddbc6203286b7c7f55.
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It's also OK to do an artistic copy of my paintings as a study exercise without asking permission. I’ve got a big project in the works, and I’d like to ask for your input. As you may have guessed, I’m creating another book to be a companion volume to. It’s called Color and Light: A Guide for the Realist Painter. It’s all new art and all new material.
I’ll tell you more about what’s in the book at the end of this post and in tomorrow’s post. About your input: we’re not completely settled on the cover design. Please look at all of the following rough mockups and vote at left for the one you like best. Sleeping Dino Street Scene Birdman Montage Sunset Lamplight Here are the big chapter titles: Tradition Sources of Light Light and Form Elements of Color Paint and Pigments Color Relationships Premixing Visual Perception Surfaces and Effects Atmospheric Effects Resources I look forward to your vote in the poll at left. More tomorrow!
Sleeping Dino is graceful, appealing and unique and is filled with light and color. It is very Gurney-esque and probably your best bet for a distinctive cover. Street Scene is a very impressive painting and appeals to me more as a painter - subtlety with light and color being a goal over simply bright and colorful. The one drawback is that on a book shelf, from a distance, the Street Scene cover might play as a photo. Sunset is a very impressive painting, but as a 'cover' for a painting book on light and color it seems to be a little bit of a cliche and could be confused with others I've seen. Birdman is delightfully creepy - but for many people creepy outweighs the delightful. I like the montage idea - but maybe substitute a dino sleeping detail for birdman or a figure/ portrait where the light and shadow is the dominant design element.
If you go with a single image for the cover, maybe you could fill the back cover with a montage of your color thumbnails (similar to page 34 of Imaginative Realism or pages 109 and 128 of Chandara) or smaller plein air studies where the emphasis is on the big shapes of color over realistic rendering. (I always turn a book over and look at the back before opening it up and if it surprises me with something different than the cover, I'm more likely to open it up. I voted for the street scene. The first one with the sleeping dino does tell a lot about light and what color can do with light. What bugs me is the cut-off tail on the right. It immediately grabs my attention in a bad way and therefore diminishes my attention the meaning of what it is all about.
Birdman is too scary and too sci-fi. Would be a great image for a sci-fi art book, not a book that deals of light and color.
The montage approach is used in a lot of books dealing with illustration- and painting techniques. It's quite daring to put one image on the cover that just says it all. Stick with that idea James! Sunset is a bit boring to me. Lamplight again puts more emphasis on the fantasy-relation and mood just like the birdman image. This one is not so scary though.
Color And Light James Gurney Amazon
The street scene does it all for me. The real cool stuff is happening on the upper-half of the building, especially in the part of the white roof. I would reconsider the typography. It looks as though you're scared to put the text on top of the image and therefore hiding vital parts of the image. Still placing the text on top of the image would be better than the current sketch. It looks like you've looked for the one place in the image where the text would do no harm and place it there.
That is exactly what has happened, right? Well, it shows. Be bold James! You already made a statement by putting just one image on the cover.
Now don't get scared dealing with the text. You can go down in the size of the font so that it looks less bulky. I think I may have accidentally voted twice, but I voted for the Sleeping Dino. I think it clearly illustrates the contents of the book - it's very colorful & uses light wonderfully. Also the layout of typography & such really tie it in with the cover of IR which would really make the two look good together on the book shelf.
My second choice would be the Lamplight scene. And I am THRILLED to hear about a new book. Imaginative Realism is one of the best & most useful books that I've ever had on my bookshelf. Thanks so much, and here's to another great one!
Gee, what a conundrum: Of all my exceptional examples of appealing, technically accurate, and award-winning work, which should I showcase? If only I had such problems!!:-) 'Montage' appeals to a broader market. Assuming you are not just targeting fantasy artists, this cover would appeal to most. 'Birdman' is probably on the 'Montage' cover to broaden the range of colors and provide subject and gamut contrast, but the contrast seems too great. I recommend replacing it with 'Sleeping Bird'.
You are dinosaurs; build off it. I voted for Lamplight, but what I would really like to see is a montage that included Street Scene, Sleeping Dino and Lamplight.
Those three show the most dramatic use of light (in my opinion) and the variety of subject matter the reader should hope to experience. Sunset is beautiful, but it seems more common and less likely to demand someone to pick it off the shelf. Birdman is interesting and well done, but it doesn’t express the same wonderful use of light exhibited in the other three. I voted for 'Sleeping Dino' - interestingly enough, I didn't immediately see it as a dinosaur - I saw 'sleeping exotic bird'. So perhaps not everyone will associate it with dinosaurs/fantasy. That being said - the montage is also a good idea, and like most, I would suggest replacing 'Birdman' with 'sleeping dino' 'Street Scene' and 'Sunset' are both great paintings, but as stand-alone covers they are a little bit too much like everything else out there on the topic. I think it's important to show that you're bringing something new to the table.
'Sleeping Dino' does that well - very few people writing about color and light use animals as demos - they usually use landscapes and people. I attempted looking at each piece individually onscreen from across the room, and personal biases aside, I have to go with Sleeping Dino. It seems to have the most dramatic lighting and the most 'punch' with the colors. It immediately shouts 'Color & Light' to me. As much as I like Street Scene, it was still a bit subtle to me and at first glance struck me as possibly a book on photography rather than painting. Birdman is an excellent painting, but I believe the characters are a little TOO interesting.
I find myself wanting to know their story more than about the actual subject matter of the book. Montage at first glance I don't know what to make of it and my eyes tend to search for the title. Being a montage, that could probably be fixed with a rearranged composition, but it still strikes me as trying to say too much at once, like a magazine cover.
Sunset I feel suffers from the same thing as Street Scene. Nothing that jumps out at me right away.
Lamplight would probably be my second choice, as this one also speaks 'Color & Light' to me, just not quite as dramatically as Sleeping Dino. Looking forward to the book with great anticipation! I think Birdman matches 'Imaginative Realism' the most - it will really make it look like a companion to that book.
But maybe it's not the one that is most distinctive about the subject of 'color and light'. Sunset and street scene both say a bit more about that, but I don't think they stand that much out compared to so many other covers.
Which leads me to the sleeping dino. In my opinion, that one is a winner. It is a graceful composition that makes a stylish cover, it is very Gurney-esque and it shows a lot of clever and original use of light and color. It really shows that you have a few tricks up your sleeve and know how to use them for beautiful artwork.
But hey - a new book! That's some great news, no matter what you put on the cover! I don't think any of them are very compelling, honestly. The content is bland, even the sleeping dinosaur. Maybe if it were awake, otherwise, it's a passive cover that does nothing to draw a browsers eye to it.
The other covers looks like just about any other book on 'color & light' that I've seen before. We all know here you're an incredible artist with moving, compelling artwork. These covers don't even marginally reflect that. Also, the title: you need to find a different typographer. It's borderline amateurish, and could use a font treatment that complements your art instead of weighing it down. Suggestions for a cover: the street scene with the buildings shows color and light value splendidly, but have something moving in it, such as people walking down the street, a child chasing a dog, etc and possibly move the perspective to a slightly more dynamic angle.
Nothing dramatic, but a slight camera tilt, a little more angle to really show off the contrast in lighting. For a title font, You have very elegant artwork, so why not something with a little more elegance, style, and finesse? There are plenty of beautiful and readable script fonts that make gorgeous headers, or you could pay somebody to hand create one. Doesn't take long and doesn't cost much, and they'll be able to pick up the personality of your book like most premade fonts will not, especially with you working in a distinctly traditional style whereas modern fonts are primarily austere and well. The font that's currently on there, for all it's serif, is distinctly modern, and it doesn't match. Hope I'm not coming off as too harsh, but I used to approve book covers, and this one I would have sent back and said to try again. I go for the lamplight.
At first glanced over the pictures (like it would happen at the bookstore) my initial thoughts were: A flamingo kind bird A photo of a street A full fantasy kids book A montage - like most of those books just something put together from different sources A photo of a sunset - most likely a book about nature photography A lovely painting - what is this about? As i wrote - that was my very first initial impression. The second glance revealed of course the true nature of the dino, that the 'photos' were paintings and so on.
Question is - would i give them a second glance? I really like all of them, except for the montage. I think you should really think of the problem in terms of how you want the book to look next to Imaginative Realism. In a way, the Birdman cover ties them together in a nice way - both are portraits of alien/mythological creatures. On the other hand, having a more fine artsy landscape might be a nice contrast. Maybe the first book is more about creating fantastical worlds -hence the alien - while the second book is more about capturing the light and colour that already exist in our world - therefore, a more serene landscape.
I think in the end, I will vote for. Street scene. Or Lamplight. Quite a privilege that our input is asked! And a very efficient way of marketing research.or is it?
I noticed that the Dino cover has the highest number of votes, but I think you need to keep in mind that the audience of this blog may for a large part be Dinotopia and Fantasy Art fans. They may not necessarily be the audience this book is aiming for. I voted for the street scene. Reason being that it has NO link whatsoever with fantasie art and (very personally) I think it evokes the theme of light and colour best. Furthermore, if I would see that cover in a bookstore, I would think 'Ah.a technical book for artists'. The other covers are just way to Dino and Fantasy for me.
It all depends on what your audience is, and how much of James Gurney's typical or recognizable subjects you want to be in that cover. As a runner-up, I also like the composition a bit. Not so much aesthetically, but instantly recognizable as a technical art instruction book. To go over the other covers as well: I really like the dino painting a lot by itself, but I believe it's not the best choice for this theme. The birdman is way too similar to the cover of the first book. (Although that might be a good thing for recognizability).
But I would intuitively think that a book with this cover would have very similar content to the first book. The sunset and the lamplight work for the subject of the book, but they narrow the perceived theme of the book to either only landscape painting or only very academic painting, and I think you would like the book to reach a very wide range of artists. (I'm a bit late with my comments, and I deliberately didn't read the other comments first, but I hope my input is still of use). I took the time to read the other comments now, and most of the people make the same associations that I did.but everyone disagrees whether these associations are a good or a bad thing! During my second look at the covers, I noticed that I liked aspects in most of the covers, except the birdman as not being representative enough. About the composition, I think that the two outdoor scenes are perhaps a bit too similar, and the birdman just 'sucks' all the attention to him. I wonder if other mosaics could be possible, with the dino, a landscape or streetscene and the lamplight picture.
This way the compo would be way more diverse, and you would no longer have a too distractive portrait. (remember the eye-tracking tests of the first book?).
Hey Jim, I voted for Birdman. I'm leaning toward Birdman because you say that this book is a companion book to 'Imaginative Realism' and Birdman would fit perfectly for that. The only thing that throws off the Birdman cover idea is the subtitle 'A Guide for the Realist Painter'. I think the 'Realist' subtitle goes against what's in the first book, which leads you to believe this isn't a companion book. Maybe you could have a subtitle like, 'A Guide for Painters' and leave it open to all forms of painting? Also, it's hard to make a call without knowing the imagery you intend to use inside the book.
We can't have Birdman on the cover if all of your examples on the inside are created from painting trips in the Hudson valley.;0) Maybe you could have another book that deals specifically with how to paint dinosaurs and throw some info in on the many different species of dinosaurs? The sky's the limit!!! I voted for Sleeping Dino. I also enjoyed Street Scene, but I think Sleeping Dino would set this book apart from similar titles. I disagree with the criticisms of the typeface. I think it's spot-on. I particularly enjoy how it looks in Street Scene.
I don't think Birdman works very well. I'm not sure that it is a bad thing that a version of Lamplight was already seen as the cover of Spectrum 1. It has a conceptual appeal, but I feel like Sleeping Dino has the best technical appeal. It simply looks impressive in terms of light and color. Sunset is also nice, but again it looks too familiar compared to similar books I've seen. I would stay away from the montage. I'm really excited for this book!
Thanks for letting us in on the process!:). Another for 'Sleeping Dino'. In my rookie opinion, it displays the use of light as well as any of the other options, in a more spectacular way - shadowed pebbles, backlit subject, dark indistinct background and blazing white halo of feathers.
The 'Street Scene' and 'Lamplight' options are just too subtle and rather generic when on a shelf with 30 other art technique books. If I were taking a painting class, for instance, I'd be proud to have my Color and Light textbook turning heads as I walked across campus. Also, if I may be so bold, the 'Montage' cover really does not work with those three images laid out as they are. Not only is Birdman distracting but there's not enough contrast between the landscape and street. If there's to be a montage, perhaps a better balanced one.
Such as the Sleeping Dinosaur primary with the brighter landscape and lamplight, or different examples entirely, as inserts?
This unique new book examines the realist painter’s most fundamental tools: color and light. The book bridges the gap between abstract theory and practical knowledge, providing useful information about sources of light, color relationships, pigments, backyard optics, visual perception, surfaces and effects, and atmospheric conditions. According to Spectrum, “This book slices though the confusing and often contradictory dogma about color with laser-like precision and backs it all up with some astonishing examples of Gurney’s own paintings as well as with a welcome (if brief) survey of underappreciated masters who perfected how light reveals form and content.” Over 300 illustrations in full color. Signed by the author. Order Color and Light: A Guide for the Realist Painter 224 pages, softcover, 9 x 10.5 inches @ $24.99 Qty.