Customer Reviews

Alla Prima: Everything I Know About Painting

5 star:		(46)
4 star:		(3)
3 star:		(4)
2 star:		(1)
1 star:		(6)

 

 

I can hardly praise this book enough. It is full of experience and concrete knowledge.

The text is made of 10 chapters, plus an introduction:

1. Good ideas and free advice

2. Direct painting

3. Starting

4. Drawing

5. Values

6. Edges

7. Color and light

8. Composition

9. Technique

10. The magic

It has 193 pages, and is full of Schmid's paintings, almost all of them oils.

WHAT THIS BOOK TEACHES YOU:

It teaches you how to OBSERVE 3-D REALITY AND TRANSLATE IT ON A FLAT SURFACE AS DIRECTLY AS YOU CAN. The way of achieving it is to paint LIGHT ITSELF (what you see), not the very object with descriptive minutiae (what you know). Meticulous and painstaking painting tends to be naive in most hands.

Schmid asks you to clear up your mind and trust your instinct. THE HOW BECOMES OBVIOUS ONCE YOU UNDERSTAND THE WHAT AND THE WHY.

Some of his most insistent advices are: keep it SIMPLE; don't overwork; don't use ostentatious techniques; don't make random guessing brushstrokes; do a minimum of trial and error (correction wastes time); rather be BOLD than shy, but do it without hurrying and without any thoughtless bravado. Also, EXCESSIVE BLENDING IS LIKE MUMBLING WHEN YOU SPEAK.

He teaches you that, as you start, you sholud focus on one specific problem. Set a GOAL and do it in the time available. Limiting your time helps to SIMPLIFY your works. Simplify values by SQUINTING. If edges remain sharp when you squint, paint them sharp; if they go fuzzy, paint them fuzzy. Trust your squinting.

Schmid insists on the fact that, unlike common belief, most mistakes happen with drawing, not with colour. He says there is no comprehensive colour law; but there's something close to it: COOL LIGHT PRODUCES WARM SHADOWS, AND WARM LIGHT PRODUCES COOL SHADOWS. His palette has as many as 12 colours, not one more, because more than that is unnecessary (and often, the fewer colours, the better), as we can see in the colour charts--a perfect way of mixing all colours with one another until exhausting all possible combinations of two colours plus white. (Besides, don't overmix too many colours, or else you'll obtain MUD colour.)

He recommends: Cadmium Yellow Pale, Cadmium Lemon, Cadmium Yellow Deep, Yellow Ochre Light, Cadmium Red, Terra Rosa, Alizarin Crimson, Transparent Oxide Red, Viridian, Cobalt Blue Light, Ultramarine Blue Deep, Titanium White. There is no black, since he uses different mixtures of browns or reds with blue for getting a substitute for black.

He says what good lighting is for painting.

His ideas about colour harmony and composition are very down-to-earth and full of common sense. No mystic babblings or over-intelectualized theories.

WHAT THIS BOOK DOESN'T TEACH YOU:

It doesn't deal with technical intricacies about different kinds of canvases, papers, grounds, turpentine, brushes, easels, palettes, and materials in general. (Pigments do have his full attention.) It doesn't ignore technique, but it's not the core of the text. (For that subject, you can read Ralph Mayer's book on materials.) Since the book deals with painting in general no matter what medium you use, it doesn't speak about classical Old Master examples (no Leonardo, Velazquez, Rembrandt, Hals, Rubens or any painter in particular). You can apply the lessons to oils, acrylics, tempera, gouache, or even watercolour. By the way, there's a very brief part about using the palette knife, which obviously couldn't be applied to watercolour, for instance. Since the book focuses on Direct Painting the way Sorolla, Sargent or many late-19th century artists did (without mentioning them much), you will find no details about Renaissance or Baroque ways of applying paint. There are not many words about glazing, for instance. There are no words about perspective or anatomy, either, for this is not a handbook for painting specific subjects, but about how to observe light and colour in general.

I love this book! Had I found and read it a long time ago (despite its high price), I would have saved years of an agonizing, careless and method-less hit-and-miss process that had no sense at all in my learning.

Schmid has a very specific method. Maybe it's not meant for all painters, but if you love Sorolla or Sargent, this is THE METHOD for you, no matter whether you are a mere beginner or an experienced artist. And even if you aim at a very different style than that of the artists just mentioned, this book can help you a lot. Trust me!

This is by far the best book I have ever seen on the subject of oil painting. Not only do you get to admire many lucious images of a modern master's work, Richard Schmid generously shares his knowlege with humour, clarity and detail. A long look at both the technical and emotional aspects of painting, written with great commitment and depth. Though the price is daunting, consider it a worthy indulgence. You could buy ten other books on this subject and still not obtain such a complete reference source as this one book. On top of the excellent content, the book is beautifully made to last a lifetime (and more!), and printed on top quality paper. Splurge on this; you won't be disapointed!

I can hardly praise this book enough. It is full of experience and concrete knowledge.

The text is made of 10 chapters, plus an introduction:

1. Good ideas and free advice

2. Direct painting

3. Starting

4. Drawing

5. Values

6. Edges

7. Color and light

8. Composition

9. Technique

10. The magic

It has 193 pages, and is full of Schmid's paintings, almost all of them oils.

WHAT THIS BOOK TEACHES YOU:

It teaches you how to OBSERVE 3-D REALITY AND TRANSLATE IT ON A FLAT SURFACE AS DIRECTLY AS YOU CAN. The way of achieving it is to paint LIGHT ITSELF (what you see), not the very object with descriptive minutiae (what you know). Meticulous and painstaking painting tends to be naive in most hands.

Schmid asks you to clear up your mind and trust your instinct. THE HOW BECOMES OBVIOUS ONCE YOU UNDERSTAND THE WHAT AND THE WHY.

Some of his most insistent advices are: keep it SIMPLE; don't overwork; don't use ostentatious techniques; don't make random guessing brushstrokes; do a minimum of trial and error (correction wastes time); rather be BOLD than shy, but do it without hurrying and without any thoughtless bravado. Also, EXCESSIVE BLENDING IS LIKE MUMBLING WHEN YOU SPEAK.

He teaches you that, as you start, you sholud focus on one specific problem. Set a GOAL and do it in the time available. Limiting your time helps to SIMPLIFY your works. SIMPLIFY values by SQUINTING. If edges remain sharp when you squint, paint them sharp; if they go fuzzy, paint them fuzzy. Trust your squinting.

Schmid insists on the fact that, unlike common belief, most mistakes happen with drawing, not with colour. He says there is no comprehensive colour law; but there's something close to it: COOL LIGHT PRODUCES WARM SHADOWS, AND WARM LIGHT PRODUCES COOL SHADOWS. His palette has as many as 12 colours, not one more, because more than that is unnecessary (and often, the fewer colours, the better), as we can see in the colour charts--a perfect way of mixing all colours with one another until exhasusting all possible combinations of two colours plus white. (Besides, don't overmix, or else you'll obtain MUD colour.)

He recommends: Cadmium Yellow Pale, Cadmium Lemon, Cadmium Yellow Deep, Yellow Ochre Light, Cadmium Red, Terra Rosa, Alizarin Crimson, Transparent Oxide Red, Viridian, Cobalt Blue Light, Ultramarine Blue Deep, Titanium White. There is no black, since he uses different mixtures of browns or reds with blue for getting a substitute for black.

He says what good lighting is for painting.

His ideas about colour harmony and composition are very down-to-earth and full of common sense. No mystic babblings or over-intelectualized theories.

WHAT THIS BOOK DOESN'T TEACH YOU:

It doesn't deal with technical intricacies about different kinds of canvases, papers, grounds, turpentine, brushes, easels, palettes, and materials in general. (Pigments do have his full attention.)It doesn't ignore technique, but it's not the core of the text. (For that subject, you can read Ralph Mayer's book on materials.) Since the book deals with painting in general no matter what medium you use, it doesn't speak about classical Old Master examples (no Leonardo, Velázquez, Rembrandt, Hals, Rubens or any painter in particular). You can apply the lessons to oils, acrylics, tempera, gouache, or even watercolour. By the way, there's a very brief part about using the palette knife, which obviously couldn't be applied to watercolour, for instance. Since the book focuses on Direct Painting the way Sorolla, Sargent or many late-19th century arists did (without mentioning them much), you will find no details about Renaissance or Baroque ways of applying paint. There are not many words about glazing, for instance. There are no words about perspective or anatomy, either, for this is not a handbook for painting specific subjects, but about how to observe light and colour in general.

I love this book! Had I found and read it a long time ago, I wolud have saved years of an agonizing, careless and method-less hit-and-miss process that had no sense at all in my learning.

Schmid has a very specific method. Maybe it's not meant for all painters, but if you love Sorolla or Sargent, this is THE METHOD for you, no matter whether you are a mere beginner or an experienced artist. And even if you aim at a very different style than that of the artists just mentioned, this book can help you a lot. Trust me!

(By the way, Schmid gives very good advice at his site: www.richardschmid.com.)

As a serious painter, I have purchased many books over the years always hoping for the "Holy Grail" of instruction, tips, etc. Mostly, I have been disappointed. This book will not disappoint. It is a veritable treasure trove of valuable and useful instruction -- A virtual "bible" for representational painters (or "direct painters" as he calls us). It is an expensive volume but well worth the investment. This wonderful book will surely become a classic along with "The Art Spirit".

With this book in hand, I could throw out all 4 dozen or so books on painting I've purchased in the past. Schmid clearly describes the factors necessary to paint well as well as his suggestions on tools with which to do it. His chapters on edges and values alone are indispensible to artists, beginners or professional.
His writing style is very easy to read and understand and there are more than a few laughs laced throughout. It's a keeper and I'll be going back and rereading until the pages are tattered and worn.

Everything I know about painting? Well, not exactly, not everything. Don't expect to learn everything. Many reviewer on this book maybe expected too much. This is not a step by step painting book. This book does not show you the magical short cut to become a better painter either. But this is the best and only book you'll ever need in painting. I've never seen any book or any artist that explains better in terms of Edges, Values and Colors. The most important 3 ingredients of painting. His teachings on these 3 ingredients are so easy to understand and if you apply them to your work.... you're much better artist/painter already. Invaluable information on chapter 4, 5 and 6. This book will change the everything you know about painting.... well... not exactly.

This is a great book which I refer to repeatedly. BUT, I bought it used at Amazon for a rip-off price. Lots of people are complaining about the high price, so do yourself a favor and google his name to go to his web-site. Much cheaper there!

I am a painter who has literally read hundreds of books on the subject and this book is HANDS DOWN the very best I've read. The book is eloquent and easy to comprehend, a must for beginners and advanced painters alike

It is rare for an artist to have contact with and guidance from a master. Though this book cannot replace personal instruction, it is the next best thing. Schmid, in his book, tends toward the thought processes involved in his work, a valuable and hard-to-find resource. The book also demonstrates the sober, as opposed to flighty, attitude of the master painter.

As a new comer in oil painting, I find this book to be like sitting at the side of a master while he talks and teaches me all the valuable things he has learned over his long career.

The narrative is very informal and friendly, the information is solid and important. It's encouraging and demanding, stressing the importance of passion - which is so important in anything one does.

I highly recommend this book to anyone interested in oil painting.