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Landscape Illusion: A Spatial Approach to Painting
 
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Landscape Illusion: A Spatial Approach to Painting [Paperback]

Daniel Chard (Author)
3.8 out of 5 stars  See all reviews (4 customer reviews)


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Book Description

January 1, 1993
Landscape Illusion provides a new understanding of the principles of, and the techniques necessary for, creating successful spatial illusions, which in turn leads to the creation of successful paintings. Chard covers conception, techniques, color mixing, and more. 160 color plates; 275 illustrations.

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Product Details

  • Paperback: 144 pages
  • Publisher: Watson-Guptill (January 1, 1993)
  • Language: English
  • ISBN-10: 0823025942
  • ISBN-13: 978-0823025947
  • Product Dimensions: 10.9 x 8.3 x 1.4 inches
  • Shipping Weight: 1.2 pounds
  • Average Customer Review: 3.8 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Best Sellers Rank: #1,720,277 in Books (See Top 100 in Books)

 

Customer Reviews

4 Reviews
5 star:
 (2)
4 star:
 (1)
3 star:    (0)
2 star:    (0)
1 star:
 (1)
 
 
 
 
 
Average Customer Review
3.8 out of 5 stars (4 customer reviews)
 
 
 
 
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Most Helpful Customer Reviews

6 of 6 people found the following review helpful:
5.0 out of 5 stars A Hearty Meal, July 29, 2000
This review is from: Landscape Illusion: A Spatial Approach to Painting (Paperback)
This book is easily one of the all-time great books on painting. It is not just a book on highly 'realistic' landscape painting in acrylics, rather it is an application of analytical thinking about painting to the particular problems of landscape. In a market saturated by fluffy and useless how-to books, this dense and meaty offering is one of the few that stand out as a must-have for anyone who is serious about representational painting.

The section on composition is one of the most complete overviews of the subject I have seen to date; it includes topics such as unity and variety, the effects of 3-D illusion on composition (or vice-versa), the dynamics of the rectangle, left-right 'reading', and some deep analysis of Chard's own paintings. In other sections Chard discusses his rationale for representational painting, the concept of 'analogous' imagery, viewer's expectations for visual space, and details his methods and working processes. Each topic is covered with wide-ranging and carefully considered throughness.

Chard communicates his insights with great clarity and detail. As a result this is a real reader's book, it has a lot of text in it along with the illustrations. If large paragraphs make your eyes glaze over you may find this book daunting, but struggle on and you will most likely find that the information and food for thought were worth it.

Chard's book may not answer all your questions about painting, but it will provide a great deal of food for thought, and a pattern of principles and analysis that can be applied to a wide range of challenges and mediums in the visual arts...

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5 of 5 people found the following review helpful:
4.0 out of 5 stars Analytic approach to realistic landscape painting, July 30, 1998
By A Customer
This review is from: Landscape Illusion: A Spatial Approach to Painting (Paperback)
This book presents a thoughtful, analytic, and sometimes esoteric, approach to landscape composition and painting. The example plates are gorgeous and support the text. The step by step plates clearly demonstrate the approach. The close ups show fine brush and color techniques. The final chapter presents a series of exercises for the reader to try. I did and improved my techniques considerably.
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3 of 3 people found the following review helpful:
5.0 out of 5 stars An enjoyable reference, September 3, 2003
This review is from: Landscape Illusion: A Spatial Approach to Painting (Paperback)
I have found this book to be an excellent reference for those artists, such as myself, who have long used acrylics but have tried dabbling with watercolors, but with not as much success. Daniel Chard gives a wonderful approach to using acrylics transparently and achieving a watercolor-type effect - without the drawbacks of either medium. His section and examples of brushwork (and finger techniques) alone were worth the price of the book. Excellent composition material is a bonus.
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