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40 of 41 people found the following review helpful:
5.0 out of 5 stars
Must-Read for any watercolorist, May 13, 2004
The talented Jeanne Dobie does a lot of her work in the sun-drenched Florida Keys. While there are many good books on color and pigment, Dobie explains how light in a painting scene shifts moment by moment and how you have to be ready to capture that brilliant moment with the right palette.The book gives advice on which colors to put in a limited palette for brilliance. (As anyone who has done watercolor even for a short time knows, there are hundreds of colors available, but when you MIX them, sometimes you get a flat, dull result that looks like mud on the paper.) Choosing a limited and CORRECT palette for the painting you are going to do is one of the most critical steps after creating the composition. Dobie includes important facts about which paints stain the paper (and cannot be lifted up again), which are transparent and can be used as a wash or glaze, and which paints are opaque. And if you follow the "purist" rule of no white paint, you learn how to leave the whites (use the paper for brilliant whites) and no black paint (which causes a visual hole in the paper.) Instead, Dobie shows the student painter how dark colors like brown or a visual black can be mixed that still look luminous and interesting on the paper. This is a very difficult technique to master--shadow detail can make or break a painting. I disagree with one of her points, however, on mixing greens. While it is true that green pigments direct from the tube are far more brilliant and transparent than any you can mix, I find certain mixed greens from yellows and blues to be subtle for shadowed foliage, and sometimes the pure paint greens are jarring and unnatural to me. I tried to follow this "use unmixed" greens rule, and I end up mixing mine anyway, though I own many shades of green paints. Of course, the best part of the book are the paintings. These are inspiring to the reader, but this author can also write and explain herself well. This book should be a standard on any watercolorist's shelf.
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