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How to See Color and Paint It, by Arthur Stern
Download PDF How to See Color and Paint It, by Arthur Stern
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Learn to see and mix any color with extraordinary precision!
Many painters don't paint what they see, but what they expect to see, what they think they see, what they remember, or what they imagine things are supposed to look like. Since "the mind stands in the way of the eye," the purpose of this revolutionary book is to train you to paint what your eye actually sees.
Arthur Stern claims that color is key to painting what you see. After working with three generations of students, he developed a program of 22 painting projects that teach the artist to observe, identify, mix, match, and paint the colors of the world with remarkable accuracy. Using a painting knife and oil paint, you learn to analyze every painting subject as a series of distinct color areas—called color spots—and place each spot on the canvas as a unique and vivid mixture.
The fundamental lesson of the book is that if you put the right color spot in the right place, you create a realistic image of form, space, surface texture, atmosphere, light, and shade. As you follow the painting projects in this book, you'll make the dramatic discovery that everything in nature is filled with luminous color. You'll learn to see glowing color in the "blackest" shadow and the "whitest" linen. You'll learn when a green can appear red; how to use paint to replicate metal, glass, wood, paper, porcelain, and other opaque, transparent, or textured surfaces. Before long, you'll be seeing a multitude of colors in a slice of bread, apples and oranges, and a mass of green leaves. You'll learn how to paint quickly enough to capture a "live" still life—a flower that moves and slowly dies as you paint it. You'll even practice with a setup outdoors to see how sunlight and skylight affect color.
How to See Color and Paint It is a must for beginners and a valuable asset for intermediate artists who want to develop a more subtle perception of color. A final section contains beautiful paintings of many subjects that have grown out of projects and ideas taught in this book.
130 color plates; 40 black & white illustrations
- Sales Rank: #226502 in Books
- Published on: 2015-03-26
- Original language: English
- Number of items: 1
- Dimensions: 11.02" h x .56" w x 8.50" l, 1.66 pounds
- Binding: Hardcover
- 146 pages
Most helpful customer reviews
32 of 32 people found the following review helpful.
Incredibly Valuable at Any Price
By Thomas E. Schwab
I bought this book long ago, at a used book store, but never had the nerve to use it until a few months ago. I'm now in the middle of the eighteenth project in the book (there are 22 projects.) I've learned so much from this book and recommend it to anyone who wants to learn how to paint in oils. I made a major mistake by not following one of Mr. Stern's instructions exactly and it caused me tremendous grief. I hope to spare you the frustration I experienced by not doing as he said.
The book tells you to line the walls and floor of the setup box with "inexpensive assorted colored papers - the kind children use in school." I ignored this and (clever me!) decided to buy a variety of large, much more colorful sheets from a rack at Hobby Lobby. As a consequence, I would spend up to 20 minutes trying to match the color of a sheet of paper, and never succeed. I would simply give up and use the paint that was the closest match that I could produce. I realized just the other day why I could never match the paper's color. I was using the less expensive, student-grade paints recommended in the book. Since this kind of paint lacks the rich, intense pigment load of artist-grade paint, I could NEVER produce the bright, intense colors of the papers I bought. So do exactly what the author says to do: buy a pad of children's construction paper. The relatively dull, muted colors can be easily duplicated with student-grade paint.
Here's one other tip. The author tells you to make a "spot screen", which is a small rectangular piece of gray cardboard with a hole punched in it. You look at your subject through the hole to isolate an individual color. (It's funny that he refers to it as "gray"; elsewhere in the book he lists words like "gray", "brown" and "black" as taboo.) In any event, make sure the gray is a perfectly neutral gray, exactly midway between white and black and without any noticeable color tint. If the gray of your spot screen is too light, and you'll see and paint colors darker than they really are; if it's too dark, you'll see and paint colors lighter than they really are. And if the gray leans slightly towards some color, what you see through the hole will lean toward that color's complement; e.g., if your card's gray is slightly red, what you see through the hole will be slightly green.
To sum up, this book is a treasure trove of information, and if you faithfully do each project you'll be amazed at how much you learn, and how much your confidence grows.
21 of 22 people found the following review helpful.
Simply the best
By Mary B.
Of the many books in my art instruction collection, I rate this one at No. 1. It has had the greatest influence on me of any lessons or books I've had. If you treat this book as a course in painting you will: 1) learn how to mix absolutely any color with dead-on accuracy, 2) get practical advice on setting up materials and aids (for example, his "spotter" to isolate colors -- simple but indispensible), and 3) become comfortable with the painting knife, which most amateur artists shy away from. Get this book and devote a few months to it. You'll never regret it.
(Note: He shows the use of oil paints. I prefer acrylics, and used them for these lessons without any problems.)
26 of 29 people found the following review helpful.
Waste no more time with flaky, new age egopainting. This is it.
By BF
Arthur Stern, student of the legacy of that almost-lost thread that has passed through Classical art, the Renaissance masters, the Baroque masters, into Chase, Hawthorne, Henri (and his students- Bellows, Hopper, Kent, etc.), the Bay Area artists (etc.), offers up the eye-clearing humility, without BS, that is necessary to see in order to paint what Cezanne called the "ensemble".
Akin to tuning a guitar, the method reveals that the harmony of the few notes ("spots" of value/hue/chroma) must be chorded before you learn how to glue an American flag and a photocopy of the Twin Towers to your 21st Century bombast. THE FUNDAMENTAL basis for painting. A pathway, not to be viewed as a fixed style or dogmatic cul-de-sac, but a route of initiation to Beauty.
Hawthorne/Hensche purists irk me with their holier-than-thou, plein air fascism (and some of their students with how-to books should be, with Thomas Kincaid, whipped), but I DO agree that THIS IS THE DOOR TO THE WAY. Beautiful, simple truth. Reprint Stern's book before the world ends.
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