Monthly Archives: July 2014

Confusion / A Tale of Two Books

masteringgalzi2DSC_0394_217ISBN 9781463749033:  Mastering Glazing Techniques in Watercolor,  Vol. 1 Around $34.95 retail.

Two Books:

The top image is the current revised, updated edition of Mastering Glazing Techniques in Watercolor, Vol.1 by Dr. Don Rankin.   Most of you know that is me of course.  This re-issue was published in 2011 and carries a completely different ISBN number than the original 1986 edition. You can see the current number posted in the caption below the cover shot. Due to popular  demand this book was revised and updated with some new tutorials. The story of this revised edition  is a bit long and I’ll not bore you with all of the details.  I was blessed with about 5 books being published by Watson-Guptill Publications. Mastering Glazing Techniques was a big hit and was credited with being the first authoritative book ever written on watercolor glazing techniques.  Other watercolor books followed in the series. Several foreign language editions were also produced.  Due to their popularity it was decided to halt publication of the English  editions for about 6 months and produce a large volume anthology of all of the books in one large edition. The idea was to produce a greater demand.  Mastering Glazing marketing & publication was halted along with three other editions.

Problems:

My editor left the company with a promise that our project was safe. Not so.

mastering galzinDSC_0393_216This edition (Hard Cover) was issued in 1986, halted in the 1990’s at its peak of popularity.   It was never offered in paperback.

In the meantime I had  resolved to not write any more books and to spend my time painting.  Very soon this edition was being offered on line at enormous markup. I began to get cards, letters, long distance telephone calls and finally many e-mails asking if I would re-publish.

Never say never: 

After so many requests and a number of conversations with associates I decided to re-publish with revisions. I could say more but hopefully you get the idea.

Confusion: 

Many of you have run into frustration over confusion at Amazon.com. when you go to look for the new book.  In a lot of cases you get the picture of the old edition and it may have a tiny link to a paper back edition. That will or should lead you to the new book. 

Worse Still:

Even worse you may scroll down a line or two and see the brown cover book for sale at prices of more than $50. Those are resellers, they are not retail. They sell it for $50 and I get a $2 royalty! Sorry if that sounds petty but it is true.

Not Angry:

I’m not angry mind you. That is how the market works and I am glad that there is a market. But some of you have contacted me asking why the price was not in agreement with prices I have quoted.  So in self defense I am sharing this with you.  I am grateful for all book sales but once again BUYER BEWARE!

Price still the same:

If you decided to buy, you have two options; you can use my direct link:  http://www.createspace.com/3657628  and the book should be about $34.95.  The publisher will not allow a lower price. 

OPTION 2:

Feel free to go to  Amazon.com, select “Books” (yes, it seems to make a difference on some servers) use the ISBN NUMBER in the search: ISBN9781463749033.  You may get a prompt telling you that no such number exists but alongside or right below you will see the picture of the book.  Go figure!  Amazon will often offer the book for $31.95.

There You Have it:

Hopefully this post will answer some of your recent questions.  I have tried to simplify a long tangled story. I hope I haven’t belabored the point.

Questions ?

If you have any questions, please feel free to contact me. Again I thank all of you for your support.

 

 

 

 

Simple can be powerful

Standing Nude Standing Nude,  watercolor class demonstration

An art dealer made a strong suggestion to me a few weeks ago. He urged me to do a complete inventory of all of my paintings both sold and unsold. ALL meant going back, way back into the sixties. It was a daunting task but it is now done. As I posted earlier I had been remiss in not keeping up with my work as thoroughly as I should.  Along the way in this journey I had some pleasant surprises and was forced to review a lot of older sketch books that I had forgotten.

Class Demonstration: Simplicity

One of those items is the subject of my posting. Standing Nude was included in the updated, revised edition of Mastering Glazing Techniques in Watercolor, Vol.1.  This is a small painting that was done for one of my life classes. It is a small piece yet it conveys a powerful effect. The piece is deceptively simple.  I’ll also confess that I was very fortunate that it clicked so easily. I have always believed that students deserve complete honesty. I’ll explain. It is my opinion that students need to see an instructor work. It can be nerve wracking but there are times when we just bomb out and the demo just doesn’t work. OOPS!  Can we say AWKWARD?

Doing an impromptu full figure can be a dangerous choice. Thankfully, this one worked beautifully in a very short period of time. Everything just clicked into place.

Two colors:

All too often watercolor students think that watercolor glazing techniques are slow and tedious. Well, they don’t have to be. The choice is yours. The work can be bright and spontaneous; it all depends upon you and your subject.

The first color, Winsor Violet, was used as an under painting or grisalle. The complement,  Indian Yellow, was washed over the dried under painting. Nothing fancy, very simple,  yet the effect is very profound.   As I stated earlier this piece was a part of a life class demonstration. We were working with the wonders of color and complexion. At the time we were discussing the Royal Academy method of dividing complexions into various color schemes or sub-groups.

While one may not want to paint by formula the basic rudiments are very helpful for a foundation. It may be a surprise for some that with this method blondes, red haired models and some ethnic groups are often depicted with the fewest number of colors while brunettes have as many as seven (7) key colors.

I discuss these formulas as guidelines for those seeking to gain a foundation. Hopefully no one will allow the suggestion to become a strait jacket or rigid law of operation. Always let your model and your perception guide you.

Careful under painting is the secret:

The secret to success is careful under painting. What do  I mean? Think transparent. The early strokes will make a great impact upon the final piece.  Always remember that the white of your paper is your brightest bright. Consequently you want to make sure to avoid painting the brightest highlight areas.   Some call it “saving your whites”.  No matter what you call it keep your painting fresh. Be judicious but not uptight as you apply your first washes. Keep in mind that the initial washes will shine through and influence your finished painting. I hate to use the analogy, but think of a monochromatic photograph.  In a properly lit and  exposed photograph one can see  a variety of values.  Think about this when you are painting.  Let your washes  blend and merge with a delicacy that gives the illusion of flesh.  The graded washes of violet are almost invisible in some areas  while the Indian Yellow was applied very sparingly.  In this interplay of color combination the colors tend to lose some of their individuality and merge to produce the illusion of living, glowing flesh.

Reminder:

Careful observation is the beginning and is of utmost importance to a successful painting.  Take time to really observe your subject. For some of us this may take longer than it does for others. Find your own pace. Strengthen yourself to avoid being intimidated by what you think others are doing. Be true to yourself. After all you can’t really be anyone else, now can you?

Final thoughts:

You can see the date on this painting. It may have been painted before some of you were born. In the ensuing years some painting formulations have changed.  You may or may not get the same effect from brand to brand. The answer is EXPERIMENT. All color in this depiction was produced with only the two colors mentioned.  What is the point of the post? Open your eyes to the possibility of the color combinations you have.  Take the time to play with your colors.  Change the ratio of color mixes in order to see what happens.

Today I use M. Graham Indian Yellow and Winsor Violet. In the  90’s I may have used Grumbacher Indian Yellow or something else. As I get older some things dim in my memory. Regardless all sorts of color possibilities exist. Do you know what your colors can do for you?

You can see more of Don’s work at http://www.donrankinfineart.com

Want to know more about watercolor glazing techniques?

Mastering Glazing Techniques in Watercolor, Vol.1 by Dr. Don Rankin :Order direct at   http://www.createspace.com/3657628

Video Tutorials available  Study with Don on-line via http://www.udemy.com/mastering-glazing-techniques-in-watercolor

Enjoy a remastered classic now in DVDThe Antique Shop a best selling full watercolor demonstration with a tutorial  http://www.createspace.com/350893

Like us on Facebook: Don Rankin, Mastering Glazing Techniques

 

 

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