A sophisticated primer that blends colored pencil techniques
with timeless art principles.

This edition continues to provide the most authoritative and detailed technical instruction available anywhere on the basic use of colored pencils. 

Dispels myths about this medium requiring endless weeks of tedious deep layering to complete a drawing.

The Artist's Complete Guide to
DRAWING THE HEAD

by William L. Maughan

In this book illustrator and fine artist William L. Maughan provides authoritative instruction in using the technique of chiaroscuro, or light and shade, to model form. Its focus is on the head but this centuries-old technique may be applied to any element where a striking and effective three-dimensional effect is desired. Highly recommended as a best source for this invaluable technique.

SEE A DEMO FROM THIS BOOK: In it Maughan uses the principles of chiaroscuro
to paint a male head in three-quarter view.

See Amazon's full listing for Maughan's book

Mastering Composition:
Techniques and principles to dramatically improve your painting

by Ian Roberts

Studying composition may conjure up masterworks overlaid with triangles, arrows, accompanied with arcane explanations.  But not here.  Author Ian Roberts makes fascinating sense of all this on every single page. His bristling expertise and brilliant artwork inspires beginners seeking a hand-hold in a too often elusive subject. For other artists wanting to refine compositional skills this book may be essential reading.

Here is a demonstration by the author on how eliminating distractions and composing with large simple masses based on value can achieve a painting that is strong and coherent.

Take a look at Mastering Composition on Amazon - available as a Kindle too

Invaluable for all artists regardless of skill level or medium, Hale explains underlying art principles and practices used in 100 master drawings. In our time the term "master teacher" is often over-used, but Robert Beverly Hale was truly an authentic master during the last half of the 20th Century. An impressive classical draftsman himself, he taught drawing and anatomy courses at the Art Students League of NY and at Columbia University. He was curator of American Painting and Sculpture at The Metropolitan Museum of Art, and an author of fiction and poetry for The New Yorker magazine. In addition to guiding many nationally and internationally recognized artists, his lasting legacy is this book.

Each section (of seven) begins with an essay about specific art concepts, followed by a master drawing accompanied by a brilliant analysis of the principles, techniques and practices used in it. Every unit is valuable, but "Unit Three - Light and Planes," may be life-changing for anyone drawing or painting realistically or representationally--regardless of genre.

Drawing People:
How to Portray the clothed figure

by Barbara Bradley

Authoritative. Comprehensive. Barbara Bradley begins with such figure drawing fundamentals as proportion, perspective and value, and includes art principles specifically related to figure drawing, including heads and hands.

The second part of Bradley's book is devoted to drawing the clothed figure stressing the importance of rendering fabric folds correctly. Her emphasis on how fabric works on the human form is often overlooked in books on figure drawing and may propel this book to classic status. Highly recommended for Bradley's valuable expertise and genial voice in its writing. Over 600 black and white illustrations.

This tutorial from Bradley's book is well worth bookmarking -- It breaks down types of folds into categories and illustrates how each one is rendered.

And here is Bradley's book on Amazon -- Also available in Kindle format

85th Anniversary Edition

A new edition of Robert Henri's revered art classic (originally published in 1923) is now presented in a larger and easier to read format, and with an updated and reconsidered index.

This book states the essential beliefs and theories of a great American teacher and artist. While it embodies the entire system of his teaching, with much technical advice and critical comment for the student, it also contains inspiring prose on every page.This is a book that you will refer to when you feel the need to be among others of your kind--with the artistic kinship that flows through these pages.

"I would give anything to have come by this book years ago. It is in my opinion comparable only to the notes of Leonardo and Sir Joshua...One of the finest voices which express the philosophy of modern men in painting."
-- George Bellows

On every page of this book J.C Amberlyn reveals a spirited affection for wildlife of all kinds. Her expert instruction in various drawing media is generous and inspiring. The Mule deer on cover was drawn with seven Prismacolor pencils.

Aimed at all skill levels Amberlyn covers basic animal anatomy, body details and how these parts differ from species to species.  Her expertise with animal coats and fur throughout this book is eye opening.  She also provides insight into building form and figuring proportions and how to handle negative space, contrast, reflected light and much more.

After a thorough introduction Amberlyn provides lively step-by-step demonstrations and mini-demonstrations in still poses and in action.  Beautifully put together there are 300 drawings and 60 species of wildlife covered (and indexed). 192 pages. Recommended for artists and naturalists.

J. C. Amberlyn draws a gray wolf in her 6-step pen and ink demonstration-project.

And here is Amazon's listing for Drawing Wildlife in paperback.

When a book about color theory contains only seven color plates, yet is valued and reprinted for decades, it must have some special quality. This book does, and may be because Sargent had to rely on the written word without benefit of many illustrations to inform and excite us about color ideas. Through his words we literally catch his love and enthusiasm for the incredible properties and power of color.

With page after page of color concepts that are astonishing and nearly unforgettable in their logic and clarity, this is a book that may incite many marginal notes and exclamations. It may also be read and re-read for years to come. Often books on color theory seem heavy, dry, and pedantic. But not this one. First printed in 1923, Walter Sargent was Professor of Art Education and Chairman of the Department of Art, at The University of Chicago.