The Simple Secret to Better Painting

by Greg Albert

Whether you are a beginner or a professional, composition is one of the greatest and most fundamental challenges an artist faces. Start your painting with a strong composition and odds are high your... This description may be from another edition of this product.

• Format: Paperback
• Language: English
• ISBN: 1581802560
• ISBN13: 9781581802566
• Release Date: May 2003
• Publisher: North Light Books
• Length: 128 Pages
• Weight: 1.30 lbs.
• Dimensions: 0.4" x 8.5" x 11.0"

Customer Reviews

VERY helpful.

Very helpful. I know a lot about drawing, and a lot about controlling oils, but when I am out there doing a Plein Air, I can't remember any principles of composition. All I can think of is, "Ack! The sun is moving!" I am just painting furiously. This book is like BRAINWASHING. "There is one magic rule: never make any two intervals the same." Values: never make any two intervals the same. Intensity: never make any two intervals the same. Shapes: never make any two intervals the same. Etc. But he goes into even more details than that. He has LOTS of little areas that this rule applies to. Each page covers this rule in respect to ONE aspect of composition. And every time he reiterates: never make any two intervals the same. Most pages have a great painting on them, and not just by him. Offhand, I remember seeing some by Kevin Macpherson. This way you see how professionals apply this rule. I realize that every GREAT painting I have ever seen has incorporated this rule into every facet of their composition. By reading this rule on every page, and seeing how it applies to so many nit-picky little things, I am noticing it more in my painting. The last time I was doing a plien air, I thought, "Oh, the fence posts are all the same: *never make any two intervals the same*, I should angle a few of them. Oh, these two trees are identical: *never make any two intervals the same*, I will make one a little warmer and shorter". Etc. I could only remember it though becuase of his successful brainwashing technique. I find this book to be very helpful, and as soon as I am done with it, I am going to read it again. Regardless of your skill level, and regardless of your medium, this book will improve your composition, and therefore your finished product.

Easy Read Chalk Full of Info

I would have to say that this is one of the best books I've read regarding art instruction. This book is well written, and it keeps you wanting to read the next page.In the introduction Mr. Albert makes an interesting statement. He says that the book should be read quickly and remembered forever. Well I certainly read it quickly, and would say that there are certainly things I'll remember forever, but I would have to say that I'm going to be using this book less as reading material and more as a reference tool. As a self-taught musicain as well as an aspiring artist I have a rabid obsession with books. Many are written by very talented artist; but all too often it's as though the books were written to impress the reader with the authors amazing abilities, more-so than to teach. I would call this book more along the lines of say an idiots guide to design and composition. This is by no means a knock on the author, it's actually one of the best compliments I can think of. Being the father of a child that wants to learn the melody to Beethoven's Ode to Joy, or to simply paint a "cool" looking picture in pastel or acrylic, I've noticed that it's easier for him "and me" to get to the meat of things. Dicussing the finer points of music theory, or the ancient theory on arts golden mean for painting composition are wonderful things to digest, but can also add some confusion to the less experienced artist. I'm impressed that Mr. Albert has forgone the puff your chest out route and setteled for a format for his book that allows more immediate gratification. The title of this book is very bold, implying that you can improve your art immediately. I've seen numerous books that have similar titles with one little difference. This book delivers on it's promise. I was amazed at how even some of the school children looking thumbnails placed here and there used to demonstrate both correct and incorrect composition drove the point across. As an artist I lean more toward realism, yet would admit that occasionally an abstract piece will catch my eye. I've always wondered why this is and this book did more then tell me, it let me see what these paintings had that made me put aside my prejudices against abstract art. Currently I'm giving music lessons. My goal is to hopefully find ways to express to the students how to bypass some areas that are best learned after you have some confidence built up. If I can do this even half as well as Greg Albert did in this book I'll be happy. I've never written a book review before this even though theres many I have read that are in and of themselves good instruction manuals, but I felt compelled to write a review on this book. There is no magic pill for better art, but this book has helped me minimize some frustration and has allowed me to approach art in a much more confident way. This book is more like a straight highway without turns, mountains, or hills so you can arrive at your destination sooner.

Outstanding book on composition for painting & photography

I avoided this book just because I was suspicious of the title, there are no secrets, just information. But I finally gave in and ordered it because everyone is talking about it and they say it is that good. I had it on my bookshelf for a while when I was reviewing another book on photography and one reviewer recommended this book (Simple Secret to Better Painting). I'm a painter and a photographer, both amateur, and was suprised to see a photographer recommending it. So I took it with me on a weekend trip. I really enjoyed the book. Though I still dislike the title. The one rule is just "don't make any two things the same". But what the author does is show how that applies to all aspects of painting (and photography). composition & the rule of thirds, contrasts in the painting, cropping, colors, textures, etc. The best part of the book is that there are small thumbnails showing what is bad and what is good. And finally, unlike most art books which serve only to show the author's work, this book showcases absolutely wonderful work from a variety of artists. Most watercolorists, and I have a new interest in watercolor because of this book. The paintings aren't just there for eye candy, the author uses them to demonstrate the concepts discussed in the book. Overall I cannot recommend the book enough. Don't be put off by the title. Buy it, read it, and practice it. I'm confident it would make anyone's art better.

A must have

Greg Albert has achieved what all good teachers should "reduce your subject down to it's most simple and uncomplicated form to get the message across", then elaborate from this point on. This book teaches you all the principles of layout, colour and contrast, and clearly shows you what you should not do. Though I have seen many of these subjects covered in other art books, Albert presents the rules and principles from a different perspective which allows you to see immediately, the logic behind the point he is covering. He does not complicate the information with confusing arty jargon and terminology but gets straight to the heart of the subject. I know this book will be one which I will probably refer to with every future painting.

Simple but surprisingly thorough!

I bought this because I was in a mood, had more money than I usually do, and was intrigued by the portrait on the cover. I've been painting for some time now and thought that this might be a book that I'd just turn around and donate to the local library because it didn't seem like a keeper. Was I wrong! The author expands his simple rule (which I already knew about, of course, but only in one fashion) to cover EVERYTHING about art. I hadn't considered just how far-ranging the rule is. Was it a lightbulb moment or a "Duh! Of course!" moment? Whatever, I'm now AWARE of the rule in every aspect of my art. I now can achieve better compositions, better color, better everything. Immeasurably helpful! And the author uses the most wonderful paintings and demos to illustrate his points. (Is that his daughter in all those poses? She's lovely!) Definitely a Keeper book. Let the library get their own copy!