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am 22. Februar 2013
Das buch ist sehr schön, I do like it., Lot of knowledge about compositioning. I need that. Good to have, good to reAD
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am 17. März 2012
"Mastering Composition" ist eine sehr nützliche und praxisbezogene Einführung in Komposition für Maler. Ich nehme es sehr gern zur Hand, denn es ist übersichtlich aufgebaut, reich illustriert, und der klare und intelligente Schreibstil ist sehr angenehm.

Das Buch lädt zum Blättern ein, aber in erster Linie ist es ein Arbeitsbuch, und Roberts ist ein begnadeter Lehrer. Er teilt den Stoff in einprägsame Lektionen, viele davon auf einer Seite prägnant zusammengefasst. Seine Abbildungen sind vielfältig und themenbezogen, er zeigt Farbkarten, Bleistiftskizzen, digitale Bildbearbeitungen, Bilddetails und Gegenüberstellungen mit mehreren Versionen desselben Bildes. Fast alle Bilder sind seine eigenen, abgesehen von einigen Abbildungen bekannter Meisterwerke (Goya, Sorolla, Zorn) im ersten und letzten Kapitel. Das Buch enthält drei komplette Schritt-für-Schritt Vorführungen zur Bildentstehung. Es gibt auch Anregungen für Übungen.

Sehr empfehlenswert für Maler, die sich mit dem Thema Komposition erstmals beschäftigen. Immer wieder nützlich zum Nachschlagen, wenn man nach Problemlösungen für eigene Bilder sucht. Das Buch ist aber klar aus der Praxis heraus geschrieben. Wer eine vollständige, akademische Abhandlung über das Thema sucht, sollte zu einem anderen Buch greifen.

Die beigelegte DVD hat für mich keinen Zusatznutzen, sie enthält nur Bildbeispiele zur Wirkung von Kanten, Kontrast usw, von denen sehr viele schon im Buch auftauchen.
0Kommentar| 3 Personen fanden diese Informationen hilfreich. War diese Rezension für Sie hilfreich?JaNeinMissbrauch melden
am 20. März 2016
I came in with some previous knowledge and awareness for composition, picked up here and there mostly from non-traditional artists, and wanting a more thorough view on the topic.

First of all, this book is not thorough. It seems to aim to teach you the first steps into composition with simple still lives and simple landscapes by minding geomatrical shapes in tonal and colour distibution, but there's a lot of things this book leaves out, for example how to handle more complex scenes, how having people in your painting influences the viewer's perception, how to support a narrative or mood with your composition. And from some of the topics that do appear in the book, I'm missing some aspects as well – for example when the author talks about overlapping, it would have been a good opportunity to talk about tangents and the unfortunate kind of overlapping, too. Narrowing down is a valid way to indroduce a complex subject, I suppose, but I didn't expect these limitations from the book title and cover and would have looked for a different book if I had known. Same goes for the focus on oil painting: while the medium doesn't matter as long as you're talking about the theory of composition, the book has a lot of detailed painting instructions, some of which don't translate well to non-opaque paint.

On the other hand, the book contains basic general painting advice that I would't have expected in a book on composition, for example the basics of drawing, basic colour theory, brushwork, mostly without talking about how these influence composition specifically. How some colours attract our eyes more than others, how to vary the brushwork within the same painting to support your composition etc.

Furthermore, I remain skeptical about some of the claims the author makes, and for various reasons, the author failed to earn my trust. For example, he talks about preferring straight lines in a painting because curved lines seem too detached and floating. He presents two sketches of roads as proof, one straight road and one curved road where we are supposed to prefer the straight road. First of all that seems to condratict earlier examples of curved roads and other S-shapde armatures, second, he has drawn the straight road with proper perspective and shading and the curved road without, so of course the straight road is going to look more real and anchored.

Another bit would be how the book seems to operate under the assumption then the viewer's gaze enters the painting from the bottom border. The author never outright states this assumption nor explains why he makes it. It's not the way I look at images at all. Where does this come from? Interestingly, some of the arrangements of objects at the bottom edge he derives from this rule I argree with, although I would use a different explanation to get there.

Even so, I do think there is valuable information in this book, although some of that gets rehashed for pages and pages without adding anything new. The part of the book I really liked were the bits where the author compares images and slight variations of them and the effect on the composition.

Overall, the book was not worth it for me.
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am 11. Oktober 2010
If youre into painting, this book is GOLD. really. It lets you see painting with new eyes and new understanding for what actually makes the eye go into the painting and whats actually interesting in there.
It may also be valuable to art critics, because they learn to actually verbalize what it is that throws them off (if thats the case sometimes :-) )

Even tho its packed with information I suggest also buying "Composing Pictures" by Donald Graham.

With those two books youve got all it takes to make the best out of your art, composition wise.
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am 15. September 2015
This and Carlson's Guide to Landscape Painting - you don't need more to understand, what's painting about!

Dieses Buch und Carlson's Guide to Landscape Painting - mehr braucht es nicht, um zu verstehen, worum es beim Lane geht! Sensationelles Werk, das das Thema "Bildkomposition" ausführlich beschreibt, Strukturelemente, Tonwerte, Farben, alles perfekt. Und dazu eine DVD mit Demonstrationen, was will man mehr? Absolute Kaufempfehlung!
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am 14. Februar 2015
I love this book! Ian seems to have lots of teaching experience and knows all about the problems students encounter. Thanks to the many fotos it is very clear and easy to understand what he means also if you are not a native english speaker. Even if I paint only watercolours it was extremely helpful for me.
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