The Artist's Manual: The Definitive Art

Sourcebook: Media, Materials, Tools,

and Techniques Rob Pepper
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 t h e

a r t iss t ’

m a n u a l

The definitive art sourcebook—

media, materials, tools, and techniques

C O N S U L TA N T E D I T O R

R O B P E P P E R
A r t b u i l d i n g b l o c k s

28
Line

30
Color theory

32
How colors interact

34
Color attributes and tones

36
Shape and form

38
Composition and design

40
erspective
P

42
attern
P

43
exture
T
60
Graphite
P r i n t m a k i n g , p h o t o g r a p h y , a n d

62
Colored pencils f i l m i n g m a t e r i a l s a n d e q u i p m e n t

64 110
rPintmaking presses
Charcoal and chalk

66 112
rPintmaking basics
astels
P

68 114
Intaglio printing essentials
ensP

70 116
hPotography
Ink

72 118
iFlming
Erasers and fixatives

P a i n t i n g m a t e r i a l s a n d e q u i p m e n t

76
iPgments

78
Brushes

80
Acrylics

82
Oils

84
atercolor
W and gouache

86
Spray paint

87
Airbrush

88
Nontraditional art paints

90
Knives and palettes

92
Gums, waxes, and resins

94
Mediums, varnishes, and cleaners
 P a i n t i n g

P r i n t m a k i n g
134
Mark making

204
Intaglio: Engraving and drypoint

136
ashes
W and glazes

206
Intaglio: Etching

140
et-on-dry
W

210
Intaglio: Making a print

142
et-in-wet
W

212
Monoprints

144
Encaustic and wax resist

214
Collagraph

146
Egg tempera

215
Relief:oodcuts
W

148
Color mixing

216
Relief: Linocuts

151
Alla prima

218
Lithography

152
Blending, masking, and impasto

220
Mokulito

154
Grounds and underpainting

222
Screen printing

156
extures
T

224
Digital art prints

158
Mixed media

P h o t o g r a p h y a n d f i l m i n g

O b s e r v i n g a n d i m a g i n i n g

228
hPotography: Key elements

162
Still life

232
hPotomontage

164
iFgures

234
iFlming: Key elements

166
ortraits
P

236
rPeproduction

168
Cartoon strips and comics

238
iFlming techniques

170
Landscapes

240
Editing film

172
Cityscapes

471
ainting
P from photographs

D i g i t a l m e d i a
176
Illustration

244
orking
W digitally

246
Color models: RGB and CMYK

S c u l p t u r e

248
Image types: Pixels and vectors

180
Armatures

250
orking
W with vectors

182
Modeling

252
orking
W with pixels

186
Molding and casting
264
Gilding

298
Storage and cataloging

266
extileT art

268
Embroidery

270
Collage

272
aper
P arts 300
Index

308
iPcture credits

N o n t r a d i t i o n a l a r t f o r m s

311
Acknowledgments

276
Installation art

278
Light art

280
Street art

282
ext art
T

284
Live and performance art

286
Book art

288
Environmental and land art
his work. He has undertaken many high-profile
the Royal College of Art, London.

commissions, including an artwork that was

A N N K YA

given as a state gift by Britain to the President

the theory
, practice, and history of the visual arts.

of China. His art features in galleries, museums,

Her numerous books include many DK titles, as well

and private collections across the world.

as collaborative projects with galleries, including the

Drawing is at the heart of all ofs Rob’

art.

National Gallery and Royal Academy in London.

He uses the simple act of pen on paper as a

stanrigponitforeachproejctandspiasoinate

A P H R A S H E M Z A

about making art accessible to everyone, as he

work explores Modernism, her Islamic heritage, and

believes that it can be transformative.

sustainable practice, fusing past methods with new

technologies. She is Director and Curator at Art in

Flux and manages the estate of Anwar Jalal Shemza.

C H R I S R O B I N S O N

anarchteicHt.esaimemabpepironfgthGreW
oupof

Ahstri,aswonolcalndnaotinalwardsforhsi

watecrolprnaitgans,dperfsrtopnaitoutdoosr.

D A N I E L L E C R E E N A U N E

artist who focuses on printmaking and landscape,

working primarily in traditional lithography

. Her

art is held in many public collections, and she has

received numerous awards internationally

.

J U L I A N W I L D

who was Vice President of The Royal Society of

Sculptors from 2015 to 2019. His sculptures have won

awards and been exhibited internationally

. His clients

include The University of Oxford and Canary Wharf

.

8
 KAT H E R I N E J O N E S P E T E R L O I Z O U

is a printmaker and painter

worknignitradotinafolrmsonfitaogilanderiflpnrit.
carver with a background in fine art , stonemasonry
,

She is the recipient of numerous awards, and her work

and draftsmanship. He raneymouth
W College

is held in public collections, including The Ashmolean

stonemasonry program and has worked on many

Museum ale
andUniversity
Y Library
.
historic buildings and prestigious commissions.

L U C Y B A I N B R I D G E S U E S AP U L L

is a printmaker working

in screen print and photogravure and ounding

is F
in oil, using neo-classical techniques. Her work has

Director of Bainbridge Print Studios. Her prints—

featured in the Royal Society ofortrait
P ainters’
P

quiet reflections of everyday moments—are held in

Annual Exhibition. Sue is Director of Programmes

numerous private and public collections worldwide.

at Art Academy London, where she also teaches.

M I C H E L E I L L I N G S U K Y B E S T

sainawardw-ninigwatercolr

artist with a background in illustration, advertising,

print, and installation. She teaches at Central Saint

and publishing. Her work features in many private

Martins College of Art and Design, London, and works

collections, and she shares her passion for art in her

,hngescanteudilweitrkncorsliTcfaBher

classes,paintinggroupsabroad,andonlineartcourses.
Museum.Shehas won many awards internationally
.

N E L S O N G A R C I A B E R R I O S AT N AY R U S S E L L

is a British

neV ezuelan preventive conservator working for

animal sculptures, but her practice also seeks to

Kensingtonalace
P and HM
owerTof London. He has
highlight our relationship with animals and their

a background in furniture finishes, fine art, and picture

welfare. She founded Art Academy London, and her

framing and holds an MA in Preventive Conservation.

artwork is commissioned and sold internationally
.

PAU L S . B R O W N Z O E T O O L A N

is a classical realist oil painter

from North Carolina. He works exclusively from life

educator with a deep-rooted passion for drawing

under natural light and makes his own paint by hand.

and everything that means. Her work centers around

His still life, landscape, and figurative paintings hang in

live art and social practices, and she has completed

public and private collections worldwide.

projects for Live Art Development Agency and Axis.

9
 There’
s a moment that occurs in an art studio Schools of artists, from the great Italian artists

when the silence arrives—the silence of of the Renaissance to those of the Bauhaus in

creativity
. This silence is very apparent when Germany and the Black Mountain College in

you give a child a pencil and their imagination the US, have always learned, then happily passed

runs wild.orFadults,s harder

it ’ to access, often knowledge on. Over the past two decades,
ve I’

because we become frustrated as we struggle to been lucky enough to help develop and now

reproduce what is in our heads. lead one of London’

s foremost art schools,

As a professional artist of over 20 years,

ve I’ Art Academy London—developing courses

spent my career moving between making art for for young artists and helping those emerging

exhibitions and commissions and nurturing the on their career paths.

artistic spirit in others. Artt the

isn
’ simplest of Being asked to help create

career choices.
o beTsuccessful, you have to has given me a chance to share my knowledge

develop your ideas, learn about your materaisl, and learning with a wider audience. I don’
t

masteryourtechnique,marketyoursefland your believe art is there just to be looked at passively

work, and build your network. There are many in galleries. I believe it can be anactviepartof

. e,ngslnhacldwyreanuolecisnt whoweareh,eplniguscreate,asnepxrd

10
 ,knreitdhsnekasmtnadsmekaleiarnThere
.

are many ways to create art and no one right

w.ya Being passionate to try new things will

help you find your own visual language.

sManul Th’etAsitr

dolvetohasithvebook’I

hadasIdeveloped my practice, and one that I

hope many artists will use. With contributions

from leading contemporary artists and packed

full of inspiring artworks,s designed

it ’ to give

beginners the confidence to get started and to

help those further along their artistic paths to

be more creative and knowledgeable.

This book is intended to be your studio

assistant, offering practical guidance and giving

ydoenutpcdiyoenrvalhsfuct

eveycn.ideltlaidtenausiohracesfyt
 I D E A T O

A R T W O R K
Becoming an artist is as much about preparation

and research as execution. This section will help

you explore and develop your ideas, choose

a medium to work in, and translate your initial

concept into a final art form.

 W o r k i n g e n v i r o n m e n t
In the minds of many
, the artist
s studio
’ is large and

yr,ai with perfect light and ample space to work. In Although many artworks have been created at the

reality
, most artists have to utilize whatever space kitchen table or in the bedroom, ideally you need

theycan.Therearenohardrules,buttherearesome a dedicated space to work in. This should have

essentaisltoconsdierwhencreatnigyourworkspace. enough room to accommodate the size of work

The biggest expense can be your studio rent. If reyou’

creating, as well as space to store and use

youtdon
require
’ solitude to work, sharing a studio the materials you need.

can be a helpful way to lower your rent, as well as Consistent, controllable lighting is also

being a great way of bouncing ideas. Many artists important. Light levels change throughout the

feed off the creativity of others—sharing ideas ,yda and working in dim or fading light will ruin

and asking for help can be part of an artist

s life.’ your eyes very quickly
. LED daylight panels are

W
roking in a studio complex or sharing a studio ideal and reasonably priced.

can also be a great way of fending off the s also

It ’ important to consider ventilation,

potential loneliness of being an artist. especially if you are using materials that emit

A N I N S P I R AT I O N A L S PA C E

The artist Adebanji Alade has enjoyed this

section of a shared studio space for 17 years.

The well-established set-up provides a full and

creative studio, with defined areas for storing,

displaying, sketching, and painting.or FAdebanji,

anisparoitnaelnvorinmenstkieytomovtiaotin

and creativity
all. Wspace is dedicated to

well-loved paintings, and shelves house

instructional art books and monographs

of favorite artists, which inform and

inspire him during his planning stages.

16
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