Although it’s intended to appeal to beginners as well as the more experienced artist, I can’t help feeling that a complete tyro would do well to seek out something a little more basic to begin with. Although types of gun and basic techniques are covered, there’s no real disguising that this quickly develops into something of a masterclass, with a series of demonstrations that make heavy demands on your technical ability.

None of this is to say that this isn’t a hugely worthwhile book, and it’s also true that the airbrush is a difficult tool to learn and handle, albeit one which repays study and diligence. The accompanying DVD features all the six demonstrations and goes a long way to helping you follow what’s going on.

All in all, this is a book it’s hard not to damn with faint praise, which is a shame, because it’s good value and sits well with the market it’s aimed at.

Viv Foster provides a useful grounding in basic anatomy that won’t make you feel as though you’ve bought a medical textbook and then explains, with copious illustrations, the shapes and structure of male and female figures. All of this takes up the first half of the book before we get to more detailed poses, which are dealt with in some detail, using step by step demonstrations where necessary. The overall style is quite loose and may not suit those who want a more detailed likeness, however, but it should also provide a solid grounding for anyone new to the subject. If this is something that interests you, but you have little experience, you’d do a lot worse than start here. You’ll almost certainly want more advanced and more detailed books later, but this is an excellent first step.

This series from Search Press is developing nicely and they’ve done well to be selective about who they get to contribute to it, because it’s an easy format to do, but a hard one to get right. You get a good range of topics here, including painting from photographs, the use of additives, skies, foregrounds, trees, mountains, water and coastal scenes. There are plenty of illustrations with the text confined to simple captions that give you just the essential information so that you know what you’re looking at.



I’m not qualified to say whether it lives up to its strapline: “the only embroidery reference you’ll ever need”, but it claims to include blackwork, canvas work, crewel work, hardanger, pulled work and stumpwork. To a non-specialist, it certainly looks the part and the instructions seem admirably clear and well laid out.

The truth, however, is that we all know what impact is, especially in relation to David’s work, because he undoubtedly has it and, if any of his experience is going to rub off, then working through one of his books is the nearest most of us are going to get. Like most of David’s books, this is about the creative process of painting rather than being a detailed instruction manual, but he has much to say and it’s worth hanging on his every word, except when your breath is being taken away by the quality of the illustrations.

David’s work is almost impossible to review. You know you’re in the presence of greatness and, if you like his style, then this latest book isn’t going to disappoint you. Be honest, all I really have to do is tell you it’s available, isn’t it?

I’m sorry, but it’s hard not to have just a little fun at the expense of a series which has proved its value elsewhere and has now strayed into the realms of the Old Masters. My first reaction is not to be convinced by this departure but, if you want to measure yourself against the greatest, or just have a little fun, then this will do it for you. As a painting instruction manual, I have my doubts about its value, but is this what it ever intends to be, I wonder? Time and sales will tell.

This certainly isn’t a book for anyone looking to learn how to paint but, as an immersion in the medium, it’s really rather beautiful.