Painting

Children's Literature

This title from the "Mastering Art" series is an excellent example of the limitations inherent in trying to learn art from a book. For instance, in the two-page discussion of tools and materials, six painting media are briefly described: poster paints, watercolor, gouache, acrylic, oil and powdered paint (often called tempera in schools). The most basic characteristics of the paints are covered, but only the briefest description of appropriate brushes or surfaces. While the author says that most of the examples in the book are executed only in acrylic paint, he fails to mention that brushes must be kept wet at all times when painting in that medium. Imagine the dismay of the unwary youngster who ruins a quality watercolor brush by allowing acrylic paint to dry on it. This is the sort of expensive mistake that could easily be avoided with a more complete instructional manual. The language is mature, but the instructional level is rudimentary at best. To do the artist/author justice, it is difficult to expect more from a 32-page picture book on a subject as complex as painting. This book simply is not an adequate introduction for the beginning painter of any age. 2005, Stargazer Books/Aladdin, Ages 8 to 12.
—Michele Tremaine

School Library Journal

Gr 5 Up-- This slim volume takes a hands-on approach to the teaching of painting. Hodge addresses broad issues--tools and materials, mixing colors, composition, etc.--in abbreviated, two-page spreads. His text is enhanced by paintings (some more clearly illustrative than others) and extended by projects loosely introduced, such as ``paint a simple landscape . . . .'' Coverage is choppy and superficial, and the information is necessarily, although frustratingly, limited. In explaining brightness, tone, and hue, for example, the author compares qualities of color to qualities of music--interesting as analogy, but murky as instruction. Where space is at such a premium, words must be very carefully chosen and concepts thoughtfully developed; this book fails to do so. Hodge does encourage experimentation and sets attainable standards, but foundering novices need more in the way of direction and definition. To the extent that the artist is ultimately his own teacher, the book may be sufficient to its task; still, it is best used, if at all, as a supplement to formal lessons or a more substantial text. Henry Pluckrose's Paints (Watts, 1987) is less ambitious in scope, but makes more effective use of a similar format at a similar level. --Marcia Hupp, Mamaroneck Public Library, NY