101 Top Tips For Fantasy Painters by Kevin Crossley (book review).
I’ve been neglecting the artbooks accumulating on my shelf lately. The dilemma? Deciding which one to dive into first. Hence, it’s time for a little catch-up. Kevin Crossley’s ‘101 Top Tips For Fantasy Painters’ isn’t exclusively for fantasy enthusiasts. Given the references to ‘2000AD’ in its initial chapters, it’s evident that there’s a sprinkle of science fiction too. Truth be told, much of the advice here is applicable to various painting genres, providing insights from a seasoned artist, along with contributions from a few others.
When confronted with a book that promises a plethora of tips, the question arises: will there be insights I haven’t stumbled upon or perhaps need a refresher on? Crossley doesn’t solely focus on digital mediums; he explores others as well. However, there isn’t a systematic order to his approach. Instead of segmenting by medium, he divides the content into nine chapters, addressing all mediums in each. This isn’t necessarily a drawback, but for those seeking quick references for specific mediums, relying on the index might be the way to go.
One of Crossley’s early suggestions is to resist the urge to impulsively buy materials for every medium. Instead, build your collection as needs arise. I’d also emphasize the importance of avoiding student-grade products due to their inferior color quality. It’s wise to establish good habits from the get-go, focusing on quality rather than just price. Particularly with acrylics and oils, there’s no need to possess every shade. It’s often beneficial to mix your own colors, refining your palette and determining which hues you might need to purchase for consistent results.
Crossley leans heavily on Photoshop for digital effects. However, alternatives like Paintshop offer similar tools at a fraction of the cost. For instance, Photoshop’s Brightness/Contrast function mirrors Paintshop’s Smart Photo Fix and a few other saturation-related commands.
Strangely, Crossley’s discussion on different paint mediums is brief and is introduced quite late in the book. While space constraints in such a book are understandable, it does give the impression that these mediums are secondary. His suggestion to experiment with various mediums is valid, though it feels somewhat underplayed.
That said, there’s plenty to glean from this book. However, some limitations are evident. Crossley’s strong preference for the pricier Photoshop – which demands a significant learning curve – might come off as a tad biased. It’s reminiscent of those who ardently believe Apple is unparalleled for graphics work, having never explored alternatives. Speaking of which, have I ever used an Apple? Once, years ago, and it struck me as rather toy-like with its oversized graphic icons and steep learning curve. In any technology or software, a dash of intuitiveness is vital. It shouldn’t feel like you’re learning a whole new language. But then again, that might just be one of my pet peeves.
GF Willmetts
October 2023
(pub: Barron’s, 2012. 176 page illustrated squarish softcover. Price: varies. ISBN: 978-1-4380-0104-3)
check out website: www.barronseduc.com
