I am enjoying the author/artist view and use of brushwork in paintings.
I am working my though the book using the examples in my own work.

Interesting reading, the writer Mark Christopher Weber has a sense of humor, and writes it very well. Ilistrations are very good also. I'd recommend this book.

Beautiful reproductions...
I enjoyed the information about water-soluble oils
so much that I did more research on them and
decided to give them a try.
The information regarding brushes and the way
to use them was thorough and met my expectations.
I don't trust painters who don't establish their
good credentials by showing examples of their work.
Weber did this, with his "Realistic" and "Flemish"
style paintings which showed his abilities
to draw and paint at a high level.

I am an inexperienced beginner at oil painting who has never taken art lessons. So I read books. This book is exactly what I needed. It simply explains the different brushes, how to load them with paint and how to use them to get different effects. The text is clear and the graphics are great. I'll definitely be referring to this book again and again.

I'm fairly new to painting, but I have purchased a dozen books on oils, and this one has been the most helpful to me. It's pitched to the beginner or beginner-intermediate artist, not the expert.

Weber mostly makes good on his promise to show you how to do things, not just finished results. He shows you a number of different ways to load a brush, for example "shovel loading, "chisel loading, "tip pull loading," "body loading," and others. The book includes helpful close-up photos of each of these techniques. He then shows you several different ways to apply each of these loaded brushes, again with close-up photos. Using the same kind of closeups, he shows you how to mix paint. I haven't seen this level of detail in any other painting book I've purchased.

The book then goes on to demonstrate several techniques for blending, again using helpful series of photos depicting brushstrokes for blending, different stages in adding transitional colors, and thorough wet-into-wet blending. I really had no clue about blending until I read this material.

The book didn't answer all my questions. I had hoped for some detailed instruction on how to paint water, but while there are "walkthroughs" for painting roses, a mountain landscape, and a human figure, and a couple of shots of water in photos, there wasn't a systematic treatment of water. Also, the book advocates using a "wash" to start a painting without thoroughly explaining why one would do this, although it does include an adequate description of how to go about it.

But these are minor quibbles. I learned a lot from this book. I wish he'd make another, focusing on particular problems in painting, or providing more step-by-step walkthroughs, but this book will keep me busy for a while. I intend to try to reproduce his roses, for example, following his instructions.

One final caveat. Weber happens to use the very same paints I do -- the DUO Aqua water-miscible (sometimes called water-soluble) oils. So for me the book was a perfect match, as he was actually talking about pigments that I'm already somewhat familiar with. Don't get me wrong; mostly his writing has a much broader application to "regular" oils, and he's quite clear about when his comments pertain only to water-miscibles. But part of my enthusiasm for the book is the happy coincidence that he uses "my" paints. For readers who use paints with very different handling characteristics, the book might be slightly less useful. But only slightly less.