4 comments about LogoLounge 4: 2000 International Identities by Leading Designers.

1. this book helps giving ideas about logos.
   It gives good exemples, it explains the history about some of them.
   
   It is a good book, but you can easily find a much better one, with more explanations, more details... ( Logology for exemple...)



2. this book is amazing, opens your mind and you can see the creativity and innovation in the world



3. This book, like the other LogoLounge's, is very helpful. It shows different logos and always helps me find new solutions from the inspirations in the book.



4. As with previous editions, this book continues to provide designers with superb reference for contemporary logo designs.
   
   Extremely inspiring...at a great price!

5 comments about DragonArt Fantasy Characters: How to Draw Fantastic Beings and Incredible Creatures.

1. This is an excellent resource for artists of fantastical races. It has info for everything and fun little comments throughout the entire book. Wonderfully drawn, coloured, and simple to use, I highly recommend this book to other artists, as a guide on how to make their own wonderful creations.



2. We bought this book for our 14 year old and found it had nudity/partial nudity in many of the drawings. The work is beautifully done.



3. Jessica Peffer has come out with the most useful art books that i know of that relate to fantasy. I am a VErY big fan of her work and i recommend this book to every and anybody who is interested in drawing fantasy stuff. GO JESS!!!!



4. This book is divided into five sections: a preface and four parts. The preface contains a tutorial about how to draw people. It briefly covers all the basics: shapes and shading, penciling and inking, coloring, human body, face, facial expressions, hair, hands and feet.
   
   There are step-by-step tutorials on how to draw fantasy beings in part 1, 2, and 3. Part 1 contains classic fantasy creatures: a fairy, a sprite, an elf, a goblin, a dwarf, and an orc. Part 2 contains mythological creatures: a mermaid, a centaur, a faun, an angel, and a kitsune. And part 3 contains night creatures: a banshee, vampire, a werewolf, and a demon.
   
   Part 4 is about fashion. It shows a limited collection of clothes, accessories and weapons for male and female characters of various professions: warrior, ranger, rogue, mage, cleric, samurai, noble, and peasant.
   
   The step-by-step tutorials are very useful, but this book works the best for me as a source of inspiration. J. Peffer's artistic style is refreshing and extremely contagious.
   
   The bad thing about this book is that it's only 128 pages long. Overall, I think this is great book.



5. I bought the first neondragon book just because I liked the artwork on her website, and while I loved all the monsters, I have always struggled with drawing people. I'm so glad that she came out with this book, it has helped a lot, and even despite that, the graphics are awesome just to look at! I HIGHLY recommend this and everything else she has come out with. Keep up the good work Jess!

5 comments about The Artist's Complete Guide to Facial Expression.

1. This book is the best I have read about drawing portraits. You learn a lot from this book as it is in a format that is easy to understand.



2. The author and artist did a superb job in explaining the theory of emotion, and then his actual drawings provide an excellent guide to these basic emotions. This is a rare and unique combination.



3. This book gives you an excellent overview of the anatomical structure of the human head. A distilled amount of studied and learned information. I'm sorry to say that the author is one that is better at teaching than drawing, because almost all of his example drawings are so badly executed that I found myself wondering how the heck it all went so wrong when he applied his own techniques to his subjects.
   
   I got rid of the hardbound paper cover for this book so that I would not be instantly "turned off" by the ones on the front and back of the dust jacket. The drawings themselves are so overworked to the extreme that words fail me. They look forced and do not consistently convey the emotion that the author attributes to them.
   
   I found myself "deflated" rather than inspired to use his techniques because of the example drawings (although this may not bother you as I tend to be a "hothouse plant" when it comes to quality and execution of ideas).
   
   Summing up: On the Pro side: A fine reference to add to your library for the biological anatomy of the head, both in proportion and a broken down "geometrical" approach of it's basic construction - On the Con side: a terribly uninspiring look at those references put to use in the authors overworked, unrealistic and extremely disappointing drawings.



4. The Artist's Complete Guide to Facial Expression by Gary Faigin is one of my favorite art books because it isn't limited to a particular medium. My goal as an artist/illustrator is to portray people as realistically as possible, and this book is filled with hundreds of pictures of expressions along with the facial muscles that produce those expressions. The demonstrations show the artist how to portray even the subtlest emotion. But this book isn't just for artists whose style is realistic; artists who prefer cartooning can also benefit by understanding how to translate complex expressions into simple lines.



5. Love this book, saw improvements within the first hour of reading it. I love the breakdown of the whole head into parts, then the parts are broken down even further. I was also impressed with the "common mistakes" referred to in the book that were my common mistakes!
   
   Very usable information, not too technical, and in addition to helping pin down the emotion you're trying to add to a face, it contains a lot of practical advice to improve the overall "realistic" look of a portrait.

5 comments about 20 Master Plots: And How to Build Them.

1. I was very pleased to find that this "how-to" guide is actually a very well written introduction to and analysis of the major plots found in all storytelling media in our culture.
   The writing is crisp, enjoyable, accessible, yet also deep with critical insights valuable to any writer or wannabe.
   I've already recommended it to several friends without hesitation! Read, learn, apply, enjoy!



2. There is a theory that states that every story ever told fits into one (or more) of a small number of plot structures. These "master plots" are usually something like the quest, love, rivalry, etc. I'm still not entirely convinced that this theory is true. However, looking through the 20 master plots listed in this book, I will admit that I find it difficult to think of a story that doesn't fit into one or more of these categories.
   
   "20 Master Plots" is not so much a writing manual, as the sort of book you would expect to be set if you were taking a university level writing or literature course. Although it does provide advice on how to write a novel which fits into one of these plot structures, most of the book is made up of analyses of existing books and movies that fit into one of these categories. Nevertheless, as an aspiring novelist, I have found this book to be of far more use to me than any of the writing manuals which I own. I find this book to be incredibly useful when I am starting a novel and trying to develop the plot. Although, I don't follow the prescribed plot structures religiously, I find that the plot structures provide me with useful suggestions as to elements that I might like to include in my story. If this book is even only half as useful to you as it is to me, it will be well worth your money.



3. I must thank the universe and Tobias for this incredibly clear and helpful book. I am a published novelist, and have turned to this book many times in order to improve and better organize my stories. Tobias is so right when he speaks of the importance in connecting events, the cause and effect spark that happens from scene to scene in a tight plot, and many helful reminders on how to ignite the fire that brings a good story its drama. People who believe that plots naturally write themselves may have their points, but its important not to misinterpret Tobias's approach to what it means to have structure. He teaches that PLOT is not a skeleton which you hang your story over, artificially and easily, but an organic FORCE that you must find within your protagonists---having to do with his path---that propells your story along in the most dynamic way possible. This book has been the most essential gift to my career so far and I pass it on to all aspiring writers as well as experienced writers who are still in the process of serious edits. I recently began reading it from cover to cover and wish this would have been required reading when I was in writing school. I attended a master's program at USC, and after all the how-to books I've read, this remains my bible.



4. This is a helpful book for the writer to own. However, imagination and courage is something that can not be learnt. But if you already have these attributes than this is a book is one you that you should read.



5. This book intrigued me when I saw it on the shelf at Barnes and Noble. I picked it up and have just recently started reading through it.
   
   At first it looks like a book that will give a solid basis for building a plot by finding the patterns each plot has. The reality is that this book shows how to give SOME basis to building your plot. Where the author isn't taking up paragraphs to say what could be said in a sentence (and usually what he is saying is painfully obvious) he has a clear bias against certain genres. He doesn't come out and say "commercial fiction is contrived, formulaic garbage and you're an idiot if you buy it - just read literally fiction instead, it's so much more refreshing!" but if you read the other reviews for this book you'll see that I'm not the only one who feels that he was trying to convey that message.
   
   Is it worth the money? That depends. Spending $10, $20, even $40 on a book that only has one concept that makes you think, puts what you know in a different perspective, or in any other way changes how you look at what you write is more than worth the money. Whether or not this book has that concept is up to the individual to decide.
   
   You could do a lot worse than "20 Master Plots And How to Build Them" but there are many better books too. And most of those don't talk down to you for enjoying a piece of fiction that's backed by a large label or producing studio.
   
   Edit August 5 2008 Instead of this, I would recommend the "Write Great Fiction" series and "Novelist's Boot Camp."

5 comments about Creating Textured Landscapes With Pen, Ink & Watercolor.

1. I haven't had time to really get into it but going through the book she gives you some interesting techniques. I have not done much in watercolor and ink.



2. As with ALL of Claudia's books, this one is no exception - it is EXCELLENT!! She wonderfully illustrates in such a way that you are motivated to pick up your brush, watercolors, pen and ink and start painting!!
   
   It is a wonderful book to have to inspire you to paind.



3. I normally like her books on pen and ink, but this one has more to do with watercolor than pen and ink. I was disappointed and returned the book. It's a good book for to look at and you might be more interested if you want to know more about how to use watercolors. I have enough of those books!



4. Yes, the title says for landscapes, ink, pen and watercolor, but really you could apply the techniques in this book to just about anything. It has a huge sampling of textures and how to achieve them. Since I am a beginner, I thought the techniques would be difficult to learn, but the directions are incredibly easy to understand and non of the techniques are time consuming (aside from masking). Put this book together with Gordon MacKenzie's The Watercolorists Essential Notebook, and you have a complete watercolor art class through at least intermediate to lower advanced skill level. The images and text are easy to understand and give great reference. I do find the "handwriting" font a bit difficult on the eyes after a while, but otherwise a very well rounded book with easy to follow quick techniques that will really knock your socks off. Way to go Claudia Nice!



5. Just received this book today. It is very colourful and well layed out.
   
   There are tonnes of tips and techniques on watercolour painting as well as specfic examples and step by steps on different effects and how to acheive more contrast etc with texturing.
   
   Well worth it.

5 comments about Writers Market Companion.

1. Definately an "essential guide" for anyone that wants to have their writing published.



2. From Writer's Digest Books comes "Writer's Market Companion," which serves as a valuable supplement to their `writer's bible,' "Writer's Market."
   
   In the volume's introduction, the authors explain their reasoning for a companion to the popular "Writer's Market" guide: "As the publishing industry changes, we have become more selective in choosing markets that appear in `Writer's Market.' As a result of these choices, we have to sacrifice essential content, the nuts and bolts of publishing...To fill this gap, we're providing you with this `Writer's Market Companion, 2nd ed.'"
   
   In their "Writer's Market Companion," authors Joe Feiertag and Mary Carmen Cupito provide an overview of "the nuts and bolts of publishing": writing and selling different types of material, including poetry, short fiction, non-fiction articles and essays, book-length fiction and non-fiction, and even screenplays and scripts. They also discuss alternative markets for a freelancer's work, such as corporations, web sites, and eBook aficionados. Other topics covered include conducting research; executing interviews; promoting your work; pursuing grants, fellowships, and prizes; finding and evaluating writing groups and communities; treating your writing career seriously, like a "real" business; contractual and copyright issues; and pricing your work.
   
   As compared to other manuals on writing, publishing, and promoting books and articles, "Writer's Market Companion" is easily one of the more superior ones I've read (and trust me, I've pored over quite a few!). The guide is well written (an essential when it's a book about writing!), informative without sounding dry or boring, and chock full of useful advice. However, I thought a few of the chapters were on the weak side; for instance, chapter 13, "Promoting Your Work and Yourself" didn't offer much beyond the monotonous promotional strategies I've seen in every other writing manual. Nonetheless, the book as a whole is good buy, definitely worth the time and money.
   
   A caveat: if you're just in search of market listings, stick with "Writer's Market." There aren't any paying markets included in "Writer's Market Companion," simply descriptions of the different types of markets out there, along with advice on how best to court them. Conversely, if you're a newbie just starting out, you'd probably be best served buying both the "Writer's Market" and its companion (after all, what good are market listings if you don't know what to do with them?).
   
   - Kelly Garbato
   
   Author & ePublisher
   Peedee Publishing / Hot Dog!, LLC



3. Probably many of us do not realize that incredibly over a billion books were sold during the past year.
   In the USA alone there are over 18, 000 magazines and approximately 45, 000 newspapers.
   Added to these publications is the multitude of information web sites.
   What is more noteworthy, as mentioned in The Writer's Market Companion, authored by Joe Feiertag and Mary Carmen Cupito, is that "America's love of reading is perhaps most evident when we look at book sales. In the years leading up to the new millennium, book sales in the U.S. (excluding textbooks) were up a healthy 38 percent."

   No doubt this is excellent news for the aspiring writer as well as the seasoned professional.
   There is a vast market for your books and articles. The key question is to how do you crack the market?

   Feiertag and Cupito provide the reader with a detailed plan as to how to go about succeeding as a writer.
   Divided into seventeen chapters, the authors deal with such topics: resources, ideas, writing plan, finding leads, selling, legal aspects, self-promotion, business aspects, and workshops.

   As examples of some of the excellent advice contained in the book, there is a chapter entitled "The People Chase" that explains how to conduct an effective interview. We are also provided with concrete interviewing tips and pertinent samples of questions to ask of the interviewee.

   Another section deals with the topic of what to write about. It is within this section that we are provided with idea-generating exercises.

   Finding leads and knowing how to research your topic can very often prove to be a stumbling block in the planning of a good article.
   The manual provides three chapters that detail how to resolve this dilemma.
   In fact, I was pleasantly surprised when I followed the advice of the authors and experimented with a suggested site called ProNet.com.
   As I was informed, this site is a subsidiary of the PR Newswire. It allows you to find an expert by typing in a topic, and to my surprise I was bombarded with replies to my query within one day.

   The authors do not omit to delve into the business aspect of writing and there is an entire chapter dealing with the subject of pricing. Various pricing suggestions are presented pertaining to such occupations as ghost writing, film scripting, brochure writing, and many more.

   My reading of this book was out of sheer curiosity. However I would have to admit that "The Writer's Market Companion" should be placed on a must acquisition list.

   This review first appeared on the reviewer's own site
   www.bookpleasures.com




4. This book is a life-saver...it offers real advice that will help anyone who is just starting out in the writing field. All of the information is well presented, so that you don't have to do a lot of guessing about what they mean. A must-have book for any wannabe writer.



5. One of the key reference books for aspiring writers seeking publication, The Writer's Market Companion is a compendium of sound information on every aspect professional writing. Joe Feiertage, Mary Carmen Cupito, and the Editors of "Writer's Market" have collaborated to provide up-to-date information on writer organizations, internet resources for writers, securing representation, obtaining a publisher, copyright protection, self-promotion, marketing and promoting fiction and non-fiction, taxes and financial issues, and much, much more. The Writer's Market Companion is a comprehensive and informative addition to any personal, professional, and community library professional writing reference collection.

4 comments about Drawing for Designers.

1. This book shows ways things are drawn, sculpted, and rendered. It even shows a little about how some things are made. I recommend this book if you want to do in the Industrial Design area.



2. Got this as a text book for one of my daughter's Visual Communications classes, sophomore year in college. She really enjoys it and says that it is one that she will not sell back because it has many things that she will be able to refer back to. A good one for her professional library.



3. A good book of value to budding designers as well as those more advanced. a great reference, well worth a look. tom p.



4. The reason for the 4 stars instead of the 5, is because it's a nice overview book on the process designers go through when creating new designs, but it doesn't really go in depth in terms of sketching techniques or the "how to", in the way I expected it when looking at the title: "Drawing for Designers".
   
   I think this book is great for people new to the design process, first year students for example or people looking to make a career change and want to know more about industrial design, but people with more experience will be left wanting to see more.

5 comments about Drawing Dynamic Hands (Practical Art Books).

1. Hogarth has some of these sketches in other books but w/o the details about HOW to really draw hands. They have always been hard for me, especially in difficult positions. If you have the discipline to truly incorporate his techniques you CAN master hands. I think this is worth the $ ONLY if you are willing to put in the time to learn by doing the work in the stages he recommends. A good book, worth ordering if you draw a lot of hands, and are willing to retrain HOW you see hands and draw them. I enjoyed it and am still working in progression thru it!



2. I've used both Bridgeman's and Hogarth's books on drawing hands and I've got to say that both artists are top notch and one couldn't miss by studying both. Bridgeman in my mind is very strong in his construction of a drawing and his studies on form alone are very valuable to me. And Hogarth's beautiful linear approach is also very helpful. Hogarth's work is so easy to see and study that I found him very accessible when I was just starting out on my artistic journey. And yet, now after many many years, I still go back to him and find more in depth information and solid teaching that I can glean from him. It's neat to be able to grow alongside an artist and find him still teaching you when you are older.
   
   I'm not sure how other artists do it, but by combining this book with Bridgeman's and other anatomy books, I've really grown in my understanding... and having several artistic teachers has helped me develop my own style and interests instead of only copying theirs. I definitely recommend this book therefore. After studying art in college, I'm finding that my best teachers and best learning experiences have been through books and this book on hands is no exception.



3. This is a great reference for drawing hands. Most beginning artists, like myself, find that the hardest part of a person to draw is the hands. This breaks down the hand into its basic anatomy and details every single thing about the hand you might want to know. Very useful for in-depth detail work with deep shading, and can be easily adapted to other styles such as cartooning and painting.



4. Like other Hogarth works, the hand is represented as stylized, over muscled, and predominantly masculine. If you expect that from the beginning, then you will find no disappointment in this book. I loved this book, as the stylization helps with understanding the shape and movements, the anatomical structure of the hand. It gives you an idea of how to draw proportions, angles, forshortening, etc. without the use of a model. As I prefer to draw from memory, this book was just my style.



5. Dynamic Hands is the ideal book to learn how to draw hands and understand the structure of the hand and how it works in all positions. Well drawn hands and feet are extremely important for finished paintings and illustrations. I am a commercial artist and designer, but have worked for many years on non-figurative projects. I am focusing on figurative work again, primarily in the game, fantasy and science fiction field. My goal is to draw entirely from imagination without having to use reference material, and this book by Burne Hogarth and his Dynamic Anatomy is helping me to reach this goal. The illustrations are very well done with several important hand positions and range of motion diagrams. I highly recommend it.

5 comments about Dynamic Figure Drawing (Practical Art Books).

1. These books are so helpful in studying the human body in an exagerated way. Helps identify muscle groups and form.



2. This book and the series by Hogarth in general, are a class apart in teaching the figure.
   
   In no other book I have seen the body masses so clearly and simply presented that with just one look you 'understand' the form and add it to your repertoire. Just like that.
   
   One striking difference we notice is the three dimensional presentation of the drawings using probably charcoal or a very soft pencil, how else will we understand that form if its not rendered in three dimensions?! Yet so many books exist, even the ones from great such as Loomis, where you would see a more finished figure, where the contours take over, making the student wonder 'why is a line in front of the other?' etc. Hogarth aims as dispensing such doubts and to get rid of the guesswork from the minds of the artist.
   
   He talks about 'inventing' the figure, and about a notation of representig the figure in deep space, meaning three dimesnions.
   As the masters such as Vilppu would say, drawing is all about learning how to represent the form in two dimensional paper, and about knowing the form one wants to draw. We do get both in this book by Hogarth. more actually on the forms of the figure. more than half the book presents the figure, the varous parts, the torso, the limbs and the head in great detail using simple three dimensional forms. and the remainder of the book deals with how one would approach or rather go about drawing the figure.
   
   An interesting approach here is to begin with the torso, and not with the head. torso, legs, arms and then comes the head, and surprise surprise, this is such an effective way of setting up the figure in the desired gesture. Vilppu would talk about a Ball and a box in a sock to study the torso. Bridgman would also talk in detail about these two forms, Hogarth lays down explicitly the order, and importance. This approach must be tried before understanding its effectiveness.
   
   This is overall a great book for the figurative art student. I found it most effective, because every single picture in this book teaches me something that I can apply directly. The rendering of the forms make it so easy to understand them and cast to memory not only the form but its relations to the other forms in context as well as what happens when they twist and turn and go about doing whatever a figure would do.
   
   This book stays right at the top along with Kimon Nicholaides and Glenn Vilppu and Bridgman.



3. This is the best one for action figures and How To draw them of all his other books. Recommended highly ONLY if you are willing to actually take the TIME to do the exercises in drawing he outlines in detail. You can copy his stuff and never learn HOW he thinks to see things in motion as he does. His 'effortless' drawings took dicipline to learn and I am still going thru it AGAIN now. I ordered these books in the 80's and admired them, but NEVER did the exercises. I just never made the TIME. Now I re-ordered the paperbacks (the hardbacks are in storage!) and actually am going step by tedious step and it is changing the way I SEE and draw. Worth it if you will actually DO what he says!!! Recommended highly! As a physician who is rehabbing a Iraq brain injury and probably headed back into Art-my 1st career- I cannot recommend this enough if you are SERIOUS about putting in the time/work to learn his techniques.



4. I have been learning anatomy for my drawing for a long time. I own quite a few anatomy books but I have been having trouble converting my knowledge of anatomy into drawing people. After buying this book it all changed.
   
   You will not learn everything from this book, which I think is fair enough. I do not understand the attitude of people who think a book should include every detail of subject. It shouldn't. A book should set out to achieve a purpose and supply everything needed to achieve this purpose. Which is what this book does.
   
   This book will teach you how to draw your figures in different, dynamic poses. It goes into foreshortening and overlapping of body parts and it breaks down each body part into shapes and outlines how the body parts flow into one another. There a wealth of examples that you can copy and experiment with.
   There are two main problems with this book.
   
   Firstly, there is not a lot of structure to it. It really could have used an editor or somebody to go through it and organize it a bit.
   
   Secondly, the text is very academic and can be hard to understand. If you look at the accompanying pictures though you should be able to work it out.
   
   You will still need to learn anatomy. Anatomy is a fundamental that all aspiring artist needs to learn and this book isn't a shortcut, but I found that this book was able to bridge a huge gap for me in my drawing. It is something I think I will use for the rest of my life. I only wish I had found it earlier.



5. Dynamic Figure Drawing by Burne Hogarth is an explosion of human motion. The text, like the drawings, is crisp and forthright. There are no unnecessary lines in Hogarth's sketches or his dialogue on how to create them. This is the book to give anyone, of any age, with, or without talent. The beauty of the illustrations almost eclipses their value as examples. The figures curl, cringe and almost seem to launch from their empty backgrounds. There are no distractions of composition, just the human body in motion, caught on paper. The static, frozen, two dimensional renderings of anatomy previously available to artists don't give a clue as to how the bones, muscles and tendons will flex with movement. Hogarth's work clearly and beautifully shows how to capture the human body in motion. If you love art, of any form, you will find endless enjoyment in this book. If you are an artist you will find it an invaluable anatomical reference. This is the book to give anyone interested in art, but in the hands of the very young, that person just forming their talent, it would be invaluable.

5 comments about You Are Here: Personal Geographies and Other Maps of the Imagination.

1. I used a graphic design class I teach as an excuse to purchase this book (I've been wanting it for a while). My students are loving it as much as I do.



2. I've been buying books for 45 years and this is the most wonderful book I own--amazing, thought-provoking, beautiful. My only regret is that I waited so long to purchase it. As improbable as it sounds, "You Are Here" comes across as what might be the lush, lovely, and totally unlikely synthesis of Bachelard's "The Poetics of Space," the imaginative joy of A.A. Milne ("Winnie the Pooh" and "The House at Pooh Corner," etc.) or P.L. Travers ("Mary Poppins," "Mary Poppins Opens the Door," etc.), and the deep wisdom of place and spirit found in the works of Annie Dillard and Kathleen Norris or even Terry Tempest Williams. When I open "You Are Here," my heart, spirit and imagination invariably soar.



3. This book was not what I was expecting but it is interesting nonetheless. It is a collection of (mostly) unconventional maps with a few paragraphs written about each. In addition there are some articles on topics loosely related to cartography and the mind. It is more of a picture book than a reference volume and provides food for thought on mapping and identity.



4. This is a great collection of eccentric, unique and brilliant conceptual maps. It is one of those books that will take you places you never imagined.



5. This is a wonderful and thoughtful and visually stunning collection of artist maps. I LOVE it!!! If you're interested in environmental art, it's a must have for your book collection.