5 comments about Cast Drawing Using the Sight-Size Approach.

1. This is a great step by step approach to life size cast drawing. Short of signing up for an atelier to learn the process, this is the easiest and most detailed book I have read on the subject.



2. This book is well worth buying. Its very easy to understand and well put together.



3. I bought this book after reading the positive reviews at amazon.
   This book gives a closer look at classical drawing technique which is perfect for portrait drawing done in a studio.
   Almost from a beginning a reader is thought the sight-size technique by example.
   There are clear explanations about setting up a workspace, measuring, shading and finishing work. Additionaly a reader is given some references about the sight-size drawing and painting.
   The author promise this book to be a start of a whole course of sight-size aproach. That's why a student-reader begining his journey with this book starts with basic practice of cast drawing.
   What I like the most in this book is that it comes with a subject right away without any unnecessary content.
   The author is a painter and teacher and as a teacher he knows that book is sometimes not enough. That's why there is a dvd that accompanies the book and shows the author explaining the technique while drawing a cast.
   The only disadvatage of sight-size aproach is that you have to have some extra space to set up your workspace that's why I recomend this book to everyone interested in classical drawing and painting done in art studio and to everyone interested in drawing techniques in general.
   However, I don't recomend it to comic and concept artists, unless they are interested in broadening their drowing skills in general.



4. A little book, but very very complete. I think that it suits all artists that are not perfectly familiar with this method. I was knowing the method but I found some little gems in it. A must!



5. "Cast Drawing, using the Sight-Size Approach, by Darren R Rousar"
   
   In my studio is a large walk-in-closet filled with books on art history, artist biographies and art how two books. Most of my how to books are deceptive pricey, glitzy books claiming to reveal secret art practices, some just rehashed bits of stuff with an over focus on personal expression and others are ads. My students offend bring in new books and we as a class discuss each book's merits. We've broken the field of books on art practices into three groups: inspirational, usually packed with lots of pretty pictures, artist promotional, usually packed with lots of pretty pictures produced by one artist, and technical usually not so pretty but packed with useful information.
   
   Darren R Rousar's book "Cast Drawing Using the Sight-Size Approach," is technical and is in the vein of an older group of books written in the tail end of the 19th and start of the 20th century who's authors focused on real studio practices and aesthetics, not on self-promotion. What you will learn from Rousar's book is a way of drawing that is focused and sure. This book is like having Rousar there beside you as he walks you through an approach to skill development in drawing. He is one of those rare teachers, formed from the studio tradition, who understands the how and why, and can explain it and do it. I wish I had him as a studio trained drawing teacher instead of the university trained teachers, when I went to art school back in the 70's but I now have his priceless book of well-presented material.
   
   This is not a book of fluff and pretty pictures. If you want to learn how to draw, buy this book and learn from it.
   
   David C. Powers artist and teacher of art skills

5 comments about Studio Thinking: The Real Benefits of Visual Arts Education.

1. Studio Thinking presents a clear image of what is necessary for building a "zone of proximal development" in an art classroom. The authors use information gleaned from actual observations and combine it with their knowledge of art education theory to provide a framework for excellent instruction and learning. It is easy to absorb and full of examples and anecdotes that engage the reader. This book has value for those just beginning the teaching journey, and the ones who have been engaged for a long time!



2. I teach elementary art so this book is a bit above my students level (it focus' on high school classes) but much of their information and observations transfer to any age. This book is packed with information and is unique in that it observes real classrooms to understand and create theory - the opposite of the usual education theory.
   If I had a pre-service art teacher program I would require this book it is a great way to think more carefully about your classroom and how you teach.



3. This book is an aid not just for the teacher, but for the studio artist. As an educator, I benefit from its cogent analysis, but as a dedicated studio artist, I find the Eight Studio Habits of Mind the first tangible distillation of the process and thinking that happens in my studio. There are so many books about what artists do and how to access creativity. Hetland et al have shown that critical and creative thinking is not a matter of magic or divine inspiration, but rather the result of a mind set that can be used by students and artists alike. This book provides the connection between the teacher and the artist and the artist and her/his studio.



4. Lois Hetlund and her colleagues have written an important book that grounds academic research firmly in the real world of schools. It is readable, accessable, and yet contains profound truths. Documenting and describing the sorts of thinking that can take place in high quality arts programs, the authors remind us of what a true education should contain, despite the teach-to-the-standardized-test momentum in many public schools.
   Here is an article about the authors' work:
   [...]
   Highly recommend the book.



5. Lois Hetland and Ellen Winner (et al) make a strong case for arts education for every child based on solid research. Their initial analysis of arts education research sets the stage for their in-depth, immersive inquiry into the practices of highly-skilled, professional teaching artists. The blending of theoretical perspectives with 'in-the-trenches' data collection, analysis and synthesis surround the types of teaching and learning occuring in the visual arts studio classrooms. Selecting such qualified teachers who also have vibrant art practices strengthens the relationships between the ideal professional who is an artist, educator and researcher. The practical examples will motivate teachers and the thoughtfully built argument for the arts in education will provide a valuable source for any advocate and policy maker.
   
   As a former K-12 art educator and current teacher of art education at the college level, I find this book a major contribution to the field and invaluable for pre-service and practicing teaching artists.

5 comments about Pencil Drawing Techniques.

1. The book have techniques that I already knew but can be helpful if you are trying to learn



2. the book was in good condition when it arrived. And it helped me a lot



3. This is an excellent resource for beginning pencil drawers. I refer to it consistently and I highly recommend it. Definitely worth the money.



4. This was a gift for a person who had just started pencil drawing as a hobby. He declared it an excellent book with many good pointers.



5. i am a beginner in pencil drawing, and as a beginner i say this book is just awsome! it takes u from the basics till u reach the developed level... but yet this book already assumes that u already know a bit of drawing..meaning: u have the skills but u need to learn how to apply them on ur work to get the best results... more or less u'll benefit from this book...it's just great!

5 comments about Artistic Anatomy (Practical Art Books).

1. Way more technical than the anatomy I took for nursing. I can't think of why I would need to know the Greek and Latin names for bones and muscles to paint or draw them. I felt like I needed a terminology class to read the book. I was disappointed. Due to the name I thought it would be a lot more visual, very dry and laborious to read. I felt like the author(s) were flaunting their knowledge of the subject more than trying to teach artists the relevance of anatomy. I like Gray's anatomy much better



2. Any artist working in illustration and any art library or general-interest holding strong in art instruction must have ARTISTIC ANATOMY on hand: it appears here in a new 35th Anniversary Edition, translated by Robert Beverly Hale, and is still considered one of the finest works on anatomy for artists since the Renaissance. Its original edition first appeared in 1889: the new English edition brings together the 19th century teacher Dr. Paul Richter and today's anatomy teacher Robert Beverly Hale. An outstanding pairing perfect for contemporary artists.



3. This is a classic anatomical text. The drawings in this book are scientifically accurate and elegantly interpreted. As opposed to Peck's Atlas of anatomy where the plates are quite clunky.
   The only qualm I have with this book is the fact that the text portion is difficult to use in conjunction with the illustrations. One needs to constantly flip back and forth from the plates to the text. One way to get around this is to photo copy the text portion and have it as a seperate pamphlet to refer to. One thing the Peck book has that would have been useful in this would have been a table of muscle origin and insertion points but since Dr.Richer is long since passed on I dont think that will happen.
   For the serious student of Anatomy this is required reading...and dont forget to draw all of the plates either.



4. I KNOW FROM EXPERIENCE, AS WELL AS WE ALL DO WHO DRAW, THAT THERE'S NO ONE STOP SHOP BOOK FOR ANYTHING REALLY. BUT IF YOU WANT TO LEARN ANATOMY; I MEAN REALLY LEARN (NOT JUST SOME SHORTCUTS AND TIPS), THIS IS THE BOOK FOR YOUR. CAUTION, STUDY IS REQUIRED...SERIOUS ARTISTS ONLY.



5. Artistic Anatomy published by Watson-Guptill is a new-millennium Renaissance book. It is a combination art and reference book. It will certainly be useful for artists but might also be useful for a writer looking for the precise term for the part of the ear that looks like a shell--which, it turns out, is called the "concha." Even a romance writer might learn something from an illustration on page 101. "He moistened his finger and traced the demicircular line where, he knew, his child might one day grow." Sorry, I couldn't resist. But it illustrates how a book like this might also inspire more than the visual artist.
   
   Artistic Anatomy, might also be a teaching tool for a parent intense about showing her child the beauty of the body, how it relates to art, or the scientific-minded parent eager to have her child exposed to the science of anatomy in a softer way that most biology texts approach the subject.
   
   The credentials that went into the making of this 35th anniversary volume are impressive. The French author, Dr. Paul Richer (1849-1933), was Professor of Creative Anatomy at the Ecole des Beaux-Arts in Paris. The book is translated and edited by Robert Beverly Hale, also deceased. He was Curator Emeritus of the American Painting and Sculpture Department at the Metropolitan Museum of Art. He was also Adjunct Professor of Drawing at Columbia University, and this is but a brief list of their credentials.
   
   Writers, educators and others will recognize the sheer volume of careful research that went into this book by the contents pages. It is as extensive as some indexes. The index is comprehensive enough to serve the needs of anyone researching anatomy including morphology, myology, oseology and arthrology but a writer can easily find a page with the intricate parts of the torso pointed to and labeled.
   
   Only an exquisite hardcover with Leonardo and Michelangelo flyleaf designs could have made this book better. And then only for the collector. This huge paperback--256 nine by twelve pages and 150 drawings -- is perfect just as it is for practical use.
   -----
   Carolyn Howard-Johnson is the award-winning author of This Is the Place, Harkening: A Collection of Stories Remembered and books of poetry including Tracings and Cherished Pulse. Her poems and short stories appear frequently in literary journals and anthologies. More on her award-winning The Frugal Book Promoter: How to Do What Your Publisher Won't and her soon-to-be-released The Frugal Editor: Put Your Best Book Forward to Avoid Humiliation and Ensure Success may be found on Amazon.

5 comments about Pictorial Composition (Composition in Art).

1. Excellent book on various composition arrangements. This book is for the beginner as well as professional.



2. This is a nice book for artist's. Even though most pages are in black and white, it is usefull and has a lot of info for readers. Im happy with it.



3. There is a lot of really great information in here, especially for someone who has not had much education regarding composition; but it reads like an archaic, academic classic from a bygone era - when education was more of a sink-or-swim, weed'em-out affair than the more approachable style of current times. My copy shows copyright 1967 (not 1976 as Amazon reports), and the writing style is rather difficult. The author sometimes uses key terms (e.g., "axial plane") for several pages before doing us the favor of explaining just what that term means. Other passages were written so formally and distantly, I had to read them several times over and struggle with them before I had the "aha!" moments. The concepts then felt really valuable, almost like a secret code I had just broken. I just don't think it has to be that challenging. As I said though, there is a lot of good information in here,and I am excited about how this information will improve my painting and give me more confidence, as well as the ability to speak about compositional concepts with some expertise.



4. This book is a good option to learn principles of art.I passed my Introduction to Art cass with an "A",in Barry University.That means for me that this book could be a support for any art class. I strong recommend this book.
   Jesus Martinez



5. This is the best book I've read so far on composition. Poore doesn't deliver anything that you wouldn't find in any book on painting, but to have it all in one book is superb. Most "how to...." books on painting provide a chapter on the subject, typically a brief introduction. In the 95 pages Poore is able to delve much further covering virtually every aspect of what makes a painting look good. Topics include:
   a) The importance of balance and the various things that can affect it.
   b) Entrance & Exit - getting in to and out of a picture
   c) Circular observation and composition
   d) Angular composition
   e) composition with one or more units
   f) how to use light and shade to balance the painting
   The examples are well chosen, although there were one or two that, to me, didn't get a particular concept across. The writing style is a bit dry but certainly rewards perseverence. I've given it 4 stars in the hope that the bible of composition is out there somewhere. Well worth the money and if nothing else it provides an excellent checklist for you to follow in your art.

3 comments about Collections of Nothing.

1. From that dreadful, yet witty opening garage scene to the bittersweet account of King and his daughters carefully laying out those 1500 cereal boxes on stage, I was touched deeply by a complex mix of reactions: dread, tears, outright laughter, quiet smiles. How masterfully the author delves beneath the tarnished surfaces and worn edges of his prized collections of nothing to reveal a powerful story of the lasting imprint of family dynamics, social interactions, self-perceptions and the ultimate meanings of a life.
   
   Indeed I discovered valuable insights and a palpable connection to King's personal explanation of his assemblages of things, people and life learnings.
   
   Despite his sometimes rambling close to the book, he clearly made his point: each individual's ongoing search and inevitable ups and downs of intellectual, creative and emotional fulfillment is a unique, irreplaceable collection of emptiness and satiety, fear and faith, hurt and healing. It's how we treat and care for these experiences, and how we choose to store and display them that determines the richness of our lives.
   
   King has offered up a treasure in his "Collections of Nothing."



2. I read this straight thru, finding examples in myself as I read along. His analyses and memories are varied and interesting. His writing style is smooth and never interrupts his topic.



3. William Davies King is an eccentric genius who bares his soul in this astute, frightfully intimate, and painfully honest exploration of the psychology of collecting. The writing is exquisite and witty (e.g. "They would become playful wrights, and I would knot" and "What I was missing was the middle ground, the female body, the something into which I could locate my nothing, the nothing into which I could stick my something.") and the insights disarming. This is a book about collecting, yes, but also about the touching commonalities of life's perplexing journeys. Collections of Nothing is a masterful work that has bearing on the searching we all engage in. King makes us complicit in his collecting, and for most of us, reading this book is the closest we will come to a kitchen table conversation with a person as brilliant as likes of Levi-Strauss, Joyce, or John (Lennon, Prine, or the Baptist).

4 comments about Structura: The Art of Sparth.

1. If you are interested in concept art, this compact book is like a master's class in how to represent ideas with freshness, clarity, and good design. I keep it next to my computer at work for inspiration, and if you are a concept artist you should too.



2. Sparth is one of the greatest concept artists, and this is a great book of his work.



3. I've been a huge fan of Sparth's work for years and have awaited the arrival of this book for almost as long. Sparth's work is warm and highly creative and his influence over a generation of digital fantasy artists is only beginning to be seen as his style is frequently imitated. It's certainly a great book and a must-own, especially for a concept art book at this price.
   
   My only disappointment is is the format size (which is why I still give this 5 stars, as I don't think this is the fault of the artist). These works deserve a much larger format than the medium/smallish 9 x 9 inches. Also, and this probably has more to do with who owns the image licenses than anything, there is a bit of "sameness", a slight lack of variety, about some of the work that's not apparent when viewing his website.
   
   Still, a great book by any standard and an essential addition to any fantasy/sci-fi/art lover's book collection.



4. Sparth brings a humanity to concept art and design. At this price, everyone interested in Movie and Games production should have this densely creative book in their library. The french designers are poignantly different from american designers, a gap which I appreciate and honor.
   
   The work shown in this volume is mostly painted environments and vehicles. A couple pages of charcoal sketches and some plein-air digital work. It also has a good amount of robots and characters.

5 comments about How to Draw Animals.

1. This is one of the, if not THE most solid animal book there is. Packed with drawings (as all of Jack Hamm's books are)...very clear. It's the book I'd recommend first for someone who wants to learn to draw animals. I'm a professional working in animation and this is a book that all of my coworkers own.



2. While Jack Hamm is quite well-respected, I have to recommend The Art of Animal Drawing: Construction, Action Analysis, Caricature (Dover Books on Art Instruction, Anatomy) for anyone considering this book. While this book does have a lot of useful information (like demonstrating the position of the ankle in different animals), some of Hamm's drawings are lifeless, stiff, and sometimes downright awkward-looking. This is most likely due to the use of taxidermy models (in some cases photos of taxidermy models) as the base for his drawings. This is most evident in some of his more exotic animals where the faces look malformed.
   
   Even by looking at the images provided here, there is a bit of a difference in the feel his sketch images when compared to his finished ones. This is more pronounced in the book itself when you see the book in its entirety. The poses for the finished animals are routinely a little bit unnatural looking, just like how the lion on the front is, if you look at him long enough.
   
   Hamm's instruction itself is valuable, but the images he presents with them are not always the best. I have personally found copying the images in a drawing book to be a good study to understand an animal and get an idea of what it is and how it moves, and that is where this book falls short. Basically you end up copying a copy.
   
   I would not hesitate to recommend this to someone looking for a couple of animal drawing books, but if you're only going to buy one, Hultgren is the way to go. I speak as someone who owns both. This book has some useful information in it, but Hultgren is the one I carry around with me. In conclusion, it's a good book, but not the best.



3. The book was in fair shape. A little disappointed because it was less than advertised condition. But not enough to make an issue of it. It was OK.



4. Helpful when you must insert animals into a painting or drawing; well put together and a good variety of animals.



5. Every artist should own this book, it has great instructions, and illustrations, of animal structure, shapes and design

5 comments about Exploring Color: How to Use and Control Color in Your Painting.

1. This book has a few good ideas but it is very biased towards water colours.



2. Nita Leland has a wonderful way of inspiring her readers and making them feel more comfortable with color and paint. Doing the exercises in the book are an essential part of the experience and should not be skipped.



3. Before reading this book I'd had an attitude about 'color theory' and such - or at least the teaching of it. Anything I read was either imperious and demanding or so complicated that I'd be lost in the first chapter.
   
   But this book doesn't order you to do things a certain way. It explains what results you will get doing this and what results you'll get doing that. There is no highbrow judgment here about the only "correct" way to do anything. It is clearly written, with lots of pics and examples, and is completely accessible. What a breath of fresh air!
   
   The book begins with a little bit of the history of color in paintings and the physics of color mixing. She doesn't bog down the book with it though. She gives just enough information to put the use of color in painting into context and as a starting point if one wants to do further research.
   
   Then comes the more detailed information. This starts out simply and builds with each chapter. She explains why things happen in color combining and mixing and how to get the desired results. Color in painting is a detailed and complex subject, but, while she encourages you to learn it all, she is never demeaning or rigid that one has to know all this front and back before painting. She explains why knowing all this will help and improve your painting.
   
   In other words she makes me *want* to learn all this rather than making me feel like I *have* to learn it.
   
   One thing to note is the she uses watercolor in her examples and exercises so some adjustment may be necessary for oils.
   
   There are also lots of things to practice in the book. She has exercises for everything she teaches. So when you're done you will have a tremendous visual reference library. I have lots of art books but this one will stay OFF the shelf and easily accessible. The use of color isn't something that can be learned overnight, so do yourself a favor: get this book.



4. One of the first books I've looked at that explains color in non technical terms. It has examples of how to use these colors in your paintings. There are several step by step instructions on using different color combinations as well as many exercises for you to do on your own. There's a companion coloring book which is helpful but not necessary. An outstanding book for beginners wanting to know more about color theory. The author has a web site and is very helpful in answering any questions.



5. This book is everything I hoped it would be. I am a novice painter, working in acrylics, and wanted some basic info on color theory. This is it. The information is comprehensive yet easy to understand with exercises for the reader to do in any medium. I was so impressed that I bought her Exploring Color Workbook to go with it. This is highly recommended for the artist wanting to expand her color theory expertise.

5 comments about Hawthorne on Painting.

1. Hawthorne on Painting was the most recommended book by master artist and teacher Sergei Bongart and, like most of his other students, I make it required reading for artists studying with me. The essential truths within are clear, even without pictures, and you'll find yourself reading and re-reading the rich, pithy text. A plein air painter cannot do without its information and inspiration!
   
   Also of interest to artists...
   Sergei Bongart
   Sergei Bongart - Profiles in American Art ** RARE SIGNED LIMITED EDITION **
   Eight Russian-American Artists [Exhibition, Newman & Saunders Galleries, Sept. 17 - Oct. 15, 1983]
   Wm. F. Reese



2. How good could be an advice or critic if you dont see the pictures that goes
   along with it. I did appreciate the reading of this book, but I'd say half of
   it is wasted due to the fact that there is no artwork to base judgement for
   yourself and understand the views of Mr. Hawthorne.



3. The material covered is good, but I liked the book Henche on Painting better. No color images.



4. It's a good to hear the comments from this wonderful artist expressing what makes an artist. The books modest cost is worth it, just to feel how he processes the visual world. His constructive reviews of students is enlightening. What I really missed was pictures of the works he is reviewing. The book is devoid of any pictures. You have to visualize what he is talking about. I really wanted to "see" what he was seeing.



5. This is one of the classics on painting. Every artist should add this to thier libary. It is a small book full of treasured insights for painting.
   
   Hawthorne's book is one I turn to when I am stuck in a painting. I read through the information that is given and see which one applies to my work. It is often just what I need to have a fresh eye. This is a great book for the novice or professional.