5 comments about The Simple Secret to Better Painting: How to Immediately Improve Your Work with the One Rule of Composition.

1. My teacher suggested that I buy this book and it has invaluable information. I highly suggest getting it if you are serious about learning the foundations of oil painting. Great reference book to for color.



2. Ignore the cheesy title, this book is a gem. It is far superior to many books I've seen on composition. It's easy to understand and there are exercises throughout to help you improve your compositions, and analyze the paintings you've already completed. I cannot recommend this book highly enough!



3. I have nothing to add to other's reviews, just want to lift up the rating.
   Five stars with no doubts.



4. Although this book focuses on one secret to better painting, it shows through images of every kind, and every subject, how that concept can be applied to any type of work. Sometimes focusing on just one element for improvement can be the best way to integrate that concept. In this case, he clearly demonstrates the application of the idea in all its forms.



5. Very helpful.
   
   I know a lot about drawing, and a lot about controlling oils, but when I am out there doing a Plein Air, I can't remember any principles of composition. All I can think of is, "Ack! The sun is moving!" I am just painting furiously.
   
   This book is like BRAINWASHING. "There is one magic rule: never make any two intervals the same."
   
   Values: never make any two intervals the same.
   Intensity: never make any two intervals the same.
   Shapes: never make any two intervals the same.
   Etc. But he goes into even more details than that. He has LOTS of little areas that this rule applies to.
   
   Each page covers this rule in respect to ONE aspect of composition. And every time he reiterates: never make any two intervals the same.
   
   Most pages have a great painting on them, and not just by him. Offhand, I remember seeing some by Kevin Macpherson. This way you see how professionals apply this rule. I realize that every GREAT painting I have ever seen has incorporated this rule into every facet of their composition.
   
   By reading this rule on every page, and seeing how it applies to so many nit-picky little things, I am noticing it more in my painting. The last time I was doing a plien air, I thought, "Oh, the fence posts are all the same: *never make any two intervals the same*, I should angle a few of them. Oh, these two trees are identical: *never make any two intervals the same*, I will make one a little warmer and shorter". Etc. I could only remember it though becuase of his successful brainwashing technique.
   
   I find this book to be very helpful, and as soon as I am done with it, I am going to read it again. Regardless of your skill level, and regardless of your medium, this book will improve your composition, and therefore your finished product.

5 comments about Sailor Jerrys Tattoo Stencils.

1. A good source of very nice Sailor Jerry Stencils from the man who in my opinion did the best traditional tattoo flash ever.
   
   Not as good as the now difficult to get Sailor Jerry Tattoo Flash books (volumes 1 and 2), which give a better of idea of this man's talents drawing flash. It has some extra stencils of things not in those books, so it is well worthwhile.



2. I feel that every single tattoo artist,inspiring tattoo artist, or any kind of artists and even art historian should,must own this book. I will admit that when I read the first 15 pages cause thats all there is with any writting on. I had a tear in both my eyes. Every single page back to back is covered with Jerrys tattoo stencils. Also every page is in a very heavy duty paper and they are perforated so you can take each page out and laminate them and use in your shop or portfolio of flash to use for you customer/clients. Every page is full of history. I highly recomend this book and the otherjerrys stencil books they are a very big must have specialy for you buisness/shop you will be so excited to look at the tats not to mention the money you will make from the stencils. I noticed that every single Tattoo magazine has countless tattoos specialy the women are covered in this art. I recomend this book in a big way.
   You are very welcome for the big tip.



3. The book is good for simple, traditional stencils. The drawings are super basic (as they should be for that time), but I was hoping I can get an idea for what the stencils looks like with color and shading. The drawings are fun to mimic and be creative with your own shading and color.



4. I was looking for Pin Up Art Styles and found it all in this book. All the styles are for men & women. When You go into a tattoo shop and look at all the art work on the walls and books; this book has it all summed up. This cool book has it all.



5. Beautiful old school stencils of the original artwork of Sailor Jerry...what more could you want! :)

2 comments about What Do Pictures Want?: The Lives and Loves of Images.

1. In the chapter titled the same as the book title, in laying out the grounds for his innovative exposition on images and culture, Mitchell explains, "[Images] present not just a surface but a face [italicized] that faces the beholder." Elsewhere in this chapter, he remarks that images may not have the power attributed to them; which supposed power is seen as absolute and all-encompassing in postmodern culture. Not suggesting that images ave no power, Mitchell takes the position that "the problem is to refine and complicate and refine our estimate of their power and the way it works." The author allows that his perspective based on what pictures "want" rather than what they "do" can at first blush seem to anthropomorphize pictures or give them an aboriginal animistic nature. But Mitchell explains that he means this as metaphorical, conceptual, and theoretical; not literal as in animism or even symbolic as with icons. Mitchell's provisional approach thus corresponds to the provisional quality of postmodern culture to bring extraordinary illumination to this contemporary culture.
   
   Fantasy, multiple selves, and virtual reality are other terms used to express this provisional quality of postmodernism. Playfulness is another--and Mitchell's book, while sound literarily and with extensive learning and cogent though, exercises the principle that playfulness can take one farther in some cases. Whereas in postmodernism, play with its provisional, usually somewhat artificial attributes is a manner of avoiding commitment and engagement with fundamentals, with Mitchell it is a technique for coming to grips as much as possible with the elusive, ethereal nature of postmodernism. It is impossible to encompass or define postmodernism; whose primary attributes are contingency, continually changing imagery, and pseudo-events and provisional personas to play to the media. But Mitchell has managed to relate postmodernism's sprawling nature and what accounts for this.



2. Professor Mitchell has put together an intriguing collection of essays that are distinctly devoid of the presumptuous art talk so often seen in the top periodicals and art blogs of our time - thank you sir! Since these essays are the work of an exceptional scholar, some of us mere mortals may have difficulty in following the abstract constructs and thoroughly academic ponderings. That said, I believe Professor Mitchell poses an interesting fundamental question as to whether the experience of viewing images has evolved within our minds to the point where we actually wonder if they have a life or consciousness of their own. If this is the case, the next question one may ponder is, what do they want? Professor Mitchell is quick to point out that in taking on the exercise of this thought experiment, we are not to proceed as though we are engaged in finding a cure for cancer here - my words, not his - but to proceed on a path of open-ended exploration. In attempting to answer this question, the author guides us along an extensive path that deals with numerous invocations, comparisons, analogies, postulates, arguments and other worldly considerations. Not only are the considerations of the world, but they contain a sampling of nearly everything in the world as well, from biblical chapter and verse to Marx, Blake, Nietzsche, Chaucer, Freud, Dante, et al. In the first half of this book, Professor Mitchell has indeed composed a concerto of tribute to much of Western Civilization. There are worse things one could do. That said, I would encourage the good Professor, in his ninth book (this is his eighth) to forsake his colleagues in academe just enough (heaven forbid!) to leave the huddled masses with fewer more distinct concepts and a more consistent theme. A reduction in the scope of considerations may help the reader to come away with a perception that there is a more differentiated hierarchy of importance amongst the contents of the book. In all fairness, each chapter of this very worthwhile book deserves its own review. I would also submit that the educational potential of this subject matter would not suffer in the least if the Professor were to delete his political inclinations, which, as interesting as they may be, do not enhance the subject matter of this book in any way. Anyone who wants to understand how we really relate to images should read this comprehensive book.

No comments about James Castle: A Retrospective (Philadelphia Museum of Art).

5 comments about Collecting Contemporary.

1. I loved this book! Nicely written, easy to refer to, good mixture of examples. If you're going to buy a work of art because you like it, or because you hope it'll grow in value have a read. No book will change the colour of your wall-paper, or give you prophetic foresight into the future value of the art market, but this book will give you valuable insights to deal with the main players (artists, dealers,etc), & understand the mechanisms that move the market.



2. Great book, well worth the read. I liked all the interviews with the dealers and collectors and every art lover who is thinking about starting a collection should ready this book first.



3. Excellent book. Gives inside information on how the whole contemporary art market system works. Very helpful for emerging contemporary artists. Good buy.



4. Adam Lindemann, is an art collector who has written a book, Collecting Contemporary. It is a good reference material and serves as a basic road map for the burgeoning art collector - and possibly an even better one for emerging artists.
   
   Since I am founding a new theory of art (UnGraven Image), which includes a written manifesto booklet on the theory, I am exceptionally interested in reaching other artists with what will help them. This book will.
   
   I appreciated the information I found within so much I devoted a whole weekly blog to it (and longer review) at my web site. Other reviews here and in the press have dealt with the information for collectors -- and it is useful for them. However, emerging artists get a good overview of the gatekeepers and movers and shakers in the art world. What motivates a collector -- a curator -- or a gallerist to select the work of an artist?
   Read this book to learn more!
   -- Judy Rey Wasserman, Founder & Artist, UnGraven Image
   
   



5. Starting with the positives: you can read the entire book in about 15 minutes.
   Here's the bottom line: buy what you like and can afford.
   Dealers and critics try to make artists famous because that is how they make their money.
   If you buy something from a dealer and later decide that you don't like it, it is considered hoyle (by dealers) to give the dealer first dibs on the re-sale.
   Instead of buying this book, save your money and buy a work from a local artist you like - all will be better served.

5 comments about Drawing People.

1. Not only is this book an invaluable guide to drawing the clothed figure, it is also one of the best books I've seen on drawing period. All of the important principles of drawing are in this book. These principles are clearly presented and well organized with a good mixture of easy to read text and beautiful illustrations. For clothed figure there is nothing else remotely comparable to it on the market. I am a college art instructor and often use this book to illustrate drawing lessons. The sections of the book on kinds of folds and how different clothing reacts to the moving figure are the best I have seen. Anyone, from novice to professional, who want to know more about basic drawing principles, how to draw the figure or the clothed figure should have this book in their library.



2. I am a figurative painter, illustrator, and part time university instructor who owns two copies of this outstanding book: one for personal use and one as a supplement to teaching.
   
   There are very few books available on drawing the clothed figure, and fewer that are useful. This book is a must have for anyone who is a serious beginner or professional figurative artist.
   
   It is filled from cover to cover with clearly written text, outstanding drawings and diagrams, and valuable information and insight. Part 1 in the book covers the oft overlooked imperative issues of stance and holding the medium, direct drawing, telling a story, drawing in a sketchbook and drawing in your studio. Parts 2, 3, 4, and 5 progress in a logical way through valuable information on the figure and clothing, including: clear information on how body forms and clothing wrap around, folds including their types and how they move with the form and action of the body, fabric types and textures, patterns, and how to construct clothing on the body, plus pages on drawing hats and footwear. Part 6 includes information on design of the figure in clothing, drawing heads, hands, and children.
   
   Barbara Bradley's mastery of subject, joyful spirit, and understanding of how we think and feel moves this far beyond being a simple "How To" book. This book is about drawing the clothed figure, but it is also about expressing an opinion and portraying a living human being.



3. Earlier this year, Barbara Bradley was selected by a jury of 75 illustrators, art directors and educators to receive the New York Society of Illustrators' 2007 Distinguished Educator of the Arts Award. "Drawing People: How to Portray the Clothed Figure" is an organized, comprehensive collection of the lessons this outstanding teacher and former illustration department director distilled from 25 years of teaching clothed figure drawing at San Francisco's Academy of Art University. The breadth of Bradley's knowledge and understanding of drawing made this an ambitious undertaking. The result is a book densely packed with key concepts and tips for producing believable, expressive, well-drawn figures.
   
   It is unfortunate that two of the recently posted reviews here are so bafflingly critical--especially since one is written by someone who admits he lacks the skill to draw clothed figures himself. As a working illustrator for over 20 years (Domitila: A Cinderella Tale from the Mexican Tradition, The Wishing Tree, Water Beds: Sleeping In The Ocean, Octavia And Her Purple Ink Cloud, The Rainforest Grew All Around), let me assure you that "Drawing People" is a valuable resource both for beginning artists as well as for more advanced, life-long students. Contrary to the title of my review, the inspiration and skills Barbara Bradley passed on to her many students is her real legacy. Her clothed figure drawing book is a bonus--a gift to those not fortunate enough to have experienced her teaching first-hand.



4. I just finished my first year of art school and picked up this book to give me some more practice over the summer. Have a background that includes nude figure drawings first before delving into this one. But if you are ready to delve into drapery, this book is a godsend. Not many books deal with clothing studies, and she offers good tips for creating drawings using both value and line.



5. 
   
   This book is not so much about depicting clothing but discussing figure drawing and depicting folds in clothing. It doesn't do what it sets out to do. For it to do that, ti would have actually had to explain more abotu how clothing wraps around the body. Understanding the figure is a must in depicting clothing, as cloth twists and moves to the contortions of the body. This was not discussed in the book. Soem real life examples would have wokred wonders toward achieving it's aim. The book can also be a bit wordy. It could have been made concise if they had used a greater amount of photos and clearer graphics.
   
   With that being said, I still enjoyed this book. Even thoguh it didn't quite delve deeply into process some of the suggestions were reasonably helpful. I liked the rough figure sketches she includes. These are great examples of how to capture form. Also, her interest in telling a story and explanations as to her choices in for depicting mood were very interesting to me. I would like to get into illustrative work. So those msall points on telling a story. It a very kind of open beginners book to pencil drawing the human figure. Other mediums are ignored. Still, i like the art, and even though I took the book out from my local library. I'
   m thinking of buying myself a copy.
   My advice, Buy it from the bookstore, if oyu don't like it, return it.
   
   
   There really should be a half a star sign, this book isn't quiet a four but it isn't a three either.

1 comments about SuperVisions: Topsy-Turvy Optical Illusions (Supervisions).

1. I bought this book for our 7 year old twins before we went on vacation. We had so much fun sharing this book. It is extremely clever. All of the illusions were fantastic. We have now become a family always lookng for illusions in the everyday things we see. If you are looking for a gift for a child of any age, they will enjoy wandering through the pages of this adventure in illusions.

5 comments about The Art of Juliana Jewelry.

1. If you don't already know, DeLizza and Elster jewelry is among the most sought after costume jewelry around. Their use of unfoiled stones, art glass and other specialty rhinestones in fantastic multi-layered designs has made Juliana jewelry a standout. This beautiful jewelry is also extraordinarily well made, so it has held up well over the years.
   
   Since DeLizza and Elster jewelry was never signed, it's always been difficult for the average collector to identify. Fortunately, Musetti's book contains a very detailed section on how to identify Juliana jewelry. She also uses lots of photos so that you can clearly understand exactly what she is describing to help with identification.
   
   The book contains over 450 beautiful color photographs of DeLizza and Elster Juliana jewelry. My only criticism of the book is that some of the photos are a bit repetitious. On the other hand, I was also very pleased that Musetti included photographs of pieces that were attributed to and signed by other makers, such as Weiss, that were actually made by DeLizza and Elster.
   
   I have a few pieces of jewelry in my collection that I had long suspected were Juliana, and I was delighted that my assumptions could actually be confirmed with photographic evidence from this book.
   
   This is an absolute must have book for both the fledgling as well as experienced collector of costume jewelry.
   
   Dawnjewels



2. This book is fabulous! It is the most beautiful jewelry book in my collection and rivals my books on antique roses! As lovely as it is to look at, it's equally informative. Ms. Musetti teaches us about DeLizza & Elster's Juliana design elements and much more. Without her book, I wouldn't know that an authentic D&E sunburst necklace has seven dangles, while an owl necklace has five, or that my favorite Kramer pin, with its rhinestones of many colors and pave crescents of icing, was made by DeLizza & Elster. Such detail is greatly appreciated by collectors.
   
   It's probably impossible to say that this or that is my favorite aspect of the book, but I must say that the photos of Ms. Musetti's voice teacher, Renata Tebaldi, and those of Ms. Musetti herself, wearing Juliana jewelry while performing touch my heart.
   
   That leads me to the photos of Noel McLeary. They are absolutely stunning! Perfectly staged; perfectly photographed. The added touch of showing her in black and white while the jewelry she wears is in color is extraordinary and wonderfully suited to a book on vintage jewelry. It reminds me of several ads from the '50s and '60s that employed the same technique.
   
   The entire book is superb! Thank you, Katerina, thank you for dedicating yourself to its production.



3. This delightful book is a joy to read, as well as a feast for the eyes of the most beautiful rhinestone jewelry created by William DeLizza and Harold Elster. The creativity and design of the jewelry is amazing, as well as the wonderful combination of colors, and variety of stones. Each piece is truly a work of art. Their jewelry from 1947 - 1967 bore no markings. From 1967 - 1990 the pieces were given a hang tag with the "Juliana" name on it, most of them have been removed over the years. Therefore it is important to understand the usual construction of their jewelry to help identify their pieces.



4. This is a true stunning and elegant depiction of the beautiful Juliana Jewelry. The colors and design show the true appreciation of the style. The opulence of each and every piece is truly remarkable. If you enjoy beauty and design you will enjoy perusing this lovely book. As an artist I can see myself just admiring the color and composition. It is to Ms. Musetti's credit that the lavishness and boldness of every piece is depicted in such an inviting way. You will not only appreciate the jewelry but the passion that exudes from these pages. It is truly a wonderful and welcome addition to anyone's home.



5. Katerina Musetti's wonderful gift to us, The Art of Juliana Jewelry, is by far the best and most beautiful book on Juliana Jewelry making I've yet to discover. The exquisite pictures alone speak volumes for the artistry and passion of her jewelry making. Simply gazing at the spectacular constellations of color and beaded form are enough to transport even the most modest admirer to new heights of inspiration. It is no exaggeration to say that my breath was taken away by the sheer loveliness and beauty of jewelry so beautifully photographed in this book. Still, the book does not stop there. Ms. Musetti and Frank Delizza unselfishly pull back the curtain to reveal the greatest details of construction and form. They not only provide intricate and precise instructions on the jewelry's fabrication but provide yet more useful photographs of the jewelry's backs. They truly share all the secrets for success in this wonderful book. I wish I'd had this book years ago. I not only found it informative in my own crafting but deeply helpful in identifying and evaluating pieces I plan to purchase. This is a must have book for the creator and admirer alike.

4 comments about Splash 10 Passionate Brushstrokes (Splash).

1. The last "Splash 10" book is really a fantastic book. So many great paintings and creative artists make you want to get your brushes out and start painting.
   
   The inspiration they provide is a great gift. A very well-worth purchase.



2. I have most of the Splash series and I think 10 is one of the best yet. I love to see what other watercolorists can do. Their imagination abilities are truly remarkable. Splash 10 is also special to me as my teacher, Susan Stuller, has two paintings included.
   
   Marti Franks



3. Book ten already! I wonder if the folks at North Light thought Splash would last from January 1991 to May 2008 for the latest edition. Especially when you consider the number of books out there. Put 'watercolor painting' into Amazon's advance search and more than 8,000 titles pop up, try 'watercolor instruction' for more than 800!
   
   I mentioned in my review of book nine that I thought the contents rather subdued in comparison with previous editions and ten does rather continue that impression. I must admit that I have no idea about the criteria for inclusion in this series but selection is probably based on what is available and maybe there just aren't many eye-stopping paintings around. I'm thinking here of Deborah Rubin's tram painting in book eight or Hosey Hutson's beautiful painting of the side of a barn made up from 7-UP signs in book six.
   
   So what does this latest book have to offer. There is certainly no reduction in quality from the ninety-nine artists included and the range of styles is as wide as previous books. Dan Burt's included again (he's also in book seven and eight) with his amazingly flamboyant casual brushstrokes and so is Soon Warren's glass bowl with flowers done in an almost photorealist technique. Ted Nuttall (also in book eight) contributes a lovely portrait rather reminiscent of Charles Reid's style: an apparent casualness of color and brushstrokes that makes it look so easy but is in fact the epitome of creativity and professionalism. John Salminen lives in the Minnesota woods and so is intrigued by big cities. He has two paintings that nicely capture the feel of a metropolis, his starting point are his own city photos. As with previous editions all the artists write about their techniques and inspiration.
   
   Book ten is the same size as the others, printed on good paper with a 175 screen. The paintings are divided into seven sections with the usual favorites: landscapes, still life, flowers (with some really good exhibits) and people. I always thought the design of the series rather good, clean and uncluttered but this book has a rather annoying design conceit: there are three examples of display type printed on the paintings. This seems to me a totally unnecessary idea, empty areas of a painting are there for a reason and not to be considered as an optional place to add text. I've not noticed this in previous books.
   
   Despite the fact that this tenth book (like the ninth) doesn't quite come up to the creative exuberance of the previous eight it still has plenty of wonderful watercolors to inspire you and the series still continues the very high painting selection one has come to expect.
   
   ***FOR AN INSIDE LOOK click 'customer images' under the cover.



4. Rachel Rubin Wolf must be doing something right with now a tenth in the series. The Splash series is a collection of current watercolor artists and some of their most inspiring work.
   
   This one is Passionate Brushstrokes. The colors, the ideas, the perspective of the paintings are once again terrific.
   
   It is especially helpful, as an artist, to read from each artist their breakthroughs, their inspiration, their secrets along with each painting in the book.
   
   It is not a how-to book but looking through the book is motivating and inspiring if you are trying to get a new painting going.

5 comments about Typographic Design: Form and Communication.

1. The book is great and if you're into graphic design or even want to understand type.If you're a teacher there are many creative exercises you can get out of this book too that students should enjoy.



2. Got the book for a class im taking. It has a decent history of type and is a good book for a graphic designer.



3. I am so happy that i can buy my books and many many things from amazon with good price and amazon surprised me by sending them to me sooner than i expected it .nice job amazon keep going



4. I had to get this book for school and I have to say it is a great book. It is packed with content and examples. Examples are kept to a minimum instead of plastering every page with 90% examples and 10% text. The content is solid and all of the examples have their place. If you are interested in typography don't pass the book up, it is probably one of the best I have seen.



5. I am taking a course right now with Rob Carter. So at the risk of this sounding like a biased review, please know that I'm not the kind of person who allows personal feelings to stand in the way of my opinion on what's good and bad.
   
   Professor Carter's ability to effectively communicate is carried over to this text remarkably. Any obscure questions that I've had regarding typography and design have been answered by him personally and he nearly always pulls this text out to illustrate exactly what he means.
   
   Point is, I'm in my third year in a design program and even the "random, not covered by other professor" topics, are covered in this text.
   
   This is a text that designers will be going back to long after they've obtained their degree and are working in the field. It's a fantastic investment.
   
   --s