5 comments about Thoughtless Acts?: Observations on Intuitive Design.

1. This was a good overview/introduction to leveraging observational research in design and innovation thinking, not an in-depth treatise on process nor a how-to instruction manual. Reading the negative reviews, I somewhat agree that there could be more "meat" in the book, or that the author could have positioned the insights/questions with the photos to create a more usable work. However, I realized that perhaps it was intentional that the observational photos were positioned without explanation in the first half of the book, with narrative in the back. That's how observations typically happen, relying on each one's personal reflection and evaluation first, unskewed by external opinion. I appreciated this book as an inspiration to tune into the obvious around us and by capturing the everyday, learn to gain insight into it's ability to shape the creation of future things. Good stuff.



2. A book that makes you aware instead of being in automatic pilot. Sit in a restaurant, at a park, or simply on a bus and start thinking about this book and how people behave. Great for account planners.



3. Overall concept is interesting. What we observe, how we are conditioned, how we respond to our environment but quality of book could have been taking further. Instead of being paperback size, it could have been a larger coffee table book with higher quality photos to illustrate points. Rather than having to refer to back of book to understand why image was included, it should have been on the same page as the picture.



4. Yet another lousy book by IDEO. The whole book is nothing but photos. The title "Observations on Intuitive Design" implies to me that they are Jane Fultons observations. Sadly they are not. They are YOUR observations from looking at the pictures. And I paid for this. No written content (to speak of). I'll save you some money; take your camera into a supermarket, a compusa, and a walmart and snap away. Then go home and review them. Done and I saved you some cash. The arrogance of these guys. They slap their name (IDEO) on a collage and call it observations?



5. Excellent book that illustrate the little things that miss our senses and observation day in day out.
   
   Opens up a world of thought for everyone around, expecially designers.

5 comments about The New Typography (Weimar and Now: German Cultural Criticism).

1. When Tschichold wrote this text, the German foundation of typography was in upheaval, and Tschichold was clearly the first against the wall when the revolution came. As he was writing, the predominant typefaces in Germany were of the Fraktur type, which did not incorporate the advancements of transitional or modern typefaces. It is quite clear that Tschichold sought to completely do away with the old types and bring in the new sans serifs as a way of countering them.
   
   The first half of the book is filled with bombastic rhetoric, which gets tiring very fast. Still, there is plenty of good advice and there are excellent examples to follow. The second half is more technical, but perhaps too technical, as most of the standards that Tschichold discusses are either now well accepted or superseded and thus any appeal to use them is now moot in either case. The second half again provides good advice, despite the mooted standards discussion, and it is certainly something that any designer, of any printed matter should be acquainted with.
   
   Finally, the historical significance of this text makes it essential reading for designers. The various introductions and forewords give the reader a good idea of these circumstances, but at 60 pages (when Tschichold's introduction is taken into account), it occupies far too much of the text.
   
   All in all, I may have overrated this book at four stars, but it definitely deserves more than 3.



2. This is a nice handbook for creating stark minimal layouts but the dogmatic, unwavering theory of 'objective' design is best taken with a grain of salt. Reading this reminds me of when I took painting with Modernist painter Guido Molinari and everyone around me ended painting squares out of fear of retribution. But even with his strict approach, I don't think he would have quoted a text that says "The more primitive a people, the more extravagantly they use ornamentation ... To insist on decoration is to put yourself on the same level as an Indian." While this book has some great tips on reducing clutter and improving readability, reading the 'ideals of Modern Man' stuff is like sitting through a fire and brimstone sermon. Nice diagrams.



3. Typographic history, at least. This book was first published in 1928, and seems to have been the founding manifesto of the "Swiss school" of typography. This is a must-read for all serious students of type, and for a few others as well.

   First, the messages for typographers. The book itself is part of that message: sanserif body text, bright white paper, and geometric red and black graphics. Tschichold uses a few conventions that I quite like. Footnotes are indicated inline and at the end of the page by a heavy black mark. At first, it looked like a blot on the gray of the body type. After seeing it a few times, though, I realized that the heavy mark was very helpful for recovering my place in the reading after my eyes moved away to read the footnote. Emphasis is shown with heavy rules in the outer margins around text, much the way I mark books myself. My only complaint about the book as a whole has to do with indistinct paragraph breaks - there is clue from indentation or line spacing, so it is actually possible to miss a pragraph break altogether.

   The second half of the book shows a number of examples, good, bad, and (today) historically interesting. Almost all examples are bold red and black - the first two colors to be used up in most sets of crayons. It is easy to forget that these examples were often designed for letterpress, since photocompostion barely existed as we understand the term. Despite Tschichold's passion for modernity, the style now looks as dated as Bauhaus, streamlined locomotives, and Art Deco.

   The first half of the book is for typographers, but also for any modern student of polemic. Not many people have strong feelings about typography, so the ranting can be considered by itself. Tschichold's style is based on "the spirit of our age" somehow revealed to him alone, and on Germanic philosophical absolutes. It is ironic that, during the cultural purges of pre-WWII Germany, Tschichold was among those rounded up for politically incorrect artwork - another absolute in conflict with his own.

   Happily, Tschichold was able to emigrate to Switzerland before war broke out. He had a long and influential career, and later regretted the strident excesses of youth that this book captures.

   This is useful as a guide to typographic style, but beginners will probably get more from modern texts. It gives a very informative view of the DIN standards for paper and business correspondence. Most of all, however, it captures a time and a mentality that no longer exist, but that guided one strong school of typographic practice for over 80 years.




4. As other reviewers have written before me, this book surely has an historical value to it. It allows the reader to have a quick glance to a particular historical moment of typography in pre-WWII Germany, written in a Marxist tone. Also, the layout of the book is a beauty in itself, with its glossy paper and sans-serif Futura font. But that is pretty much it, unless you want to read it because you are a student in History of Typography. Do not expect to learn basic or advanced typographic elements here. If you want that, read "The Elements of Typographic Style" by Robert Bringhurst instead.



5. I'll confess I was expecting something more contemporary when bought this book. If you're not carefull the title will fool you. "New" in this case means early 20th century. Tschichold, as I came to learn, is one of the great names in typeface design. This book is reissued as his classic rant/manifesto on graphic design and type.
   
   Tschichold makes strong statements on what constitutes good typography, even going so far as to make philosophic natural law arguments in favor of san serif type. Serif fonts, particularly black letter styles, are the enemy. You have to take a historical leap in order to understand Tschichold's sour view of black letter. To us, black letter is a period typeface appearing outside pubs of the "Ye Olde Ale House" variety (or alternately to tattoo your back with gang symbols). But to Tschichold, black letter type was the Times New Roman of the day, plastered over every document and sign around. He argues correctly (in self-righteous, quasi-Marxist tones) about the unintelligibility of black letter type. He champions san serif styles, such as Futura.
   
   Strictly speaking, Tschichold's arguments aren't of much practical use to contemporary designers now that the scourge of black letter has fallen aside and Helvetica/Arial rules the world, but I enjoyed the reproductions of Tschichold's own Weimar Republic era work. It reminds me of the possibility of using a strictly typographic solution to a design problem. I think if you were ever a fan of Emigre's type and design philosophy, you'll find things to like about this book.

No comments about Art and China's Revolution (Asia Society).

No comments about KRAZY!: The Delirious World of Anime + Comics + Video Games + Art.

5 comments about The Ultimate Picasso.

1. For many years I've been a great admirer of Pablo Picasso's work. Whenever I travel I always look for Picasso's museums or General Art Museums where Picasso's works are displayed. As a result of these trips I've gathered panflets, brochures and many books focusing different phases of the artist. However something was missing! And that would be a comprehensive overview that could be able to explain and make sense of his imense and brilliant lifelong work and at the same time to show magnificent reproductions! congratulations to the author who was very successful in her enterprise!



2. This is a great book. It's chock full of illustrations--so many that they just quit offering text every few pages to let the images catch up. It goes through his entire life, showing the art he created for each section. It's great, insightfull, a huge folio-sized book and just an all around great read/see.



3. I took this book out of our university library to have on hand while reading Françoise Gilot's "Living with Picasso", in order to see representations of the artwork to which she refers throughout the book. "The Ultimate Picasso" proved invaluable. Not only does it contain Picasso's complete major works, they are also presented in chronological order which made look-up easy despite Gilot's often describing an artwork and the process used to create it but not always giving its title (she always gives dates). I ordered "The Ultimate Picasso" before the library due date because I couldn't bear to not have the book in my house!
   The photos of the artwork are brilliant and crisp, and the accompanying text is informative.
   You will not be disappointed by this book.



4. this book rocks so much it breaks the very laws that govern physics!! so much information, so many beautiful pictures, so dense. it seems to capture the very spirit of pablo picasso. it was give to me as a valentine's day gift, and it is one of my most prized books. this is a MUST purchase for any picasso fan.



5. To see tons of Picasso works in one book is nothing short of breathtaking. This is easily the best Picasso book that focuses on his paintings. What's incredible is to see the prolific amount of work he was capable of, and just what a inventive genius he was. Without a doubt the greatest Artist of the 20th century. Not all the works make sense, or are even recognizable as anything, but that was Picasso; his art was how he viewed the world, and how his own heart felt inside:confused, and out of place. His Cubism is nearly mathmatical, and very intriguing. IF you're interested in Picasso as more than that weird guy who made all those paintings i just don't get, come and check out this book to see all of what he was made of. You'll be amazed and inspired.

1 comments about The Decorative Decoy Carver's Ultimate Painting & Pattern Portfolio, Series One.

1. I found this book to be better than any other carving book I have purchased. The painting guides are accurate and detailed, the patterns are realistic and proportionate, and each species has several different head poses included. I use this book while carving and painting more than all of my others combined.

1 comments about Fairies.

1. Fairies provides us with another offering from the renowned Japanese artist Yoshitaka Amano (of Vampire Hunter D fame). The book is packed with full color portraits of fae folk. The title Fairies is deceiving in that it is not exclusively fairy; rather Amano covers a spectrum of magical creatures primarily from folklore of the British Isles. Some familiar creatures include pixies, leprechaun, goblins, mermaid, Merlin and Nimue. Each creature is given a descriptive phrase declaring its attribute. For example, Brownies are considered "The Hardworking Fairies" while changelings are labeled "Kidnapping Fairies." One might compare it to books by Brian Froud, yet it is its own creature (pun intended).
   
   This tome spares no production expense. There are several full page spreads along with a handsome 4-panel pullout illustration. Black and white spot illustrations are incorporated throughout the book. This is a quality fine art book with a sturdy binding and coated pages. It feels good to the touch and it effectively delivers the reader to a place of magic and otherworldliness.
   
   One thing to note -- this is not necessarily the best book for those studying fairy lore -- rather it is a book to add to your collection if you're a fan of Yoshitaka Amano's artwork. And even if you're not, the versatility of his unique vision makes this book a feast for the eyes. Some highlights include a portrait of the Swan Maiden (with obvious influences from Gustav Klimt), a stunning chapter dealing with A Midsummer's Night's Dream, and a striking rendition of Merlin from the Legend of King Arthur.
   
   Newcomers to Amano's work might better start with Worlds Of Amano or Amano: The Complete Prints, but if you love them, this book will soon be added to your collection.

No comments about The Art Instinct: Beauty, Pleasure, and Human Evolution.

5 comments about The Complete Woodcuts of Albrecht Durer.

1. Una gran edición a costo más que razonable para mi. Contiene todos los grabados en madera.



2. The visuals contained in this book by Durer are very very good. It gives you a great idea of what type of talent this man had. There is a very nice transition from his earlier work to the later noticeable due to the intricate detail woodcut by woodcut. If you are a fan of Durer, or wanted to know what he was capable of creating, I highly suggest checking this one out.



3. This book is 346 pages, not 44 as listed. Dover has a newer edition. Durer masterworks.



4. This is the best compilation of Duerer prints I have ever seen. Duerer's talent is really downplayed in the avant-guarde scene today, but if you just look, you'll have instant appreciation. My only dissapointment was that the book does not include all of Duerer's Revelation woodcuts, which are my favorites. Anyway, I suggest you look into this book--it is amazing.



5. Albrecht Durer was one of the most talented artists the world has ever seen, and his woodcuts, especially those of apocolyptic visions are spectacular. This book reproduces these woodcuts faithfully, and the images are not diminished by the format of the book as is often the case.

   These images are the stuff of nightmares - hell, torment, torture and death, and yet the images are so startlingly realistic as to be almost poignant in their representations. Enjoyt the images for what they are - works of genius. In addition the commentary is worthwhile, with interesting observations of Durer's life and techniques.

   A valuable addition to an art lover's library, but also a fascinating book for anyone who is interested in genius.

5 comments about Painter's Handbook: Revised and Expanded.

1. Very Good Book! There's no complete informations like Ralph Mayer, but is very simple and atualized in some topics like acrylic grounds and alkyd resins.



2. I do know how I would rate the items I ordered for my son that works in New York City, He makes a wish list of several items he would and etc.
   I have been doing this for several years and I love it as I would never know what to send him, other then Gift Cards. That's ok for some people but he lives away from home and I can choose anything I want and I know he will like the gifts I buy. He greceived gifts htat are wrapped by his Mother and Dad and he never knows what I pick out and send.. I do put other gifts like cookies, home made candy and some other surprises. Over all I would rate every thing I order and makes it so easy for me. A 5.



3. The Painter's Handbook is without doubt to artists' painting materials. Gottsegen's knowledge and expertise in the field allow for an in-depth understanding of the tools of the fine artist, and his book dispels so many of the myths surrounding art materials that have been perpetuated in other resources.
   -Mark Golden, CEO, Golden Artist Colors, Inc.



4. My painting instructor reccomended this book. If you're serious about art, you might want to get this...It's a handy reference to materials (frames,grounds,paints,solvents), techniques and safety/protection...It's also easy to follow, well researched and comprehensive. The 4 stars is because there is some outdated information...e.g. Gottsegen explains how to make oil paints...But given the health risks (of working w/ dry pigments), difficulty and time required in this process, it really isn't feasible.



5. I recommend this book enthusiastically to my students as a concise, clear, easy-to-use and thorough reference on painting materials, especially oil painting (though it does cover other painting media). There hasn't been a technical question about materials that it hasn't answered for me, and the information provided has also led me to experiment with new materials. It is not a "how-to" book on painting and there are no pictures or anecdotes, but it is oriented towards serious students and professionals. For me, "The Joy of Cooking" of painting -- wouldn't be without it.