3 comments about Checkering and Carving of Gunstocks.

1. I've owned this book for about 20 years after I found a musty one in a used book store. I thought it was the find of the decade for me, and I was very happy a few years ago when I saw this book is now in print again. I have not picked up a copy to replace the delicate musty one I have, but I probably will one day.
   
   Monty does a great job of explaining what makes a good checkering pattern versus an ugly, too fancy, or problematic to checker design, encouraging and ensuring beginners they can do it, plans for a great checkering cradle, how to make checkering tools because they weren't even available to buy for most of his career (which is still useful info even if you buy most or all of your tools), what tools you need, how to make the diamond template and how to use it, where to put layout lines on tricky checkering patterns, and on and on. Anyone who thinks this book is not THE checkering book needs to read it again, or they already knew too much about the subject that they learned from someone else before they bought the book that it didn't seem like they learned anything.
   
   If this isn't THE book, which one is? I haven't found a better one, and the checkering video I bought from Brownell's was FAR less decriptive than this book is. I sent the video back after one viewing because I didn't learn A THING from the video the book didn't already teach me.
   
   The bottom line is, give two different guys the same tools and instructions, and they will NOT use the tools exactly the same anyway. YOU need to figure out how YOU use the tools to get the job done. I told my dad what I had learned about the subject while I was showing him one of my practice pieces and tools, and the first thing he did was grab the tool and use it in a manner almost totally opposite of what I had described, and got good results. Who the heck am I to argue?! The proof is right there on the wood!
   
   Checkering is an art as much as it is a mechanical process. Once you read this information, you need to figure out how YOU can best apply it. What do you want for $30, for Monty to come back from the dead and hold your hand?! In the end, no matter what you read or view about the process of checkering, YOU need to decide how to get started, and then control the tools until the job is done. Some people are brilliant enough to need no instruction at all. For those who do need some, I can't think of a better resource than this book. If you still can't figure out how to checker something after reading this book, then pay someone else to checker your work.
   
   If $30 is too much, rent it from a library. If the local library (or another one your local library can request books from) doesn't have it, ask the nice lady at the adult reference desk to buy one so you can borrow it. They usually agree, and get it in a couple weeks. Painless.



2. .

   I found the writing style, with its poor grammar, distracting. On the other hand I liked Monty Kennedy's sense of humor.

   My advice for those who are interested in learning how to checker is this:

   First, choose hard, fine grain wood to practice on.

   Second, ensure the wood is as smooth as possible and all grain is filled with varnish--this makes the checkering process less error prone. Uneven material surface and grain is likely to cause your tools to deviate from the your chosen path.

   Third, don't use too fine a checker or the diamonds will break off.

   Fourth, purchasing a decent set of tools.

   Fifth, scribe your reference lines and trace your outline pattern and go at it.

   Sixth, your best bet is to skip the book and practice on smoothly prepared sample material.

   Seventh, don't get discouraged if your intitial results are not perfect, keep practicing, making smaller items like pistol or knife grips before tackling bigger projects. Be sure the grips are entirely shaped, smoothed, and finished, with holes drilled before you start checkering.

   The book is good for some sample pictures, but these can easily be duplicated by a visit to your local gun shops to study finely checkered stocks. In fact you will get a better idea of what you like by studying many gun stocks.

   The book is good for it's dry humor, which is sure to give you a few chuckles. I liked the book but did not feel it was worth the price. Invest your money in a set of tools.

   Conrad B. Senior




3. I like this book, but it does not do exactly what I had hoped for. The initial part of the book is written by Monty Kennedy in a down home style which is interesting and easy to read. Monty gives great and detailed descriptions on how to make checkering tools, which frankly can now be purchased quite inexpensiverly. Unfortunately he gives very sparse instruction on how to actually use the tools. His checkering instruction is very generalized. I had hoped for more detailed "how to" information for the novice. The rest of the book contains checkering/carving patterns by other artists, along with some tips and a few techniques. I would recommend this book as a general reference and resource for the serious checker or hobbyist, but I would not recommend this book if you are looking for information on the technique itself.

No comments about Richard Serra: Drawings-Work Comes Out of Work.

5 comments about Violin Making: A Guide for the Amateur.

1. I bought this book about 3 months ago and have nearly completed my first violin. It is not the best looking instrument I have ever seen but the construction details and plans in the book, if followed to the letter, will allow one to produce a very solid feeling instument. The hand drawings in the book are very appealing and I think give the instructions an "old time feeling", almost as if you were reading the very notes from Mr. Strad himself. Most of the construction techniques are the same as they were back in the 15th and 16th century. There are certain procedures where using power tools is very tempting, but I felt as though that would be cheating myself and the author out of the building process that the best instruments are still being built by.
   
   The templates in the back of the book are very nicely done and if reproduced accuratley will allow one to build a real violin. Allthough I have many years experience in wood working, anyone with basic skills working with hand tools should be able to produce an instrument from this book.
   
   If nothing else, it does teach and explain in very easy terms how a violin is made. I highly recomend this book for anyone with the desire to produce a violin like it has been done for centuries.



2. This book offers a step-by-step explanation of violin making on a basic level but the drawings are not to be trusted: on the mold plan the right lower block cut-out is one-eighth inch lower than the left. I discovered this after making the mold and noticing that something just didn't look right.
   I believe this book gives a rough outline of the violin making process for someone who has absolutely no knowledge, but if you can afford it, the Johnson/Courtnall book is the most thorough available. Harry Wake's book is good for someone interested in using power tools but for the traditional (hand tools) method Johnson/Courtnall is the best.



3. This was a very useful book for the beginning violin luthier with simple instructions and line drawings.



4. This book is directed, not to the amateur violin-builder who admires and aspires to emulate the fine craft of violin-making on a modest scale, but rather to the 'amateur' in the sense of someone who is less interested in immersing themselves in the craft and more interested in building a fiddle at all, somehow.

   If you are the type of person who is affected by concern about how to do something 'right' (i.e. following some variant of traditional or professional practice) than this is the wrong book for you and you should invest in Johnson/Courtnall if you can at all afford to (really, never was money better-spent), otherwise Strobel and/or Buchanan are better choices.

   On the other hand, if you just want to get a fiddle built with as little fuss as possible, and without minding taking some shortcuts here and there, then this little book will certainly encourage you on that journey. The approach in this book requires fewer tools and less acquisition of new skills, and goes out of its way to ensure the reader is not daunted by any high-fallutin' ideas of high craft, just go to it and get it done.




5. Being a true amateur - I have begun building a violin making this book - having never even touched a violin - it will be an interesting experience. My rating of the book - is that it is quite good, so far. It would benefit from some actual pictures to go with the dialog - as it would be nice to see an actual picture of what you are trying to build rather than a rough sketch. The book is dependent on rough illustrations to guide the amateur. The templates are very good but you do need to 'smooth' some of the templates to match the final violin shape. Not all the components are there, for example the tail piece for securing the strings is not mentioned at all, as is the Bow, so I assume these items need to be purchases separately. Before you start it is best to read the book right through - otherwise some of the steps given earlier on in the book make no sense - in this regard it would be helpful to give a hint as to why "you must do it this way" - anyway overall it is a very good book.

5 comments about Sculpture in the Age of Doubt (Aesthetics Today).

1. I was really hoping that this book would be an insightful and pleasurable look at sculptural production in our current generation. What SITAOD gives us is a REALLY great first chapter that recaps postmodernism in a way that I haven't seen yet. Honestly, the first chapter is the only chapter you need to read. After that, everything falls by the wayside as Mc-Boring goes ON and ON trying to academically validate his claims. And here's where things go wrong... Not only does the author use a formulaic and overly structured approach to validating his claims (one that we all learn to rewrite with every essay in art school), but his choice of artists after Duchamp is neither relevant or contemporary to sculpture being produced TODAY...
   
   In all fairness, and as I said before, the first chapter was really good, but after that, I was disappointed and bored out of my mind. The author makes some good claims, but fails (like most art historians) to tie things back into what is actually happening now, but maybe that wasn't the point... perhaps this is just another tome dedicated to keeping tenure.



2. This book has many fine insights and analyses of artworks, as has alreday been said in previous online reviews. But the theoretical construction of a "Modernism" as an "age of certainty" totally devoted to the dogmas og Kantian aesthetics is highly problematic. All interesting art since 1850 has posed questions and tread unknown ground. Scepticism and doubt is no new or postModern thing.

   This is one of several of McEvilley's theoretical constructions where he goes about important issues way too easily.




3. Thomas McEvilley's Sculpture In The Age Of Doubt examines 20th century sculpture with an eye to considering the major issues surrounding modern styles and choices. This is the only modern critical work to examine the evolution of Modern sculpture's styles from early works to contemporary representations.



4. I am an artist and this book speaks directly to me. Not that it wouldn't be useful to others too--I'm sure it would. It is the most informative source on recent sculpture, and has the clearest and smartest way into it all. There is so much to learn that I am now reading it for the second time. I find it especially useful the way it puts the practice of sculpture into a larger context so I can gauge my own place in history. It's not primarily a picture book but still the pictures are ones you will remember--and often ones you wouldn't normally see. Plus, what it all gets down to is, it's both beautifully written and fun--a really good read.



5. For sculptors there is simply no other work like this: a summary of 20th Century philosophy told through the sculpture of our time. It is a unique vehicle that someone should have thought of long before. Just the title alone is almost all we need to know about the social background against which we must devise the reflections of our times. It is a time of doubt, lacking a master narrative that we would elucidate as artists. McEvilley sees this not as a time of despair but rather similar to other times before wherein the lack of a master plan is something that is regarded as freedom. The book covers about two dozen prominent sculptors, everything from the Readymades of Marcel Duchamp to the poetic variations of Tony Cragg, the bizarreness of Dennis Oppenheim and the peaceful strangeness of James Croak. A good read. Heartily recommended.

4 comments about Pens from the Wood Lathe: Step-By-Step Instructions for the Wood Turner.

1. Great book to get me started turning pens. A lot of good info and pictures. Covers all the basics well.



2. I picked this book up on the recommendation of a friend. I've advanced to the stage where I'm getting pretty good at making dowels on an expensive lathe, and was feeling like I needed to find something that made me feel more productive. If I've got it figured right, my first pen will cost me about $4,000. After that, hopefully, economy of scale should set in (I hope). If you haven't figured it out yet, I'm pretty good in a wood shop, but an absolute newbie at turning.
   
   I think my friend was being kind. Dick Sing assumes you have some familiarity with small gouges, skews and scrapers, which I do, and does little or no explanation of the turning part of pen making. He focuses on the intricacies of the equipment that is peculiar to pen making (mandrels, drilling jigs, etc.). Truth is, basic pen making is not a challenging occupation, and Dick Sing offers lots of pictures and straightforward text. This could have been called Pen Making for Dummies. In other words, anyone who can make a dowel on a lathe should be able to follow this book. Even me.
   
   What is missing, though, is and real focus on creative pen making. But this I mean grooves, beads, and chatter work sort of things that can turn a pen into something other than a useful dowel. He does play around a bit with materials and an interesting desk pen, but for the most part this book is about kit making and not about custom pen making. Even so, it is a terse, but very useful, introduction.



3. 64 pages, full color, 9 gallery pages. Step by step pictures with detailed text on how to make pens/pencils on the lathe. This book was a must for making my first pen, and a great reference as I have progressed. Pens include: Standard twist (and pencil), Dome-top, Rollerball and Fountain, Cigar pen, Flat-top click pen, Flat-top twist pen, and desk pen.



4. A very clear and concise presentation of what is required for making excellent writing instuments. Great color photos of all materials and instructions of each step in the selection of woods, and hardware, how to drill, match and assemble the components. The number of ways to varie the appearance of the instruments. He does not go into the discusion of lathes. He concentrates making pens and pencils and the variations that can be created. I have his other book, "UNIQUE & UNUSUAL PENS from the wood lathe" and I refer to them quite ofen for new ideas. I also refer to "TURNING PENS AND DESK ACCESSORIES" by Mike Cripps which I also use

5 comments about Painted Ponies.

1. This is an excellent A-Z book on everything you would want to know about carousels. It's very well presented and very informative and makes a great coffee table book. Highly recommended if you're interested in the subject.



2. This book is a must have for any carousel enthusiast or anyone interested in the art of wood carving. All major carvers/manufacturers of the golden age of carousel building are covered. The photography is wonderful and there is a census of operating carousels in the back of the book. Since the book is written in 1986, many of the carousels that are listed have dissappeared. Check National Carousel Association for an updated list.



3. Awesome book! An absolute must for anyone interested in American Carousel Art! Loaded with close up photos of all the love of labor that went into these beautiful animals! Brings back many memories of the Great Danbury Fair in Danbury, CT which now unfortunately is a shopping mall.



4. OK I gotta give the book a great review as one of the authors is a very dear friend. (Marianne Stevens) I love the photos of the carousel that she purchased from my cousins!
   
   Seriously though this book is an absolute must have for anybody not only interested in Carousels but also in amusement park history. It's a wonderful coffe table book with to die for color photographs and fascinating information.
   
   Even children will love this book! It's beautifully done with glossy photos. Absolutely super.
   
   Warren Crandall



5. This an excellent book giving a good insight into the history of carousels from their early beginnings. Crammed with beautiful photographs of the various animals and some rare photographs of the carvers and their workshops. A must reference book if you are into carousels.

5 comments about Carving the Nose & Mouth: Step-by-Step Instructions for Creating Realistic Features and Expressions (Carving Expressions in Wood).

1. photos are washed out, too much light, hard to see. Jeff Phares is a world class carver, but this book isn't alot of hep due to photos. Tim



2. If you want to learn carving the human face you must have all of Jeff Phares books. This is another awesome one out of his series.



3. I would agree with previous reviews that the picture quality and overall presentation are not nearly as good as the Carving the Human Face book of Jeff's. I do think, however, there is worth in this book, in that it makes a decent companion to to the Carving the Human Face book. It goes into more detail in its specific area than the Face book and illustrates the differences between Native American and Caucasian faces, which the Face book does not. This made it well worth the price of admission for me.
   
   If you only want one book. This isn't it, in my opinion. If you want a companion to Carving the Human Face, I recommend it despite the above limitations.



4. The pictures are so poor, there is a glare off of the wood so you can't see where he carved. You have to read the captions under each photo and try to follow along.



5. This book is not on a par with Phares first book. Those who enjoyed and gained carving knowledge from "carving the Human Face" will be trully disappointed. The gallery pics are ok but the how-to photos are not the best. They lack clarity and depth.

1 comments about The Art of the Italian Renaissance: Architecture, Sculpture, Painting, Drawing.

1. This is an excellent publication, which will excite the layman and the student equally. The scholarship is superb and the illustrations are exquisite.
   Included are both familiar and new items integrating architecture, painting and sculpture of this most exciting period of human creativity.
   Probably for the first time in a single, general introductory publication we have a book that does justice to the arts of the period, in full colour. There is much to recommend in the book which without going into great depth provides up-to-date scholarship covering the entire period of the Italian Renaissance.
   There is no other book available in English to match this work, and it maintains the quality of other Konemann publications covering the Gothic, Romanesque, Baroque, Neoclassical & Romantic Periods in European Art and Architecture.
   Architects should be aware that while there are some building plans in the books they are not designed to be strict architectural books and serve only to generally introduce the buildings in their time and context.
   Finally for such fine large format, full colour publications the prices are unbelievably economical. Buy them all if you have even passing interest in these eras of art, you will not regret it.

1 comments about Part Object Part Sculpture.

1. This book was recommended to me by my sculpture instructor and she was right on. The pages are a double fold so there is no bleed-through, vellum overlays for text... beautifully done. Each artist is written about by a different author in college level (at least) language. Content is thoughtful, sometimes surprising and very informative and it deals with objects sometimes not thought of as sculpture such as many of Eva Hesse's wall pieces. It's a book worth reading more than once or twice.

5 comments about Mexican Papercutting: Simple Techniques for Creating Colorful Cut-Paper Projects.

1. I have this book and there are some beautiful patterns and ideas in it. I highly recommend this book for anyone interested in making papel picado for various festivities or just to make to brighten up your house. I ordered mine (autographed) directly from her website.



2. This book did a wonderful job of describing the 'how tos' of paper cutting. It contains detailed and easy to follow intructions on the art of paper cutting (both modern and traditional), with a variety of patterns for all levels. Also included is a brief, but interesting history on the art of paper cutting. A good book for beginners.



3. I have other books on paper cutting, but this book is different from the rest for two reasons. First, in addition to the more usual scissors and craft knives, it demonstrates the use of chisels, in a variety of sizes and shapes, for cutting paper. The second difference is that the projects in this book are not only decorative but practical. For example, using the pattern for a cut paper curtain in this book, I was able to transform a large window in my kitchen from an eyesore to a light show. On a sunny day, the sun comes through the holes in the "curtain" and throws flower shapes on the cabinets and furniture. As the sun moves across the sky, the flowers appear to "bloom". The whole project took about two or three hours from start to finish.

   I thought the curtain was a fairly easy project. There are other projects that seem a lot more complicated. To use this book, be prepared to do a fair amount of reading and re-reading to make sure you understand each step. There are helpful photo demonstrations for some of the projects.

   One other point: I found it difficult to use craft knives and scissors to reproduce these designs, especially designs with many folds, but it was incredibly easy to achieve authentically "Mexican"-looking results by punching the designs into the paper using wood chisels. This is because many of the designs just repeat the same cut shapes over and over again. But a good chisel is expensive, and too dangerous for kids to use.

   You can also invent your own projects. My favorite source for decorative flower patterns that can be adapted to cut paperwork is Linda Parry's book on William Morris. If I could only have one book on paper cutting, this is the one I would want.




4. As a Spanish teacher, this book is a great reference for papel picado. The pictures are beautiful and in some cases awe inspiring. While the projects in this book are somewhat complex, I had no trouble simplifying them for use in the classroom. We now have several colorful strings of picados adorning the walls of our classroom for all to enjoy.



5. Kathleen Trenchard really knows her stuff when it comes to Mexican papel picado. Her book is a marvelous collection of designs, history, explanation, and do-it-yourself ideas to make these paper decorations. One-of-a-kind!