5 comments about Polymer Clay Surface Design Recipes: 100 Mixed-Media Techniques Plus Project Ideas.

1. This book had some interesting techniques in it, but for the most part this isn't something that will get a lot of use. I'm not all that into uing paint on my clay and this book has several paint treatments. So for me, this book wasn't that great.



2. I really like this book for the fact that although i do not use polyclay often, this books ideas on color, scheme, and technique can work for most media. i thoroughly enjoyed the eye candy but savor it mostly for the secret recipes on coloration. i would recommend this book for all involved in visual arts.



3. Great information, I would recomend it to anyone who likes Polymer Clay.



4. This book needed writing! Thank you, Ellen for sharing years of experimentation and innovation. as you created your art. The specific information contained within its covers could well save an artist much time and money.
   
   Great information and a must have resource on surface treatments and polymer clay.
   
   Donna Kato, author of The Art of Polymer Clay



5. Some techniques in this book were new to me and some I have done for years. I like this book because it is a good collection of surface treatments all in one place.

2 comments about Encyclopedia of Sculpture Techniques.

1. Clearly describes a wide range of sculptural terms, techniques and materials. Enteries are concise yet are often in-depth providing a clear understanding of complex or obscure subjects in this field of art. For the non-art school sculptor (like myself) or the new art student, it is invaluable reference book. Well-written with a personal and occassionally witty voice, I found it easy to read it from front to back. Pictures and diagrams instructive and relevant although more would be helpful for a few enteries to assist in understanding the subject in question. Well-bound and sturdy book for a paperback. A must-have for a student of sculpture.



2. A revised & updated version of the 1991 edition. This reference work now encompasses new materials such as resin & metal particle castings, synthetic clays, alloys, polymers.
   
   The book serves as an indispensable encyclopedia for sculptors/studio practitioners or enthusiasts/collectors - describing all methods of sculptural creation from the lost wax casting process to contemporary materials and associated techniques and tools.
   
   It covers sculpting techniques (hand-building, carving, forging, casting, moulding, modelling, welding etc) materials, processes, tools, patinas, finishes, glazes, fixings, mountings, how to light sculptural work, and many such creative options. It's well illustrated (photographs and drawings).
   
   Wide-ranging, with real depth and breadth - for example, on materials alone, it includes types of stone, categories of rock formation, plastics, metals, clays, woods, concrete, glass, plaster of Paris, polystyrene, papier mâché, wax, gelatine and so on.
   
   There's a sense of the history of art in many of the explanations and the rich cumulative inheritance of sculptors, sculpture and sculpting.
   
   A major achievement by accomplished sculptor John Mills, who provides an indispensable reference work for any practitioner, art historian or committed collector whether beginner or experienced.

5 comments about Sculpture: Principles and Practice.

1. If you purchase this book knowing you are getting an outdated book you may enjoy it more. It has some good info in a few areas, especially in basic clay-up, but lacks in most modern mold making techniques. The sculpture in this book is basically classical to put it simply. I would still reccomend this book especially to beginners.



2. I was thinking that this book would give me tips and ideas... its more of a history then how to.



3. If you are a beginning sculpture student, this might be a book for you. Althought the information is somewhat dated (original copyright is 1949) the book is fairly direct and straight-forward in its writing style. Primary interest of the author--and the bulk of written information--is directed to modeling in clay and casting in plaster. The section on stone carving is short, but fairly complete. The woodcarving section is sketchy and, other than a good list of the tools needed, inadequate.
   The sections on cast stone (concrete) and casting metal are outdated. Certain steps are still the same, but the materials currently in use are so different as to be almost another whole chapter.
   A great deal of space is given to architectural sculpture, but again, the info is outdated. The book gives information on producing a stone monument, but does not address the cost factors (nor the steps in computing costs)of assembling the materials and placing the finished work. Nowadays that is of prime importance if a sculptor wants to compete for art in public places.



4. I agree with the comment below - this is a beginner's book. More power to it. It was written by someone who has taught as well as practiced & focuses on the sculpting process rather than on artistic technique. Some of the mediums he covers (casting stone, glue molds) have advanced in ease of use since this book was written, but this guide has stood the test of time.



5. I found this book to be overly simplfied and not very helpful accept maybe to the most novice sculptor. The appoach is that of amateur craft not serious art. I thought the photos of examples to be most uninspiring.

5 comments about Passage.

1. This product has not yet been delivered so I do not understand how I can review it. I can however review the service which I find to be unacceptably slow - 2 months to deliver is really not good. Very bad.



2. I really enjoy the works of Mister Andy Goldsworthy. He has a great imagination to use the nature and create unnaturals things within.



3. excellent. the fleeting caught whenever one wishes. Goldsworthy is
   always worth considered thoughts no matter how simple his art may seem...
   the sum is greater than its parts...and it is lovely.



4. When I first heard of Goldsworthy my temptation was to label his art as New Agey because of his interaction with natural mediums and his works' outdoor settings. This would have been a gross mislabeling. I've also heard the term "environmental artist" bandied about, but that is just far too vague and I'm hoping we don't adopt that as part of our art-appreciation vocabulary. I think Goldsworthy and Christos are grouped together under that title, but they couldn't be more dissimilar. Christos' works always so statement oriented and meant to be observed from a distance, while Goldsworthy's evocative sculptures and leaf paintings invite you to examine them more closely and admire how well they fit into the landscape. And though his art is made from natural materials and dependent on the elements, the works themselves are very modern. Passage was the first book of Goldsworthy's work that I've been given, though I've seen some of his smaller pieces and photos in several galleries.
   
   His moss covered stones surrounded by sun-blindingly bright leaves in perfect auras make me examine my walks through the park in new ways. He uses sticks and stones and leaves the way James Turrell uses light and corners and openings, letting you rediscover the things you may have taken for granted. Beautiful and painstaking work. Yet accessible. After reading this, you'll be tempted to go outside and create your own sculptures. Passage offers some commentary by Goldsworthy and as well as diary entries and curators' comments. But the pictures make the book. Many of his works are photographed at different times of day or year and because they are dependent on their environment, the pieces change dramatically. Very beautiful.



5. The pictures in this book are once again amazing - and also very touching. It's easy to forget the time when you flip through this book and read the artist's remarks about certain works. The artist is simply a genius.

1 comments about Unmonumental.

1. The book came to me in perfect condition and the content, well, anyone interested in the most current and contemporary sculpture today should have this book. Some of the artists will be familiar, some not, but all are doing quality work edging along the boundaries of what we call sculpture today.

2 comments about Paul Klee: Hand Puppets (Emanating).

1. This is a great book for more "out there" puppeteers, artists and lovers of Paul Klee's art. His son, Felix, reminisces about his childhood with his artistic Papa, who built whimsical, sometimes scary and political, puppets for his young son's enjoyment. There are many photos of the restored puppets and Felix's stories about them and his father are charming.



2. I just got this newly published book and it is simply wonderful. I have a huge puppet book library and having just skimmed through it, I am thrilled to see all photos/puppets are ones I've never seen anywhere else. The puppets of Klee are an absolute inspiration, and I am so glad there is a new book that introduces them to a new generation. The only other book about these puppets is in the range of $500.00 if you can even find one, so this is an absolute steal, and probably will become collectible as well. This is put out by the new Paul Klee museum and text and photos are all fascinating. You must have this for your puppet library!

5 comments about Manual of Traditional Wood Carving.

1. This book is full of information, with a catch. It is like a hundred years old! and has never been updated. To sharpen chisels, it recommends a three foot diameter grinding wheel set in the ground. good for traditionalists.



2. maybe in the 1700's it was a good book, but now it s not. i read about half of it, put it where it belongs, in the trash. save your money, go on line, alot better info on the web,for free. tim



3. This book is somewhat outdated. Don't purhcase it if you are planning to learn wood carving from it.
   It is however an interesting reading and will provide some usefull information.



4. If a person could only have one book on woodcarving, this would be THE book. It was written back in 1911, so some of the material is out of date. For example, the section on how to sharpen tools is dated. Some of the "tone" of this large (568 page)book is in the style of stuff written at that time. It can be a bit preachy and it can get a bit philosophical at times. For example it talks about how learning to carve wood makes you a better person. But these points are so minor, when you consider the entire book, that they cannot even be considered as flaws. There is no other book which even tries to cover just about all types of woodcarving. It covers:tools, history, and styles. It provides an almost unlimited (1146 to be exact), and certainly unparalleled set of photos and line drawings of different types of carvings throughout history. He even has a chapter on how to set up training programs for woodcarving for various groups of people.
   Mr. Hasluck does provide some "how to" information. He provides a set of recommended gauges, clamps, sharpening equipment, bench designs, etc. He tells you about and even illustrates the various steps of carving (setting in, grounding, modeling and finishing). He is the only author I have come across who explains why he recommended every tool that he recommends. This is absolutely enlightening!!! It is interesting that his recommended set of tools is much different from the modern authors on this subject (eg Chris Pye, Nora Hall, etc). After researching this topic, I have come to the conclusion that Hasluck selected his set to be most appropriate to highly detailed relief carving, which is the type of carving that he spends the most time on.
   I would bet that if someone wanted to start learning how to carve, and they bought only this book, they would be very disappointed. If you are looking for a "how to" book, which gives you a preselected sequence of five projects, from easy to medium, and tells you which tool to use to make each cut in each project, then this is NOT the book for you. There are other books that do this much better. Go to the website for Chris Pye and check out his books on introductory carving, and check out the videotapes of Nora Hall on her website. These will give you much more of the very specific "how to" information on a sequence of specific graded projects.
   Every really good carver that I know has used this book extensively. Most of the good carvers that I have talked to are mostly self taught. All speak "lovingly" about Hasluck's book. It is the greatest source of carving information and suggestions and illustrations you can find in one place. One of its "drawbacks" is that it is so encyclopedic, that one could not read it from cover to cover. This is more of a reference book that a carver refers to VERY often during his/her development.
   Hasluck's coverage of Chip Carving is an example of how encyclopedic he is. Other authors on this subject only cover one of the many ways that it can be done. He covers many of them in great detail, and he doesn't denigrate any of them. I would buy this book only for the set of chip carving designs that it includes. The rest of the book would be "gravy" to me.
   This book is to woodcarving what the Roman Coliseum is to sports arenas. It is a classic. I doubt it will ever be surpassed.
   Hasluck's book is really for the person who has taken control of his own education in woodworking, and who wants to become VERY good. It is far too much for the casual person who wants to make one or two carvings with inexpensive tools. Of course, if you like to have impressive books on your coffee table, this would be a good one!!!!!
   I am in awe of Paul N. Hasluck, the author of this wonderful book. Having the goal of writing a book of this scope and depth would be like having the goal of climbing Mt. Everest without oxygen. It would not be for the faint of heart. Virtually all serious modern books on woodcarving refer to this 1911 book. It is incomparable, and it is a real bargain. In my humble opinion, you'll get far more out of this book, which will probably cost you less than $20, than you will from a course on woodcarving that will cost you $1000.
   BUY THE BOOK. You'll be glad you did.



5. This is one of those rare books written a long time ago (early 1900s) when craftsmen and artists actually made their livings working with their hands (after serving apprenticships under masters). Their art went on to be perfected during a time when such hand-craftsmanship was valued and rewarded albeit simply and honestly. The treasure trove of techniques and historical information in this book is the kind that I typically find only in old books like this one. 'Very applicable to todays professional or recreational woodworker/carver and to those simply interested in historical carved styles evident in todays antiques.

1 comments about Silhouette Designs for Artists and Craftspeople.

1. This is one of my favorite and most-used clip art books - full of fairies, dragons, mermaids, butterflies, dancing people, and more. I typically use it as a resource for making handcarved stamps for my journal. I highly recommend it!

No comments about Antonio Lopez.

5 comments about Boundaries.

1. This book accomplishes for me what Maya Lin set out to do - it provides a well of knowledge that I keep coming back to. I have shared her philosophy with friends and family providing a direct and intimate dialogue with her work.
   I first came across 'Boundaries' while doing research on public controversy and sculpture. I felt that I was listening to Lin's voice and began to understand why she depicted the works as she did. I was drawn to the simplicity of her designs that left space for human participation. When the book had to be returned to the library I had to have a copy for myself to continue my understanding of her works.
   The aesthetic set-out of the book draws the viewer into the designs with more understanding. It is not just a coffee table book, but one that encourages one to rethink and revalue ideas.



2. After days of a dry spell, in trying to figure out a design problem; I started to flip through this fabulous book. Maya Lin's Boundaries; is a book that is food for the soul of an architect. Ironically, the title of the book is Boundaries, but the whole essence and poetic journey allows for one to see the world with out "Boundaries".
   
   Traveling through each project, Lin is able to take us from her thought process through a complete execution on each project. She is so delicate in describing each event, from growing up, the Vietnam memorial, to her goals in the future. The reader can travel with her, through each process, struggle, and creating architecture that is able to resonate within it's setting.
   
   Thinking with her hands, Lin describes each event, each challenge, and solution, allowing for the the reader to gain an inside, touching the souls of what every architect and designer needs.



3. Maya Lin's "Boundaries" is both creative and stimulating.
   
   This book is not an autobiography and it is not an art book, but rather an extension of Lin's work. Many know Lin for creating the Vietnam Veterans Memorial and like the memorial "Boundaries" provides a medium-both public and private-to observe and interpret what we sometimes don't even consider.
   
   If you like photography, architecture, or simply wish to know more about an idea behind one of Lin's works then this book is for you. I love the format. It is easy to read and the pictures are of high quality. The pages are numbered from 1:00 to 12:00 and each chapter starts with a new hour. "Boundaries" is refreshing- it's truly unique and inspiring.



4. There are two ways to read this book, as Lin points out in the preface. First is just as a coffee table picture book. In that role, "Boundaries" gives a photographic tour of many varied monuments and installations. Lin is best known for the Vietnam Veteran's memorial. At the time, it was an unprecendented look and a deep controversy. Since then, I think it has become what Lin had hoped: one of the most personally involving war memorials ever. Lin has moved on since then, and this book shows many of her more recent works.

   Although her family heritage is Chinese, Lin identifies herself as American. That gives her the freedom to use concepts from many Asian traditions. Many of her later works show a sense that I see as Zen-like. They are centered on stone, water, earth, and light. Like that first memorial, they invite the viewer to touch and become involved in the work. "Waves", for example, is a large-scale earthwork to be explored, offering surprising privacy in an open, sunlit lawn.

   The second reading of this book comes from its text. It explains Lin's approach to her work. I was quite surprised to fined out how important collaboration is for her. Most of her installations are undertaken with archtitects, writers, or preparators of various kinds, quite opposite the 'lonely artist' stereotype. I was also surprised to learn that her first conception of most pieces is narrative, not pictorial. To me, translating word into image and structure is a complete mystery. My own thoughts work in the other direction. That difference intrigues me.

   The book itself is a pleasant artifact. It's well printed, well organized, and displays some thoughtful, unusual typography. It's a vehicle well suited to the material it carries.

   "Boundaries" was printed in 2000. That means that the catalog of Lin's work has developed since then. More of her work surely exists that was locked out by the publication date. I look forward to the next book documenting her work, and I look forward to her future development as an artist.




5. Sometimes I felt really sad that I don't have enough money to bring this book home.Maya lin should be an architect who can be also known as a good writter.Her writting had combined both beauty architecturally and verbally,like a stream of purity norished readers'heart,explained her designs with pleasure of sights.She got similar passion as her famous aunt lin huiyin,composed a melody of life,mastered the way a human being might uneasy to see.I am appreciated her way of representation.That she inheritaged from Lin's family.She absolutely knew that poetics in their family traditions,a symbol of very special abilities.