4 comments about Decorative Furniture Finishes With Vinegar Paint (Decorative Painting).

1. Don't let the title fool you.
   This book is for anyone who does decorative painting, not just furniture.
   I just recieved my copy and am having a ball experimenting with all the great information I have found in this book.
   Most of my painting is on the paper mache objects I create, but I see more wonderful possibilities for more vinegar painting.
   Like the room divider/screens I purchased for a steal this summer
   at yard sales. I kept wondering what can I do to make these screens look unique and different. I found my answer in this great book.
   I highly recommend this book. It's a real treasure!



2. Many years ago I was at a stranger's house (maybe the house was for sale or for rent), and I saw the most beautiful painted piece of furniture. This armoire was finished in a variety of rich brown textures, and I asked the woman how it had been done. Although she was the artist, she was very secretive, admitting only that she had used a wine bottle cork to produce one pattern.
   Since then I've been looking for a book that would show me how to create these results. I've bought at least a dozen 'paint your furniture' books, but they focused on flat applications of paint. Admittedly pretty, I wanted instead to produce the illusion of depth and exotic wood grainlines that I had seen.
   Yesterday I received Bill Russell's book, and this book reveals the secret! The pictured projects are gorgeous, the illustrated instructions are some of the clearest and easiest to understand that I've ever seen in hundreds of how-to books, and the necessary supplies are explained in detail.
   Bill uses a variety of tools to manipulate his paint, but not a cork. Yet following his explanations I can see how to use one, both on its side and using the end. Bill suggests making sample boards out of inexpensive cardboard to test colors and techniques. What would happen if I used a sponge? A piece of crumpled cloth or lace? Based on his solid basics, a decorative artist could have a ball exploring the possibilities. But one doesn't have to be an artist to produce lovely results using Bill's suggested colors and combinations. What a fantastic book!



3. You've seen all those lovely one or two page articles and photos in the popular magazines about how to do vinegar graining on furniture, boxes, and frames, but they left you wanting more. Well, look no further, for this is THE answer. Loads of pictures with the author working on all kinds of stuff. Lots of different tools to use. Very detailed...this author shares his love for this craft (really artistry) and his sources with you in this book. You'll even want to sign up for his workshop in Philadelphia, PA if you can't get enough here! AND...don't forget to add these to your list as they will round out your selection of decorative painting books/photos/techniques: THE ART OF FAUX by Finkelstein, PROFESSIONAL PAINTED FINISHES by Marx, and FOLK FINISHES by Teles. You won't go wrong by adding one or all of these to your shopping cart. Knowledge is power...and these books give you the power to do great things with glazes and paint!



4. I've been looking for a book on this topic for a long time. I had seen some examples of vinegar painting in a magazine and was blown away by the wonderful dimensional effects it produces but the article contained no instructions as that artist called the process his "secret". Well, Bill Russell (bless him) is an artist who's happy to tell how it's done. This beautiful book is full color with very complete instructions and photos for creating the dimensional illusions which are the hallmark of vinegar painting. Personally, I think the results exceed most of the time- consuming oil paint approaches. The supplies are basic and affordable and it's a very health-friendly art form. The effects can be varied endlessly to give you completely unique designs that can be used together in a project without becoming repetitious to view. I'm surprised vinegar painting hasn't become more well known to artists as it is surely the most user-friendly way to create sophisticated faux-texture effects. People invariably look at my vinegar paint pieces in amazement and ask how in the world I did that (it looks like it takes forever--it doesn't). Maybe no one else has been able to find instructions either...

   If you're interested in creating stunning paint effects that (almost)no one else is doing, you will love this book. I think this is the only book currently available on the topic (I certainly did look) but it really is the only one you need.

No comments about Architecture: A Place for Women.

3 comments about Watercolor Basics: Light (Watercolor Basics).

1. Unfortunately this wonderful book is OP. I had the wonderful opportunity to attend a workshop/demonstration by the author and what a talent and excellent teacher and this title is equally excellent. Well thought out and explained with useful demonstrations. Judy Morris shows you how to see light and shadow. I have purchased other books on the same topic and Judy's tomb tops them all.



2. As a new watercolorist, I have a very serious problem about seeing light and shadow. No matter how my instructor tried to point them out. I hardly see and paint. After reading this book, my eyes are just opened and bring me to a new way of seeing light and shadow. I now understand what to look for and how to improve my rather 'flat' painting.

   The explanation, samples, and instruction in this book are very useful, easy to follow, and practical. I would definitely, highly recommend this book to whom has problem of seeing or understanding nature of LIGHT.




3. I read the book from start to end as soon as I got it in the mail and then again a couple of days later. It was so informative and has some excellent examples of what the author is describing verbally. The exercises are easy to follow and you learn so much from doing the exercises. I am enjoying the book very much and am looking for more from this author. Easy to read and understand but each time that I read it, I discovered more tidbits of knowledge. I probably would not recommend this book to advanced watercolorists but it was just PERFECT for my needs since I only just started the conversion from oil to watercolor.

4 comments about Basic Flower Painting Techniques in Watercolor (Basic Techniques Series).

1. This floral painting book is excellent. Instead of a one-technique collection from a singular artist, this compilation from several fine watercolorists provides a treasure chest of techniques. From basic watercolor daisies to crinkled masa paper pansies, this book gives clear demonstrations and inspiration. There were simple projects that were provided quick success, and more challenging techniques that required some practice.
   
   Some prior basic watercolor experience is necessary. The instructions assume basic level skills such as charging, negative painting, glazing and use of liquid masking. Successful composition suggestions are covered, as well.



2. After purchasing many watercolor books on flowers and realizing they just didn't fit my needs, I was hesitant to purchase another one. But after seing Basic Flower Painting, I succumbed and am thrilled with the instructions and the step by step demos that are the most helpful of all. The price is so reasonable for what is provided in the content, and the colors are as vibrant as in a much more expensive book. I couldn't ask for anything more. I recommend it to any level artist whether beginner or advanced. There's something for everyone in it.



3. Caveat: this title may attract the novice, but "Basic" shouldn't be confused with "Beginning." If you are have a limited palette and are not yet conversant with terms like "charging color," "thirsty brush," and "modeling," the demonstrations may be frustrating.

   That being said, the book is a joyful compendium of fine work by accomplished artists. Many examples are featured in the _Splash_ series. Demonstrations are varied, detailed, and challenging (although the section on special effects with cotton swabs is a bit long).

   As a reference or idea-generator, the book is excellent. The editor has thoughtfully included sketches for constructing single blossoms, composite flowers, stems, leaves, weeds, and wild grasses. For the adventurous, she also includes articles on techniques with crumpled paper, compositions, acetate, acrylic, and airbrush.

   I would recommend this book highly for an advanced beginner who is interested in exploring florals in more depth, or for the more accomplished artist who seeks a comprehensive overview of the subject.




4. If you really want to learn about flower painting, This is one book you simply cannot do without ! This book REALLY teaches you the basics step-by-step. It is beautifully illustrated and will give you the necessary knowledge in learning how to paint flowers with the help of different artists. There are very few books on flower painting that will give you this much demonstration, tips & techniques plus beautifully painted flowers that are painted so realistically that you can almost smell them.

1 comments about Welcome to My Studio: Adventures in Oil Painting With Helen Van Wyk.

1. This book takes the reader through a step by step process, begining to end of creating a painting. It starts out by talking about setting up your composition (selecting your elements) and ends with examples of how to add finishing touches to make your painting sparkle.

   It gives many examples of still lifes but also includes studies of portraits and a few landscapes. This book is especially helpful because the author makes her points very clear through her written instruction along with pictures of her own paintings and the process of creating them.

1 comments about Falling Glass.

1. Simple and clear description.
   A must, before designing a building with any amount of glass.

5 comments about Painting With Your Artist's Brain: Learn to Paint What You See Not What You Think You See.

1. I found this book by accident, started to read it and left without buying it. I was overjoyed at finding a copy on Amazon. This book is loaded with great information, instruction and exercises. I highly recommend getting the book and practicing the exercises, you will learn more that way. I can see why he would be a good teacher. This is no "rip-off" of any other book, especially "...Right Side of the Brain." Completely different approaches to a very sometimes difficult medium! I don't think you can go wrong with this book.



2. ...and I've bought a lot of them! There are some similar ideas in this book to the those in Drawing on the Right Side of the Brain, but this book is all watercolor-specific and boiled down to pack in the maximum information. I like Mr. Purcell's style, as well, which is always a bonus. I found that it inspired me to work harder, and few books can do that. I highly recommend it.



3. Carl Purcell is not only a talented artist but most practically, for everyone who picks up this book, a clear and gifted teacher!
   
   I've read and studied many books of this genre but THIS ONE is my favorite....
   
   Every page is a LOADED tip sheet of instructions in concise short and to the point lessons.
   
   TWO BRAINS you see... one is your friend/one your enemy (if you are an artist!)
   
   In a room full of painters you can see who is using which brain!
   
   Identify the enemy and watch your work take off....
   
   I AM GRATEFUL to find the book that makes my work satisfying and new.
   
   Just sorry I did not find this jewel sooner....



4. This little book is packed with important concepts for artists. The wisdom presented is essential for visual composition, regardless of the specific medium.
   
   The author's treatment of value is especially valuable (pun intended). Color is important, but value is even more important. He explains why and shows how.



5. My instructor has many books but suggested this one over all for new students. I found it very helpful and suggest it as a good start for learners. I like the colors used and had good results with the various exercises.

1 comments about Ultimate Lighting Design (Ultimate).

1. This large, profusely illustrated, multi lingual book illustrated the lighting projects of Herve Descottes and his company L'Observatoire International. These projects are largely for commercial building such as concert halls, churches, theaters, art galleries and a few restaurants/lounges. But then to round it off, there are projects like the lighting of Columbus Circle in New York City and perhaps the most strange, the Fresh Kills Landfill on Staten Island.
   
   This book makes it clear that advanced and sophisticated lighting techniques are as an important a part in the basic design of a building as is the design of the structure itself. This is basically an idea book. Looking over these successful designs to see what was created using something as ephemeral as light. Something that we see, but which really isn't there.

3 comments about Architecture from the Outside: Essays on Virtual and Real Space (Writing Architecture).

1. The most enlightening chapter is "The Future of Space: Toward an Architecture of Invention". For that essay alone, buy or read this book. Ms Grosz problematizes philosophies with virtualities, logics, or spaces they have long overlooked. Moving away from a tired tradition of coherentism and rigor (phallocentric logocentrism), Aristotelian logic and argumentation, Ms. Grosz takes us on a journey through space and time, before or after space and time, and in between time and space or space and time (the interval). It constitutes a journey, as such, that won't soon be forgotten. Ms. Grosz offers insights such as the following:
   
   "Space itself, the very stuff of architectural reflection and production, requires and entails a mode of time, timeliness, or duration. Indeed, space must always involve at least two times, or perhaps two kinds of time. The first is the time of the emergence of space as such, a time before time and space, a temporalization/spatialization that precedes and renders the organization or emergence of space as such and time as such and thus emerges before a scientific understanding of a space-time continuum." (p. 110)
   
   Time, as such, is represented by the virtual (virtuality), "a concept that requires not only a time before time but also a time after time" (p. 111).
   
   Ms. Grosz's essays are informed by her expansive and extensive knowledge and erudition of Aristotelian logic, contact physics, maths, and postmodern philosophy.
   
   Her insights into the mysteries of space and time, the suchness of the now, the virtuality of the actuality or the potentiality, and the "hesitation" of durationality will have your head spinning as it's nodding in agreement.



2. Professor Grosz as done it again. In her latest work she as out done herself. Enjoy the read



3. Initially I was impressed with this book, it seemed to be well written and to raise some interesting questions concerning architectural ideas of the present and future. As the book progresses the author's rhetoric gets a bit thin, causually citing references that are never elaborated upon leaving many of her arguements baseless. If you suffer from the ability to develop your own questions concerning the future of architectural thought/theory, whether you are an architect or from the 'outside', buy this book. Otherwise find an author that can actual communicate an idea beyond an initial thought.

No comments about World's Greatest Architect: Making, Meaning, and Network Culture.