5 comments about Drawing the Human Head (Practical Art Books).

1. I picked up this book while taking a drawing class on portraiture, and I found it to be an excellent supplement to the material I was learning in class. Hogarth takes the reader through the basics of measuring facial proportions, shadow and light planes, and anatomical details that are important to keep in mind when trying to draw realistically. While some of it may seem like overkill at first, with practice it becomes clear how paying attention to such small details (such as the various areas of light and shadow on a nose, or around the eye socket) can help improve one's ability to create a convincing human head in any medium of artwork.
   
   There are reasons to be critical of the book, however. As my art teacher pointed out, Hogarth's illustrations are extremely high contrast, emphasizing light and shadow for teaching purposes much more so than they should be in a realistic drawing. Some sections are more filler than actual useful information as well, such as the "Gallery of Great Heads"; I could have used more detail on taking the anatomical information of the earlier sections and how to apply it to portraiture and creating a specific likeness.
   
   Overall, though, this is one of the better books I've found on the subject and I do find myself using it as a reference when needed.



2. ...A popular, intermediate-level effort- It's definitely *great* for memory drawing, and it's recommended *mainly* for this reason...
   
   In recent decades there have been 3 main teachers in learning to draw heads from memory. For cube-based construction we have George Bridgman. For ball/sphere-based construction we have Andrew Loomis. And for oval/ellipse-based construction, we have the famous teacher of the Dynamic Drawing series- comicbook artist Burne Hogarth. Many of today's Japanese animation & comicbook instructionals are using these very same principles, along with some of the teachings by the Famous Artists School. My current interest is in oval & cube-based construction, and it's exclusively *oval-based* construction that is emphasized in this book.
   For me, the *best* section in this book is the 2nd of its 6 sections- which is oval-construction simplified. It's just 21 pages out this book's 160- but it's actually worth getting if you're interested in drawing from memory. The rest of the book, in my opinion, is mainly filler- to justify an entire book on this subject. In fact, Burne Hogarth's 1st book, Dynamic Anatomy, gives us a *very* brief intro into this exact same oval-based construction, and I think many people will prefer getting Dynamic Anatomy for this reason. I highly recommend getting the *original* version of Dynamic Anatomy- since I'm not a fan of the new, 'revised and expanded' version available today.
   
   Really, the *main* sections in this book that seem interesting to me are that 2nd, 5th, and maybe 6th sections. In the 5th, many different head-types are depicted and compared, including about 30 specific ethnicities- giving this book a somewhat 'international' feel. The 6th section is a 'gallery' of heads as shown in ancient sculpture, as well as more modern western art. It's interesting information overall; just not really necessary in learning to draw heads from memory. In short: For *beginners*, I highly recommend Drawing the Head and Figure by Jack Hamm in addition to this. For everyone else, this book is *moderately* recommended.
   P.S. For photo-reference of different ethnicities, check out Facial Expressions: A Visual Reference For Artists; also here on Amazon!



3. I absolutely love this book. I learned a lot from it in a short period of time. Most definately I would recomend it to anyone who has an idea about drawing that is interested in drawing portraits.



4. This book is excellent! This is first and foremost a book on drawing no fat, face composition "blanks" of human face types. This is the most complete basic face composition book out there. Changing this into a certain person comes later on. If you're looking for a book on how to draw certain people, this is not a book for you. If youre merely looking for in depth info on aging this is not a book for you. If you're merely looking for a book on how to draw faces simple and easy, this is not a book for you. But if you have the desire to know what the form is really like, not just lines, this is the book for you. The illustrations are to be understood, not to be copied. This book is for understanding, not remembering. It's logic, not like a phone number. An instant classic.



5. Burne Hogarth takes you through his technique of measuring human proportions. Beware, at times you will feel less like an artist and more like a mathmatician. Hogarths work is better suited to my sculpture than my drawing as he tends to show all the planes in his work as very defined surfaces. For a beginner trying to draw you can do a lot better.

5 comments about Illusive 2: Contemporary Illustration and Its Context.

1. Este libro me sorprendio desde pagina uno hasta el final. Si te gusto Illusive 1 este es una apuesta segura.



2. This is what you would happily expect...a book filled with page after page of astounding work from talented artists from around the world. What you might not expect (if you had not bought the first volume as I have), is that it is organized by style...and covers the gamut of design aesthetics and mediums. (by organized I mean, that there is no section by section titles that I can recall or index of organizing, but as you flip the pages you will witness the ebb and flow of similarities in the art that is displayed and the differences as you continue through the book, on to another style/medium.) I find this book (as I did the last) unique because of (1) the exceeding quality of artists and perhaps more importantly, (2) the relative "Freshness" of th work on display. As is the case with any book of this nature, the work can quickly become dated. I find that the designs and artists on display in this book are ahead of the curve to be sure... In my work, I scour the internet, read many books, sketch and visit galleries to think of styles and design approaches and have found this book (and this short series) to be a good showcase of work from which to draw inspiration from time to time. Hopefully it can do the same for you...



3. I just hope they publish this every year. I know I'd purchase it annually.
   
   It's similar to its previous version. Hardcover book about 300+ pages.
   This isn't a "How To Illustrate" book. It's a "Get Inspired" book. As a broadcast motion graphics designer, this hits most current styles. Each page is like a different mood board to get inspiration from.
   
   It covers collage, vector, traditional and others. And when I say current styles, I don't mean your "mom&pop" small town coupon illustrations. This hits more to the "Out of the Box" big city illustrations. Think clients that might have money and able to risk big (Nike, MTV, Toyota Hybrid, Diesel, etc.)
   
   Awesome buy.



4. This book is totally amazing... Some of the best graphic design work out there today. But not only on paper. Mush of this work is showcased as instillations. Really a true treasure for the graphic design art enthusiast!



5. As the firs one, a must buy for sure, if your are into illustration or like to see illustration, ore are in search of new tendencies for your ad or related, you should buy this book!

No comments about America and the Tintype.

5 comments about The Encyclopedia of Tibetan Symbols and Motifs.

1. this book is very educational. the descriptions are very detailed and tend to be lengthy (which I find to be very informative) but I must say the pictures aren't all that good and it is sometimes difficult to find exactly what you are looking for quickly. Still this is a very good book, great source of information, and I do and will continue to recommend it!



2. If you're interested in Tibetan Buddhist iconography for whatever reason you can't go wrong with this detailed book. The author's original illustrations provide a wealth of examples of images in Tibetan art, and the text provides rich historical and doctrinal background for understanding why the symbols are important. Highly recommended.



3. Recieved the book promptly and in the condition promised. The book is an excellent source book. It does suffer from being without an index, for which the author apologizes. A source book without index is less than it should be. Still the images are excellent, and I assume the text is accurate. The author has spent a good portion of his working life in preparation: studying with Tibetan artists and craftspeople; and, becoming accomplished at rendering the brush drawings in an authentic manner. A good compaion book, especially as this does not have a index, is the "Handbook" by the same author



4. It's a more interesting and authoritative reference for this subject matter. This is due to Rinpoche being a qualified (I emphasise the word 'qualified') Lama and Tibetan scholar. Also at no point does Rinpoche compromise Tibetan Buddhism by giving away restricted information.



5. I love this book. Having found it a few years back at a tattoo shop in Santa Cruz, California, I was only able to look at it for a short time but I was able to gain so much knowledge as to the wealth of designs and deep meaning found in Tibetan art. This book stayed in my mind thereafter. Here it is a few years and a couple tattoos later and the book resurfaced on Amazon. Great price, great condition and prompt service. This book is great for one who has interest in Tibetan art and it's symbolic nature. The concepts are well articulated and with each 'type' placed into a different chapter it makes refrencing quite simple. If you are interested, get this book!

5 comments about Thomas Jefferson's Monticello.

1. I have toured Monticello, and the stunning pictures in this tastefully put-together book does Monticello proud. Also the writings and diagrams within the book describing how Monticello came about, and something about the genuis patriot who designed it is very well done and most interesting. This book is well worth the price, and would make a wonderful gift.



2. After visiting Monticello and being awestruck, I could hardly wait to visit again. This book makes me feel as if I am there again. The photography is superb and the text so engaging. I am in love with this book as much as I am Monticello itself. I highly recommend it!!



3. Thomas Jefferson's Monticello, an essay in architecture, takes readers on a historical tour of the third U.S. president's cherished home near Charlottesville, Virginia, through well-written text and gorgeous, full-color photography. The book includes floor plans and photographs of Jefferson's original architectual elevations, as well as drawings of the finished building that we are most familiar with today. It describes Jefferson as art collector and plantation life on Monticello's farms, and it explores the four seasons in Monticello's gardens. Published in 2002 by the Thomas Jefferson Foundation, Inc.



4. This work successfully links the many unique qualities of Thomas Jefferson's personality to the unique qualities of the home that he designed and spent most of his life building and rebuilding. All of the intriguing features of this home are covered.
   Anyone interested in this remarkable man and his home who is unable to visit Monticello in person should strongly consider this work.



5. This is a highly informative, well documented book covering all aspects of the design and building of Thomas Jefferson's home, plus insights into why things were done the way they were done, through Jefferson's own notes, sketches and correspondence. Plus,the photographs are exquisite.

5 comments about Flash of the Spirit: African & Afro-American Art & Philosophy.

1. I had the privilige to see Robert Farris Thompson, when the FACES OF THE GODS exhibit came to the Seattle Art Museum. Dr. Thompson came to speak about the history of the orishas (gods and goddesses) in the santeria and vodoo religious practices amongst the Afro-Cubans, Afro-Brazilians and African-Americans. What sets Thompson apart from other scholars is his genuine passion for the subject matter he has well-researched, as well as his vast knowledge of the Diaspora, and the cultural interconnectedness of people of African descent throughout the globe.
   
   FLASH OF THE SPIRIT examines on a closer, more intimate level the cultural significance of the gods and goddesses depicted in mythology and art of those who are practitioners of (among other religions) Yoruba, Santeria and Voodoo faiths. We see beautiful and powerful illustrations and photographs of the jewelry, textiles, plates and figurines used in worship, and we also get insight into the characteristics of the gods and goddesses, their meaning in the lives of those who pray to them, and how this plays into other parts of society, human interaction and behavior. I come away from this book feeling that we are lot closer than we think, and that while "African-American" and "African" are important distinctions to recognize in terms of cultural definition, they are also at times parallel and quite similar to the indigenous Native cultures of South and Central America, as well as other parts of the world. This is fascinating material and Farris Thompson's writing style is pure poetry. I guarantee that once you start reading this book, you won't be able to put it down.



2. I really enjoyed reading this book. It is very educational and it really takes me back to my grandma nem' time.



3. If I could give this book 6 stars I would. Robert Farris Thompson presents our rich, ancient history making it quite clear that African Americans are not an isolated group but a group intimately connected to particular cultures and societies in West Africa and the African diaspora. The rich text is generously supported by illustrated plates. Essential reading for those who wish to gain an understanding of African cosmology, philosophy and art in relation to the African diaspora (North and South America, copious information on Brazil, the Carribean etc) Great reference material for students, artists, writers, researchers and thinkers. As an educator, writer and author I highly recommend this book.



4. I enjoyed this book when I first read it as much for the kinds of bridges it seemed to make as for his own writing style and subject matter. R.F. Thompson, who I had the pleasure of meeting once in the Metropolitan Museum of Art in New York, is someone who along with being highly knowledgeable cares a great deal for the subject. Where the book could be considered lacking I would say is it's way of seeming dated. It bares some cultural prejudice which, considering the cultural remoteness of the subject matter when compared to the intellectual/cultural arena of the writer(African and African-American, Afro-Cuban/Hispanic culture vs. Post-World War II Ivy League) - and how well he did anyway- is forgiveable, but present nonetheless. If you are expecting some pretty powerful things to be said about Coltrane, or the early days of Rap music and Hip-hop dance (now in its third decade of existence already), or Modigliani, or other things that are in the forefront of the present culture's mind, to a certain degree you will be disappointed. However, if you had no idea other than the Alex Haley "Roots" era rhetoricals about the derivation of many African-American and Hispanic/Hispanic-American cultural paradigms, this will enlighten you in ways that will have you going to the bookstore to see what else he and many others have written on the subjects. I recommend it- particularly for lovers of European modern art, studies of religion, and other things influenced by the Mother country.



5. Thompson's work on African retentions in New World artforms is seminal in the field of African Diasporan art history. However, Flash of the Spirit reads more like a best seller than a textbook. Fascinating details and insights into the meanings of art from Haiti to Georgia to Brazil, with excellent context for all objects. Great for anyone at all curious about African heritage, religion, and art. Occasionally thick reading, as one must trace entire cosmologies, but well layed out, full of illustrations, and textually easy to follow. Thompson makes an obscure genre easily accesible to readers of varied backgrounds.

5 comments about Art Since 1900: Modernism, Antimodernism, Postmodernism, Volume 2: 1945 to the Present (College Text Edition with Art 20 CD-ROM).

1. Art Since 1900 probably shouldn't be read by artists, younger ones at least. Here is where all your sincerity, all your peer support, all your sudden joy in thinking you've finally got it right this time, goes to die, splattered like meaningless bracken against the wall of Context, of History. Probably what's enraged so many people so much about this book is that its authors, scholars of 20th century art if there ever were any, aren't in the least afraid to make judgements, to call a bad idea a bad idea, to explore the limits of an artwork's relevance to the question: can art still matter? The criticisms of the book all seem to want to posit some grand democracy of artistic endeavor, or better still an anarchy, all the while ignoring the fact that we've already gone past the point of anarchy and moved into pure spectacle, which can only exist within the disavowal of history, and of judgement. Utopia's already here, but this book wants to mean more than that. Ultimately its message seems to be, simply: not making crap takes hard work. Read it and suffer.



2. Ok, parts of this book, especially the first few chapters, are really, really hard. But if you slow down enough, you can sometimes figure out what the author(s) are saying. Some of it is clearly written, so there must be at least one writer on board who can write for the educated masses.
   
   This book does deal with a lot of issues that are important to contemporary visual artists, especially in the second half of the book. The roundtable discussion at the end is worth the price of admission alone.
   
   The reproductions are really good.
   
   I taught art history for a couple of years, and I would love to teach a class using this book. It raises a lot of issues that would be fun to talk about in a seminar. I wish I had had it when I was in graduate school in photography.



3. As a visual studies major, I've read my fair share of theory and art history books, and this is by far the worst. It is filled with statements that ramble on for full paragraphs leave you looking for both the period and the point. The reader gets the impression that an intoxicated art historian is rambling on at a party, completely unaware of how uninteresting he or she is, or how little sense is being made. The legitimate information in this book could be presented in a pamphlet. I was forced to read this, and sift through 704 pages of hay to find the needle. I literally read this book while walking on a treadmill in order to maintain consciousness.



4. The best example I've ever seen of art historians taking themselves so seriously that almost every paragraph drips with pretension.



5. I suspect that a number of these comments were inspired by a scathing review in the Wall Street Journal by Eric Gibson (the "culture war" ones at least). But maybe not...
   I would have liked to write a more critical review of this book, although, or perhaps, because I liked it so much, but with all of these rather "blunt" opinions, it is hard to do anything but just praise it. Still, I'll throw out a couple of points of critique:
   
   1. It is obvious that the authors are trying to create a kind of definitive history of 20th century art. This is in part based on their particular take, and indeed, sometimes this is more evident than others (esp. the closer you get to the present), but in general it is a very thorough book (presenting numerous positions). That they were among the founding editors of October should make it more interesting to read than otherwise. Needless to say, it should also be read in this way. There is definitely a certain direction to this work. But isn't that what writing and scholarship is all about? See also point 3.
   
   2. I do wish that they would call into question some more of their own philosophical and political "foundations." For the most part, much like in October, their critique and development of Marxism, structuralism, psychoanalysis, "post-structuralism" etc. all seem to focus on a historical or art historical USE of these fields rather than going to the "heart of the matter" and maybe trying to address them on a philosophical or for that matter on a "real-political" level. It would be nice to be able to read the work from a philosophical or political vantage point too, not just an art historical one...they seem to SOMETIMES ironically mirror their "blunt" critic's weak position of lumping everything into one common trend of "continental philosophy" or "postmodernism" etc.
   
   3. The tension between textbook and the "avant-garde" art critic: I find this to be sometimes a bit too much, end up asking myself, am I in some "contemporary art 101 class?" or am I directly "on the front"...but in the end I find this also to be interesting. Trying to make an institution, a textbook classic out of all of these disparate attempts to undermine such an idea... I hope the next version is less well-mannered and proper and a bit crazier (less a text book).

1 comments about Classical Art: From Greece to Rome (Oxford History of Art).

1. This innovative and deliciously illustrated guide to the arts of Greece and Rome is composed in a light-hearted, humorous vein and provides as much entertainment as artistic edification. Furthermore, its unique exploration of Greek art through the prism of Roman culture offers a refreshing new perspective on the development of the wildly influential high classicism of the empire. In short, a delightful and beautiful book.

5 comments about Flip Dictionary.

1. I'm an aspiring author and the Flip Dictionary has become my new best friend. It is one of my favorite resources. Very handy whether in the office or on the road.



2. My husband just bought a second book for his office. Turns out that the Flip Dictionary makes sense to him when a regular thesaurus is too complicated. Since he has to write a great deal of correspondence, as well as personnel reviews and standardized procedures, finding the right word is terribly important. With dyslexia, finding the right word, and then writing the right word can be very challenging. He has decided the Flip Dictionary is a tool he cannot work without. If you need a simple thesaurus, this is the one.



3. As a journalsit, I never found Roget's Thesaurus to be of the slightest use, but I turn up Dr Kifner's Flip Dictionary at least once a week. Evan Whitton



4. I've had this book for over a year, and it has been helpful one time. It never has what I'm looking for.



5. I keep the Flip Dictionary right within my reach whenever I'm writing, along with my dictionaries and thesaurus.
   The Flip Dictionary is a great source of information if you're looking for just the right word to use. It should be on every writers' book shelf.

5 comments about Atlas of Foreshortening: The Human Figure in Deep Perspective (Second Edition).

1. This book is a valuable tool for drawing and understanding human bodies. I actually used it a lot. It's worth the price. (But there arent any shots of standing people from the top).



2. I saw a copy of this book for all of about 5 minutes before I
   knew this was it for demonstrating foreshortening in figure drawing.
   I have not had much time to spend with the book in the interim, but I
   fully believe it will stand up to it's promise.



3. I happen to like the fact these are in black and white, since the simplicity of it makes you familiar with the form. I already have The Nude Figure for my other references for life drawing. As another person said, this is not the best book to get reference for illustrative foreshortening. This book is more to train your eye to capture various parts of the form in foreshortening.
   
   I thought it was interesting how the author noted that it was difficult these days to find models because of people's need to do body alternations like piercings and tattoos.
   
   While I find the models average, I would have liked to seen a few different models like overweight or even more athletic to get variations of the form in perspective. I wouldn't even mind old people, but I'm not sure if the elderly could perform in some of those poses.
   
   Most of the poses are in seated or lying down positions, I remember the author saying also that a lot of poses even in perspective started looking the same.
   
   I got some use out of the book, for the photography was clear enough for me. I also like using it as an exercise to recognize the form, like certain muscle and bone groups would look like in certain perspectives. I think too many people want to copy and not understand the true value of learning and utilizing reference.
   
   It's not an AMAZING book, but it's still useful.



4. If you're an artist like myself and have trouble imagining parts of the body in odd perspectives then this book will probably help you. It contains literally hundreds of photos of both male and female models in various angles. My only issue with this book is that sometimes a pose will spread between the two pages, loosing some of the model in the binding.
   
   As a student I worked with drawing real models in a studio environment, and find this to be the next best thing to having a real person in front of you. This is a book any serious artist should not be without!



5. It's a great material!!!! a great research book and reference!!! there really are few chances for people in arts field to gain the knowlege this book provide. Usually the best way is real life observation, but you don't have a model any time you want to draw, do you? so this book is a great material when you don't have that chance and a guide for those who want to improve his work with a real model.
   My only complaint is the poor contrast on the pictures. It doesn't have to show deep black shadows but a little bit more of contrast could emphasize better different muscular groups. Any way, most of reference books are the same at end, but not this one!!! Foreshortenig is one of the hardest views to archive for artists (painters, art and human figure students, comic book artist and illustrators, etc)