5 comments about Geometry of Design: Studies in Proportion and Composition.

1. I bought this book primarily to see the studies of proportions in architecture. There are very few examples (really only 4 pages dedicated to that subject and 3 buildings analyzed) shown here. It does, however, give a myriad of ways to lay out different proportions using rectangles, circles, triangles, pentagons, etc. These, along with the examples of proportion in nature and on the human body were enough to spark my imagination as to how proportion can be used in design of buildings, but if you are looking for broad analysis of architectural proportions, look elsewhere. The examples that are given are mainly of poster design in the 1900s and Modern furniture design.



2. Want to be better or the best at what you do? This is the kind of book you use to fuel inspiration at a foundational level.



3. Kim Elam's book is not only a fascinating read, but beautifully designed as well, making it a perfect example of its subject. A must for all artists and designers.



4. It was very fast to get the product and I experience a very good seller!



5. As a design student i have found this book to be very informative, yet it doesn't really get into too much detail which for me is good. This book is good for understanding the golden seccion and how it has been applied in some of the most memorable designs of all times as well as in architecture and other forms. If you want a full, no-details-left-out kind of book this is not it. The most important thing about this book is the examples. for begginers it really helps to see that proportion and composition is not just a matter of intuition or chance.

5 comments about History of Beauty.

1. Seems to be a reworking of earlier books like Arthur Marwick's book BEAUTY IN HISTORY. To assume that art is
   a representation of beauty of it's time is for future people to think we valued Picasso's notions of ideal form in his abstract depictions of women. Just as people falsely assume Ruben was painting beautiful women, he was doing nothing of the sort. His journals contain amble notes about how he preferred the male form. Sometimes art is just an expression or an exercise in politics, skill and who is paying the bill.



2. This is an excellent archive of writing about and images of beauty from Classical Antiquity to the present day. The one thing that the book makes abundantly clear is that what is considered "beautiful" is constantly changing. The concept of that which is beautiful is as old as the human race itself and will continue to be redefined as long as history lasts. Umberto Eco's strength in bringing this collection of texts and images together is his use of little known sources from the Middle Ages as well as Italian Renaissance authors such as Baldassare Castiglione who deserve to be better known. Binding, design and organisation are all first rate and this is a very readable and accessable text. Beauty is all that pleases................



3. I don't know how to put it, but I found the book to be quite fascinating in terms of giving specific levels of the idea of beauty in culture, society, and especially in history. It adjusts the idea of beauty and how it affects everyone's perception of psychology versus the time periods of different eras and such. It is enlightening and informative, as well as a book that keeps the notion of beauty in a broad perspective so as to not lean to one side more then another. It is fascinating to know how intelligent Eco really is, and that he seems to have moved my artistic passion through notion of looking at beauty through the eyes of a person who has been able to grasp this concept thoroughly well.



4. Eco's study of beauty and what constitutes it inspires an investigation into the nature of beauty itself, and in the process it also takes one on a tour of much of the most influential art of western history. An uplifting, thoughtful book by a great genius of modern times.



5. I have been a fan of Mr. Eco's work since I read 'The Name of the Rose'. This book is a great example of the devotion Mr. Eco has in the imagery he describes in all of his other work (fictional and Non-Fictional). The book is sincere and a great guide though work which exemplifies the Beauty in the transitions Art has evolved though. The hard cover version of this book is beautiful indeed.

5 comments about The Little Book of Hindu Deities: From the Goddess of Wealth to the Sacred Cow (Little Book).

1. This is a wonderful book, organized into 1-page-text-story with 1-page-picture. Great for bed-time story telling. Just pick up any story and kids enjoy it. Very appropriate for elementary-school-age kids. Highly recommended way to introduce mythology via short stories with great humor.



2. "The Little Book of Hindu Deities" by Sanjay Patel is a witty, fun, and refreshing guide to the goddesses and gods of the Hindu tradition. After a traditional opening blessing from the elephant headed god, Ganesha, Patel jumps right in with explanations on the Hindu trinity of gods, forms of the god Shiva, and manifestations of the Goddess.
   
   What makes this book truly unique, however, is Patel's colorful interpretation of the gods. Each deity discussed has a full color cartoon-like counterpart. Drawing from his work at Pixar, Patel creates playful and whimsical images of the Hindu divinities that are both adorable and full of life.
   
   The writing itself is also quite funny. In his description of Saraswati, for example, he writes "...Saravati enjoys playing her instrument, the veena, as loud as she wants and can sit glued to her favorite books, the Vedas, guilt free for hours...Gods, eat your heart out, because this goddess is not available or interested--that is, unless your have a library card or can play back-up sitar" (page 39).
   
   For anyone interested in Hindu myth, "The Little Book of Hindu Deities" is a must. Patel brings the gods, heros, epics, and demi-gods of Hinduism alive in a way I have yet seen. Where else can you find the
   fierce goddess Kali turned into a huggable power-puff girl? Simply too much good stuff!
   
   Rating: 5 out of 5 magick wands!



3. This bright and cheery book is great for all ages. The illustrations are great and the author defines each God/deity so well and with a touch of humor. There are so many Hindu deities, that its hard to keep them all straight but this book makes it easy to remember. With each deity, its like reading a great story and the way that Patel envisions each deity is so fun.



4. The approach of the autor is really lovely and innocent. Evey story is full of love. I guess is a book for children over 10 years, I am 49 so I am over the minimun age to enjoy it.
   
   I am a yoga teacher and I have read some of the stories with differente context. Even the most fierce deities are looked with love, this is the true value of the book and this is how the deities should be explained to any interested in hinduism
   
   Pedro



5. In addition to a lifelong appreciation of Hinduism, I've been engaged in serious research for the last two years and of the 50 plus books i have acquired and scores more i've read, this is my favorite. It has great insight in a light, enjoyable presentation. Hinduism's broad pantheon is represented in a colorful, appealing and descriptive style. I've purchased about a dozen copies for friends - i can't keep one in my house! Every time someone sees it, they fall in love with it. It's such a fun book - even people who weren't interested in Hinduism are now! I Love It!

3 comments about Who Owns Antiquity?: Museums and the Battle over Our Ancient Heritage.

1. The book underlines the attitude behind Cuno's outspoken cultural superiority. In a recent AP interview, Cuno said: "Cuno: I think any of these modern nations can exercise a greater claim than any other nation on antiquities found within their jurisdiction. But not in terms of an identity with those ancient people. It is not on the basis that they are the modern heirs to the achievements of these ancient peoples, that they descend from them in any kind of continuous or natural way and that the modern culture is akin to the ancient culture."
   
   This is a century old canard that claims an ethnic group has only a tenuous tie to their ancestors. His words about a "continuous and natural" descent are offensive and bigoted, reminiscent of some particularly odious racial theories from the 19th century which read a mixture of bloodlines as reason enough to dispute strong connections with ancestral pasts. What, after all, does Cuno mean by "a natural way"? Is language not enough for him? That some nations use artifacts for political reinforcement of nationalist goals is not reason enough to dismiss a people's ethnic and cultural affinities with these same artifacts.
   
   Take the case of the Elgin marbles, for instance. He worries that cultural artifacts may be destroyed if located in a singular place. Yet Lord Elgin destroyed the marbles themselves in removing them, lost many in the Mediterranean, and the British Museum allowed patrons to spill wine on them during fundraisers. To insist on spreading the wealth of the Parthenon marbles is as smart as perhaps cutting Lincoln's face off the memorial and giving it to Singapore, or amputating the arm holding the torch on the statue of liberty, and sending it to Uruguay.



2. Cuno is a defender of the so-called "universal museums", now called "encyclopaedic museums" and perhaps more correctly, imperialistic or totalitarian museums. The museum that never has enough of anything and seeks a total control of all cultural objects by all means, including the use of force by the army of the country where the museum is situated-Louvre, British Museum, The Metropolitan Museum of Art and the Art Institute of Chicago. These museums now lament the end of the imperialistic and colonial period in which they amassed most of their stock. This was the period when the Europeans could take virtually from any country whatever cultural object they desired. That period is, mercifully, at an end and Cuno and co are agitating for the return to that system, so-called partage system which enabled the Europeans to take away massive archaeological objects from countries like Egypt. Cuno labels those who seek the return of the stolen cultural objects as nationalists but what about those who fight to keep the objects in the museums of the West, are they internationalists or what?
   This new book does not advance in anyway the debate about the restitution of cultural objects. On the contrary, it will only help to solidify the known positions. That leading museum directors do not understand the desire of Africans and Asians to recover their stolen cultural objects, is a sad commentary on the cultural landscape of the world. The perspective would have appeared better without the addition of this book which will only serve as additional object for heated controversies and it comes from a museum director of one of the leading museums of the Western world.
   Kwame Opoku. 22 May,2008.



3. Anyone who has ever been enthralled visiting one of the world's great archeological museums would benefit from James Cuno's book. So would archaeologists, museum directors, curators, antiquities dealers...and journalists who have signed on to the out-of-control drumbeat demonizing museums and collectors. Source country bureaucrats and power-wielders should read it as well, but they probably will not. Cuno's is a refreshing, insightful and intelligent counterpoint to mainstream misinformed denigration of the world's great archaeological museums. It convincingly argues that nationalistic retention laws for antiquities neither preserve sites nor objects, nor do they benefit the larger interests of civilization and mankind. There is probably more here than the non-specialist is interested in, but the beginning and end of the book are more than enlightening, and the reader can go back to middle chapters for background and revealing histories of the modern nations of Turkey, China and Italy. This book is an eloquent plea to save the inspiring fragments of mankind's long history which belong to us all. Cuno believes using them for nationalistic agendas is not the way.

5 comments about Journal Revolution: Rise Up & Create! Art Journals, Personal Manifestos and Other Artistic Insurrections.

1. I really liked this book. It is a little light on technique but big on ideas. If you are looking for a book on technique keep looking but if you are looking for inspiration you have come to the right place. This is a journal of sorts written by the authors. I liked it.



2. Journal Revolution should be on every creative person's book shelf. It's one of those books that you keep nearby and randomly flip open when you need a double shot of artistic espresso. It is a *great* follow up to their first book, Visual Chronicles.
   
   For me, the best parts about Journal Revolution are the good vibes and great writing. I get really, really jazzed by their concept of Rise Up and Create! Their words/art are empowering and supportive. They don't pretend to have a corner on the art journal market. Rather, the vibe you get from them is one of collaboration. It's like having your best girlfriends sitting next to you cheering you on with each rip and tear of paper. You gotta love that!
   
   The techniques are helpful and cheap because Linda's art supplies are mostly paint, paper and tape. Love their Fauxlaroids (faux polaroids) and faux photo booth strips ideas. What genuinely fun and personal projects to play with and create.
   
   Linda and Karen -- You Rock!



3. If you've ever wanted to push journal-keeping beyond the confines of words on paper, maybe an image clipped from a magazine, lists of complaints and what you had for breakfast--but you were just kind of stumped about how to start--this is the book for you. Filled with ideas and instructions for creating beyond-the-limitations pages, it not only gives you permission to play but also nudges you out the door. My favorite part was the glimpses into the lives of the sisters--now those are some women who know how to have a good time!



4. Great book, I have used it with my art therapy classes to inspire my clients to create art journals, have found it to be a great resource. Really enjoyed the graphics and ideas.



5. "Barbie" did not write this book, it is not a commercial for 1,000's of products, and it is GREAT!! Different techniques for showing who you are and how you feel through your art. There's no book like this, no book that makes art of a dead-beat dad, a Nordstrom bag, and monks, all in one book. This book changed how I scrapbook, journal and see my self.

5 comments about 4000 Flower & Plant Motifs: A Sourcebook.

1. I'm an avid embroiderer, always looking for the perfect design to embellish a cardigan or pillowtop. McCallum's collection offers plenty of ideas and serves as a springboard for some of my own. I imagine this would be an equally essential tool for many other types of hobbyists. This one is nice just to leaf through, too -- it's very well arranged. I'm tempted to order his other books right away, but there's plenty to work with right here.



2. My wife asked for this for her birthday. She absolutely loves it. So much so that we recently purchased 7 more as gifts for her friends in different crafting groups. She insists that 4000 Flower and Plant Motifs has inspired her with tons of quilting/craft ideas. This book is a great gift.
   
   Sam Hendricks, author of "Fantasy Football Guidebook: Your Comrehensive Guide to Playing Fantasy Football" and "Fantasy Football Almanac"



3. I love this book for the quilting designs it inspires. If you're stuck for ideas, open McCallum's book and start drawing.



4. I have a collection of books on designs and historical motifs. This is one of the most useful. I'm using it to create designs for decorating pottery.



5. This book has found a permanent spot in my home, namely, on my desk, where I do all my hobbies. It has loads of great ideas that I've already used. Can't wait for the author's next book --apparantly its a sourcebook on animal designs.

5 comments about Constructive Anatomy (Dover Books on Art Instruction).

1. If your a Bridgeman fan or just want to learn how to draw anatomy this book is worth the price. I have been drawing longer than I can remeber but just recently decided I wanted to improve my art skills mainly my ability to draw the human body. So I started buying art books on human anatomy and this by far is my favorite one and heres why, its at a comfortable size so you can easily take it with you, it has close to 500 illustrations, and his style is helpful to me most when I'm drawing from memory. For its price I highly recommend it.



2. I'm a Bridgman fan, but his complete guide to drawing from life is available used for $7.50. and sells new for $12.21. This is less than an introduction to the genius that is Bridgman, get the big book.



3. This still remains as one of the top anatomy books I use the most. I actually like the fact the figures and illustrations are not super detailed and more loose sketches. A beginner might find this frustrating, but as a person that is trying to develop my own style I find it more important you get a loose interpretation and fill in your own details and personal touch. Otherwise you'll just have clone artists of these anatomy books.
   
   The other reason I love this book is the price. It's small size makes it very easy to carry around too.
   
   I feel I've improved tenfold since I've purchased this book on making my anatomy look more real.



4. This is a good quick reference guide and is easy to read as is all of Bridgman's books. The Complete Guide to Drawing From Life is more indepth and might be better if you want a little more explaination.



5. Mainly for intermediate-level artists- it's actually *GREAT* for enthusiastic beginners. It has a little bit of *everything* depicting anatomy construction from memory. It's also great for general improvement; a few tips & tricks- an *excellent* reference for all working artists.
   This is the book that really turned me on to the genius that is Bridgman. At first glance it may not be immediately impressive, but flip to page 167 for a quick look at his cubed-construction of the head. It's Bridgman's brief but effective treatment of cube-construction in this book that really, really impresses me. Many books *mention* cube-construction for heads; many books show a brief picture or two. But not many show it with the precision & detail that Bridgman conveys in just a few short pages. It deals with figure construction mainly in its parts- for full-figure movement, check out Bridgman's Complete Guide, or his less overwhelming Bridgman's Life Drawing. Constructive Anatomy begins with hands, which in my opinion is the weakest part of the book. (Bridgman's 100 Hands is much, much better.) Arms are next and they're easily among Bridgman's best, although not all the drawings are crystal clear. Many of the BEST drawings in Bridgman's Complete Guide are taken from this book, and his depiction of arms here is definitely among them. The shoulder & neck briefly follow, and are above average in their depiction. Then it's time for that excellent section: the cubed-construction of the head. It's only a FEW pages- I don't want to oversell it. But in my opinion at least, it's worth the price of the book. Individual features follow: eyes, nose, ears and mouth are simply & accurately treated. This is a more *in-depth* book than Heads, Features and Faces- which is mainly a simple introduction to the basics. Maybe the BEST section in Constructive Anatomy involves the Torso. He describes more in a few pages than most books ever do- and with a precision & beauty that few seem to match. The pelvis, legs, knees, feet & toes finish this truly excellent work. If anyone's overwhelmed by Bridgman's Complete Guide, Constructive Anatomy is a simple & effective choice to make- Highly Recommended!
   In short: Along with Book of a Hundred Hands & Bridgman's Complete Guide, Constructive Anatomy is currently in my Top 3 by Bridgman.

1 comments about Participation (Documents of Contemporary Art).

1. Until I read this book I could not give myself permission to have my own ideas about some of the world's greatest art pieces and give my educated opinion about them. Umberto Eco's 1st essay is a wonder!

5 comments about Letterhead and Logo Design 9.

1. I bought this book for the letterhead samples as I recently purchases Tres Logos but after reviewing this book, I like the format examples and that they gave the name of the company and of the designers. This book definitely gave me inspiration, it is well organized and shows a wide variety. Only down fall for me was when they showed business cards they didn't always show the front and back. Usually just one side. I would recommend this book to anyone.



2. There is no doubt this book contains some beautiful and smart logos. I just wish more information would have been given about the clients. In fact, some of the best logos in the book are in the introduction, designed by the author, and here a very brief desciption of the client is given (such as "Logo to identify certified vegan foods"). But this stops once the heart of the book begins. To be fully appreciated, a logo needs to have context, and none is given in this book except for the client's name (such as "VIP Industries" - who?).
   Nevertheless, definitely worth buying.



3. I was hasty about getting this book vs. some of the newer logo books out there. I read all of these reviews and everyone keeps saying how it will stir up inspiration. I have to agree. I bought this in hopes that it would help inspire me for a logo project I was working on. Sure enough, it did. Regardless of being a little bit dated, it has a lot really interesting ideas.



4. I thumbed through and read this book in about an hour last night, and saw some annoying typos, so it seems the proofing stage might have been skipped... but regardless, I was inspired by what I saw in there, for sure, and can only hope and pray that I'm good enough to be in that book someday. (And by the way, if I ever get in, you are FREE to spell my name however you please.) ;) I'd recommend this book.



5. Great inspirational book. So many wonderful design that got me dizzy with a bit of envy. Highly recommended.

5 comments about Writing with Pictures: How to Write and Illustrate Children's Books.

1. This is a great book and really explains how to layout a picture book. Since my college education never taught me how to do this, this is a wonderful book to have.



2. This is the book you have been looking for. I've purchased a number of other books about children's publishing, but this one has more wisdom and more real technique than any of them.
   
   The title might make you think this book is about illustrating children's books. Yes, an illustrator can get a graduate degree from the material here. But the title doesn't really do the book justice, because Shulevitz covers both writing and illustration. He covers both topics together, showing how the text and the pictures move a story forward to a satisfactory conclusion. Quoting from the book (p.29):
   
   "When the actor-stage relationship is clear, when the picture code is consistent, when the progression is appropriate to the action, the picture sequence will 'speak' to the reader. The more clearly the picture sequence speaks, the more enjoyment the reader will be able to get from it. And giving a feeling of satisfaction is essential in children's books."
   
   This book has literally hundreds of example illustrations and text excerpts. Most are pencil and ink sketches, but don't be fooled: the author created most of them specifically to illustrate this book. They do a great job.
   
   I'm done gushing. If you are interested in this topic, buy the book. You won't be disappointed.



3. As a 'gallery' artist moving more into illustration, I needed a text that really told me how to illustrate- what makes books different to gallery works, the psychology of composition, how to plan a book and incorporate words and pictures etc and this book has really done that for me. I found the section on composition and picture space particularly helpful.
   
   This is the book for you if you want a book that tells you how and why. The author hasn't held back information but explains everything with lots of drawn examples. I bought another book on illustration at the same time - Exploring Illustration by Michael Fleishman- which like so many modern textbooks goes on about theory instead of telling you real technical information. It has served to show me just how good Writing With Pictures is and how generous the author is in giving information.
   
   I can't recommend it highly enough.
   
   I have read criticism that it doesn't have enough computer-related information but that isn't something all illustrators need. This deals with the real skills of the craft and to me, with so many programs out there you are better getting guides on every program you want to use to really master them than have the broad, undetailed cross-section inevitable in books about this size.



4. Uri Shulevitz's book Writing With Pictures is a treasure trove of valuable information concerning writing/illustrating children's books. For those with no interest whatsoever in illustration, the book explains how illustrations enhance and fulfill the promise of the text. For those only interested in illustration, the book describes how to correctly construct illustrations so that they illuminate, rather than repeat, the prose.
   
   The book is divided in four parts. Part one defines/contrasts picture books and story books; two, describes how to plan the book; three, explains the construction and purpose of illustrations; and four, provides instruction on how to prepare illustrations for reproduction for publishing.
   
   Although the book could be used for college courses in both art and literature, it is easily readable, enjoyable and informative. For individuals serious about writing and/or illustrating books for children, this book is a must-have resource. It's a keeper!



5. This book is a pleasure to read, and very inspiring to get drawing! His detailed instructions are as helpful as sitting in a drawing class.