2 comments about Van Gogh and the Colors of the Night.

1. I have to agree with the previous reviewers comments about the Van Gogh exhibit he was unfortunately unable to attend. I just came from the MOMA today, and it was indeed remarkable to have so many of the artist's works in a single show.
   
   That said, I would also concur that the central theme of the show is a bit contrived. It seems to be organized around a few comments Van Gogh made to his brother Theo (the exhibit includes multiple letters the artist wrote to his closest sibling) about effectively capturing the beauty of the night sky through artistic method. Beyond the two Starry Night works, the remaining pieces displayed are less on-point with regard to the general theme. However, so much Van Gogh in one place is truly rewarding. I can't complain about the exhibit.
   
   I am admittedly not trained in art in any way, so I'm left with what I've learned through some undergraduate classes and auto-didactic energies. Having said that, the value of the book for those who have not attended the exhibit may be limited with a couple of exceptions: The MOMA exhibit very effectively displays Van Gogh's progression through the late 1880s from work that lacks distinctive quality to pieces like the Starry Night works that scream his name. Also, the book breaks down Van Gogh's work by having numerous curators, educators, and artists evaluate his life and productivity. The commentary is doubtless not groundbreaking, but I found it interesting for someone who is not steeped in artistic technique or history.



2. I cannot help thinking, when opening this catalogue for the latest Van Gogh show at the Moma, that the only reason for the museum to mount such a show is to be able to make some more money at its bookshop and at its ticket counter.
   
   Granted, the reproductions of Van Gogh's night paintings (e.g. The famous Starry Night, Gauguin's Chair, the Café at Arles,the Starry Night on the Rhone, etc) are gorgeous, but why choose such an artificial and arbitrary theme? Many a painter painted night scenes or landscapes, before and after Van Gogh, and the paintings depicted here are masterpieces not because of the fact that they are night scenes, but because of Van Gogh's genius. There is no real connection between them: what is there in common between the early "Potato Eaters" and the late "Starry Night"? The fact that they both depict night scenes does not justify a whole book on the theme. Next time, will it be "Van Gogh and the colors of day"?
   
   The text, somewhat pompous and vacuous, does not really alter this initial impression. I would have loved to see the exhibition for the sake of the paintings (so many major paintings are seldom seen together, especially the two starry nights), but the book itself does not add anything of substance to the already extensive literature on Van Gogh. I'd rather read Van Gogh's much more illuminating own letters to his brother Theo...

5 comments about Hell Beasts: How to Draw Grotesque Fantasy Creatures.

1. "Hell Beasts" by Jim Pavelec represents a book filled not only with original and entertaining illustrations, but with information on many mythological creatures, some not so well known. I enjoy reading about these creatures, and will use the book as resource for my own artwork.



2. Mr. Pavelec's book is an excellent resource for anyone in (or interested in) the fantasy art niche (though, the lessons is just as valid for any type of art, I believe). Though the book is loaded with all sorts of tips about making convincing and interesting creatures, I'd say the underlying focus is on the composition of a figure. Jim displays in many examples how to focus on the primary action or energy of a pose, even if the pose isn't inherently dynamic. The viewer gets to see many paintings evolve from thumbnail sketch to a completed illustration, along with a side commentary about why he makes his choices.
   
   When I was starting out, I would have begged. borrowed or stolen to get my grubby paws on this book. Even as a reasonably seasoned professional, there are still a number of pearls residing between the covers.



3. HELL BEASTS: HOW TO DRAW GROTESQUE FANTASY CREATURES is for any would-be comic or graphic novel artist: it tells how to create and draw monsters, how to make selected monsters even creepier, and how to draw upon imagination to create new monsters. It's a pick not just for graphic novel and comics collections, but for any general-interest lending library reaching out to young would-be artists.



4. This is an extremely well illustrated, and well put together manual on how to draw hellish fanasty creatures. Jim Pavelec's representations of abstract and chaotic beings such as the Demogorgon, Leviathan, and Basilisk (to name a few) are quite phenomenal. His creations are not typical of the common how to draw monsters, dragons, etc.-type books. His hell beasts are one-of-a-kind, carefully crafted works of art. It is very reminiscent of Frazetta. One feature that I especially love about this book is the mythology behind each creature. Jim pulls many of his beasts from Japanese folklore, European folklore, and Greek and Roman mythology, and provides detailed descriptions of their origins. Jim Pavelec is definately a master of his art. I highly recommend this book!



5. I'm not much for the entire fantasy genre and neither do I have the imagination for such macabre concepts. With that being said, let me continue and make you understand why I am writing a review, and a positive one at that!
   
   Jim Pavelec is an amazing artist. I've read instructional art guides before and I never really got much out of them. Out of this one, I received way more than I bargained for! He covers the basics and the tools that you'll need to do what he's about to cover. At the end of the book, he says that he has many inspirations and that it is okay to use that inspiration from other artists to create something of your own. In finding your niche, you can go through many. That may or may not make sense, but it did me a hell of good! I never knew these monsters had names!
   
   It was 18 bucks well spent, thank you very much. It made me want to become an illustrator and offer services to paint nasty aquatic on bathroom walls. I could write another page on how happy I am that I bought this book and the nightmares that Mr. Pavelec's creations dwell in, but I have walls to paint.

No comments about Mona Lisa in Camelot: How Jacqueline Kennedy and Da Vinci's Masterpiece Charmed and Captivated a Nation.

1 comments about The House of Viktor & Rolf.

1. Their work is spectacular and this book is a dream for anyone who is interested in real High Fashion/extreme Fashion.
   
   Though most of their work is not mainstream, each item is beautifully constructed, detailed and finished.
   
   True innovation.

5 comments about 501 Great Scrapbook Page Ideas.

1. There are alot of creativity in this book. I like most of them and would recommend if you are looking for ideas.



2. This book has several different layouts to get the creative flow going. I would have liked more instructions for the layouts but you can't have it all. It was definately worth the money spent though. I especially like how the layouts are grouped by subject matter. If you are looking for a zoo layout, look under zoo. Its a practical book for practical people.



3. This book has it all!!!! There are plenty of ideas in this book and it has gotten me out of scrappers block many times. I love the alpha order by theme, it is very easy to look up a topic and get an idea. All of my scrapping friends have this book. It is worth checking out :)



4. This is s cute book and has lots of good ideas for layouts. I wish it showed more specific ideas and how to do them. The layouts are really good, and great ideas, but I'd have liked more info on HOW to get the look.
   
   All in all, I'd say it's a good book and worth the buy. I'm a scrapbooker and a book lover, and this is a good addition to my library.



5. I love this book. I have just about every scrapbook ideabook out there by Creating Keepsakes, Paper Crafts, & Memory Makers. This one is a major favorite of mine. It's broken into wonderfully unique sections new inspiration to "think out of the box" while designing my scrapbook layout. The layouts are great, and just the right complexity so some normal jane scrapbooker like me can do them and has the embellishments needed without fancy techniques.
   Also recommended: PET PAGES UNLEASHED by Memory Makers!!!!!

5 comments about 100 Days Of Monsters (with DVD).

1. Once upon a time, a control enthusiast with a pen drew himself a monster--and the rest is history.
   
   You can test-flight this book at Bucher's site, www.dailymonster.com, where all 200 of the monsters he eventually released still live--going to their jobs, having their babies, reading and writing and dancing and taking over the world--doing all the things monsters do. I encourage you to do so, and then buy this book.
   
   Someday someone you are talking to will rail against the web, talk about all the terrible things on it, all the bad people. Then you can point to 100 Days of Monsters, and you can say, "Things like THIS--people from all over the world sharing a creative moment, interacting to make something beautiful and funny and playful--how would you make something like THIS happen, if not for the internet?" And if not for, it goes without saying, Stefan G. Bucher and his band of authors.
   
   I came to the game too late to be part of the book--but oh, it was a lovely thing to have my child come downstairs every morning and say, "Mom! Did you monster yet?"
   
   What a wonderful time. I thank you, Stefan. You did good. You didn't just talk the talk, you walked the walk. You followed your heart, and it shows. :)



2. 100 Days of Monsters is a fun journey through 100 days of artist Stefan G. Bucher's life. Each day starts with a great drawing of a "Monster," and includes stories and comments from many of his avid readers. Each monster is endearing in its own way, and Stefan's unique way of creating these characters, only makes them more endearing.
   I highly recommend this book. Just think of it as a really good picture book for adults!



3. This is a great book. Very well put together. The little unexpected tidbits of an off the wall comment here and some all but hidden messages in the the fine print there make it not your everyday, ordinary book. This one is fun in all respects. The Monsters are all distinct personalities and the stories accent their lives. I love it!!



4. My friend would go to the blog site and she would make up stories about the picture's. Not being as artistic as she is I thought oh well. But once I started to get into Stefan Bucher's method's and thought process I realized how great it was to read the book. Thank You Stefan Bucher. ( please look for
   Sequena/Annie Nordmark in the book my friend writes great stories for the pictures )Thanks



5. This book was just a neat thing to check out everyday. Still. It gives me a smile every time he starts with just one blot of ink and spreads it, from there it becomes a living, personified, under the bed madness!, type creature that lurks off every new page. Its grand, most definitely worth checking out!!!

5 comments about Manga Matrix: Create Unique Characters Using the Japanese Matrix System.

1. Veery good book to ideas and the matrix sistem helps alot to do new (and good) characters, its a big book and worth all the money.
   
   Note: this book is NOT a how to draw book, it teaches how to create characters not how to draw them.



2. This book shows how to combine different elements in creating a new and original character. Beautiful work. Only weakness is not that much step by step instructions for someone wanting to practice this method of character creation. He creates the characters without any intervening steps - just a grid showing what elements he selected and the end result.



3. Make sure you don't just look at the pictures and you'll learn plenty from this book! It does a great job of breaking down parts of the body to help you think how to combine different things to combine unique characters. If you are only looking to copy drawings, this is not for you. But if you are serious about creating your own characters this is tremendously helpful. The art in the book are certainly of high quality, but the process that it takes you through to understand how to effectively create character is extremely helpful.
   
   I have a bunch of other famous "how to draw" books, but this really goes beyond how to draw to what to draw. This is not for beginners to quickly learn how to draw something impressive, but for serious artists who really want to explore their own creativity with a tour guide. Loving it, and so worth rereading too!



4. The main purpose of this book is to systematically pre-design your characters and do it in a way that is logical, formulaic and archetypically sound.
   I almost wrote that I didn't think it was 'for beginners', but thought the better of it when I remembered those that inspired me in my youth and younger days... They were not giving me 'step by step' instruction, instead they inspired me by their work instilling in me the desire to do my own work, and to imagine.
   What Tsukamoto-san has done here is just that, with the added benefit of laying out a methodology of creation. I can see this of greatest benefit to those starting out who have various characters laid out in the scheme, but who lack the skills to 'invent' the soul of that character. This book is to explain and punctuate that skill.
   When first I paged through after opening my mailer envelope from Amazon... my initial impression was the flash of inspiration I got when I first (in the early 1970's) saw the work of Brian Froude... or when I was perusing the works of Roger Dean or Frank Frazetta or Boris Vallejo... or reading over and over again the works of jean Giraude's (Who created work under the name Moebius) "The Air Tight Garage" in Metal Hurlant.
   Not to mention Fred Schrier or Dave Sheridan's spectacular works of wonder. It is that that makes me say to who ever takes the time to read this review, please do yourself a favor, get this book. Keep it by your desktop, close at hand and read it in the still of the evening when you want to dream, or in the heat of creation when you need to find that one thing to fill the gap. It is that good! Even though the mythologies are primarily 'foreign' (being from the ancient Shinto and archaic Japanese cultures, though not completely!) to the western mind, maybe it will inspire 'aspiring artists' to plunge into studies of ancient cultures of their own ancestry! It is a wonderfully presented book.
   And to those who have been out there for a bit I would say, "YES! It is worth the price!"
   I give it 'two thumbs up"!



5. just got this book and i looked through it. its very great to look at thats for sure.
   after reading a few pages and understanding the proccess that he uses to make unique characters, you can see how you'd never run out of ideas for interesting creatures.
   For example, you take a Dog and add a female and you'd have a humanoid dog. you take a female and then add the dog, you have a girl with a few dog features like ears, tail, nose etc. and of course you have an unlimited ammount of combinations like a Robot-Tiger-Female-Cactus combo.
   In the book theres tons of examples. there are some hideous creatures as well that look amazing, like an giraff-ostrish-carp(fish)-cactus creature that looks weird but you can clearly see that theres trillions of creatures that can be created as well as humans and humanoids.
   
   while its not for complete beginners, i'd suggest that a beginner gets it anyway so that they have something to be inspired by.

2 comments about Scrapbooks: An American History.

1. Jessica Helfand's latest book is a not just beautiful, it is the last word on scrapbooking. If it's not in Scrapbooks: An American History, it doesn't exist. This compendium of scrapbook components is a treat for the eye. It's impossible not to pick this up and keep turning the pages. I love this book and I'm going to give copies to all my friends who have an appreciation of lovely things.



2. Scrapbooks: An American Historyis filled with beautiful glimpses into the past. I have spent this whole day just looking at the photographs of the scrapbooks, reading the entries, scribbles and notes along the edges of the stuff others collected and lovingly pasted onto the pages. It it like stepping back in time.
   
   It's color photographs are crisp and detailed. The narrative is informative and holds your attention. It appears to be a work that was loving compiled.
   
   Thank you Ms. Helfand for this work of art, it has reminded me why I have a drawer full of ticket stubs, postcards, and other items my husband calls clutter. Now to find a scrapbook.

5 comments about Great Book of Dragon Patterns: The Ultimate Design Sourcebook for Artists and Craftspeople.

1. must have for dragon lovers. wonderful art work. many different dragons are shown.



2. This is my favorite addition to my reference Library. It has great dragon patterns from whimsical to fierce looking dragons. Wonderful material to inspire any artist no matter what their mediums.



3. I bought this book for my 13 yr. old son. He loves to draw, and collects dragons, but never drew any dragons. With this book, he got some info, and some patterns ready for him to trace or to make his own dragon with! He loves this book!



4. I bought this book for tattooing purposes and it really wasn't all that helpful. Good info on the history and legends of dragons but most of the pictures were pretty cheesy. Works good for general art reference though.



5. I purchased this book for my 12 year old son for Christmas never thinking that it would be as big of a hit as it was! He loves dragons and is quite a good artist, so it was perfect. He could not put it down. I highly recommend this book!!

5 comments about Seeing Is Forgetting the Name of the Thing One Sees: A Life of Contemporary Artist Robert Irwin.

1. Robert Irwin has lived his life as both a solitary creator and unrelenting seeker to the same consummate degree that only Dante Alighieri, Agnes Martin, Meister Eckhart, Lao Tsu, and a handful of others have sought. If you haven't heard of him, you should read this anyway. Remember, it even took Bach two centuries to get his proper due. Regardless, this book changed a lot for me. I am forever grateful.
   
   Weschler's prose is Irwin's lighting. His book good as this biography junkie has ever read, and he does it in only 203 pages. As I write this, you can buy this book used for the price of a Domino's pizza - that's all i'm saying.



2. If you're an artist, you need this book. Even if you don't like Irwin's work (or never heard of him.) Remarkably, this biography of the most minimal of minimal artists contains no abstruse language, no mysteriously self-important pronouncements, nor even a single reference to any French esthetic theorist. Not only is this written in clean, straightforward prose; you can hardly put it down. It also raises critical, fascinating questions about the nature of art, and of the way we see. I've recommended this book to several people. It's never what they expect. They've always thanked me.



3. *
   
   I am fascinated by the creative process. I am fascinated by physical manifestations born from the spark of an idea. I am fascinated by the complex psychology, rigorous philosophy and simple backbone evinced by those devotees of method. And I am blown-away by Robert Irwin.
   
   My first contact with Robert Irwin's work came in graduate school when a few friends and I drove from Philadelphia to Manhattan to visit the Dia Center for the Arts. There on an upper floor I encountered a truly shocking, yet subduing, experience. Irwin had taken over the entire level and divided into rooms demarcated with translucent scrim. I walked slowly, from space to space, enclosed but not, silent in presence yet bursting with internal applause, and in awe. I marveled at the solidity of light that slid through the Dia's industrial steel windows, tracing its way across two layers of the thin white fabric and gently landing on the concrete floor. My eyes were tickled by the subtlety of color emanating from the vertical fluorescent lights wrapped in gels. There must have been thirty others there at the same time, meandering like ghosts whitened by one, two, three layers of scrim, yet the space was absolutely quiet. This was the first time that I truly understood the word ?perception.? It came in a space filled with exacted simplicity.
   
   Since then I have tried to follow Irwin's work, both past and present, only to find that it is rarely photographed, as the medium cannot do the work justice. However, Lawrence Weschler's biography on the artist is a tremendous piece of writing that will give you much more appreciation for Irwin than any catalog ever could. Weschler spent years interviewing the artist, tracking down collaborators and researching the works. He exhibits an amazing understanding of Irwin's intentions and adds much needed commentary to keep the story straight while tracing the complex and highly personal evolution of the man and his art. From descriptions of Irwin's self-imposed eight month exile in Ibiza, to his two year long rigorous exercise (and again, exile) to create what amounted to twenty lines, Weschler gives us an in depth look at the zen-like disposition of the artist in his search for the perceptual (and hence, not conceptual). Irwin's diligence and rigor will stupefy even those most devoted to their process, and discussion of his material experimentation will act to spur imaginations. Robert Irwin supplies the majority of storytelling, however, and lets the reader in on often humorous tales of the art world from the point of view of a very personable and highly influential artist.
   
   In short, I highly recommend that anyone devoted to design, be it fine art or architecture, read this book. I also recommend that you travel to San Diego to see the first major exhibition of Irwin?s work since 1993, "Robert Irwin: Primaries and Secondaries" at the MCASD through February 23rd.
   
   Note: The installation at the Dia Center was reviewed thoroughly, with an included history of the artist?s work, in an article entitled "Robert Irwin?s Doors of Perception" by Carol Diehl in Art in America magazine, December, 1999, findarticles.com



4. This is simply the best book about art I have ever read. Like other reviewers, I can say that this book permanently altered the way I see the world (and art). Irwin did it and he still does it.



5. I picked up this book in 1984 because it was on a reading list for an Art History class I was taking at Oberlin College. I stayed up all night in the library that night. I couldn't put it down. My mind has never been the same.
   
   I still often think of it,tell stories from it and give it as a gift. I always say "skip the first chapter-it gets much better." If I remember right, the book begins with a description of Irwin's perfectionism when cleaning the engine of his car. I figure that will bore my friends.
   
   I tell my students about Irwin's many years attempt to make the perfect line, to his wife's chagrin and his painting the back side of his paintings because it matters to him. They like the story of the riots that occured in South America due to the disorientation of his discs-concave and convex-the viewers couldn't tell where the wall started and the disc stopped. I have given the book as a graduation present.
   
   I thought about this book at the mechanic the other day. My engine is very, very dirty.
   
   I will never forget,forgetting. Great book.