5 comments about Complete Printmaker.

1. A very intense book on print making. A must have book for serious artists, who want to expand in their field. Lots and lots of contacts in back of book maiking it easy to find anyone you need for print making! A+



2. I am taking a class at the local community college. The professor of my printmaking class recommended this book highly and said it was the best on the market, so I purchased it and am totally happy and satisfied. It explains the different processes very well and the illustrations accompanying the text help visualize the different methods of printmaking. I am totally satisfied and will use it as a reference book throughout my printmaking activities.
   Susy Moesch



3. Very lengthy but i did learn from it



4. Delivery time was as promised. The book came securely packaged and the book itself was in pristine condition. I save $25 under the cost as charged in my college bookstore.



5. This book is almost a catalog of every printmaking process around. It covers all the basics: intaglio, relief, screen prints, litho, and monoprint. It covers related technique, including embossed "dimensional" prints (aka "blind" prints), molded paper, and more. It devotes special attention to collographs, prints from textured or collage surface, and much too much more to describe.
   
   Best, the tools, materials, and how-to of every process are described in a fair bit of detail. Because so many processes are listed, each one gets just a short section, nowhere near what a printmaker would need in practice. Still, the descriptions serve at least two purposes. First, they may entice an artist into learning more about a process.
   
   Second, and more importantly for me, is that you don't have to be a printmaker to read this book and benefit from it. I'm a fan of fine prints, even though I don't make prints myself. I like to know what I'm looking at. I like to see a mark in a print and understand where it came from, how the artist's hand created it. By explaining each process, this book helps me understand the result of the process, and understand its effect on the finished product. Not everyone sees art that way, but it makes me feel somehow closer to the creator.
   
   I recommend this to anyone who loves fine prints. Perhaps it's helpful to the printmaker looking for new techniques to try. It is certainly useful for the viewer, in understanding how the artist makes a vision come alive on paper.
   
   //wiredweird

5 comments about The Elements of Color.

1. as Tellez noted previously, this isn't an easy read. fortunately, the reward is worth the effort. Itten does not dumb down his perspectives for the sake of the reader, rather he puts it all on paper for the devoted color theorist to decipher.
   that said, it is for the most part approachable and relatively short reading. I re-read this book every couple of years to keep my busy mind fresh and focused when working with this most essential component of my work.



2. The information in this book is interesting, but the color in the color wheels and all color samples are very pale and washed off. Very disappointing.
   
   If you need to use the color wheels or scales as references, this book will not be helpful.



3. I purchased this book because I wanted to understand colors, color schemes and theory(ies) better in order to apply to my necklace designs. It's a good book to have in your library, but it won't answer all the questions you may have about some applications. Itten's other books however cover pretty much everything; try The Art of Color, for example, if you'd like learn more about color effects on moods/feelings.



4. It's been difficult to give a balanced critique. On one hand, "Elements of Color" has a wealth of information, but on the other, it takes serious committment to fully understand and comprehensively apply the information Itten presents. There is much valuable data, but it's interspersed with almost stereotypic, outmoded "Teutonic" concepts; e.g. assigning "Blond Types" springtime, bright, vivid colored topics, while "Dark Types" should be assigned "Night, Burial and dark room" topics. There is much valuable, technical information, but it is like digging through hard stone to find the gold; overwrought and culturally centered, judgemental statements are very common ("red expresses intermediate degrees between the infernal and sublime"... what's this?!?!). Other statements seem value-laden, i.e., "sentimental blue", "angelic pink", "blue reigns supreme"... Some excuse may be found in realizing the concepts in this treatise may have been developed before the Post Modernist Age, which accepts cultural and ethnic diversity, that accepts art and the use of color as being open to various interpretations, that color is certainly relative and greatly subjective, that many statements about color are only opinions... and that there is no absolute truth as to what color is "right" or "wrong". Unless the reader is studious and very serious about trying to unearth the information contained in this book, he or she is much better served by studing Albers or others. Too bad there is no editing, no index, and no glossary. What would Itten think of the book, "Chromophobia"? ... Pablo Tellez



5. Itten, himself is one of the greatest color theorist of our century, and the masterful mind behind the Bauhaus School.
   
   In this book Itten describes his color theory and the facts of his famous "Color Star", which is one of the most strongest tools for color harmony for designers and alike.
   
   Most color books have samples of color harmonies you choose from when you design, or talk about complementary colors, but cant tell you why u use such combinations or so.
   
   If you have an analytical approach to design, rather than just copying what others do, you will love this book. You will begin to understand the language of colors.
   
   Have u ever heard of "the Seven Color Contrast", if not then it is time for you to get familiar about it.
   
   This book is an evaluation of Ittens masterpiece "Art of Color". The chapter on subjective experience of color is very limited in this book.
   
   If you are willing to invest more on color matters buy "Art of Color"
   
   If you are happy to stay with the basics then this book is adequate for your purposes.

5 comments about Icons and Saints of the Eastern Orthodox Church (Guide to Imagery Series).

1. This book on icons is probably the most useful book to have in a collection of books on icons. It has a good index, something that is frequently missing from books on icons. The information is concise, helpful and useful for expanding a person's knowledge of iconography. The color illustrations of historical icons helps with recognition of icons and is also useful for those who write (the preferred term) icons. Many books on icons are physically very large; this book is relatively small and easy to handle. I recommend this book highly.



2. Although I agree with most of the comments made by the others who have offered critiques, I don't believe this book deserves a 5 star rating. This book has a lot of beautiful icons, and I enjoyed learning about the meaning of the imagery. There is high value in the diverse collection of beautiful icons. The book had three flaws that disturbed my enjoyment of the book:
   
   1) Icons are tied together by some general imagery. I am fairly ignorant with regards to icon imagery, but I know a little. For example, the use of the mandorla. A mandorla (round or almond shaped device behind an image) is used to mark something that can only be seen through the eyes of faith. The general meaning of colors like blue and red on the icons of Mary and Jesus, as well. A short guide explaining some of these general rules of imagery would have been a spectacular aid to those, like myself, who are woefully ignorant on the topic.
   
   2) The author expresses some theology in language that is inaccurate and likely confusing for the non-Orthodox Christian reader. For example, he uses the word "worship" to describe the Orthodox veneration of icons. Icons are never worshipped. Worship is for God alone. For the reader seeking to understand the Mystery of Orthodox icons, this would be a devastating and confusing statement. Icons are venerated (greatly honored), never worshiped. The teaching is that this veneration passes to the person represented in the image.
   
   3) The book was so small it was difficult to see some of the details in the imagery that the author was trying to illustrate.
   
   Overall, a very interesting and educational book with a wealth of knowledge about iconography, however, it could have been much better.



3. I have a lot of books about icons, orthodoxy, saints, and to be honest I never believe at I can find a new book that can teach me more. But miracles
   happens and this little book was a revelation. So full of information and images, this book is a gem.I sincerely recommended.



4. When it comes to the Eastern Church's wealth of Icons, so many are near impossible for westerners to discover. Many were either hidden (and often lost) during the Communist rule of eastern europe, or many were destroyed by the powers that be during that era. Other Icons in the book come from Lebanon, Egypt (St. Catherine's monestary), and Greece, some dating back to the 6th century. So, for a complete overview of the Orthodox love of Icons, this book has a plethoria of icons not seen until now, and never in such a complete overview in one book. The only orthodox Icons not covered, are those from India, and Ethiopia, which are apparently outside the scope of the book. Some of these icons are beautiful beyond imagination. With each icon, all in FULL COLOR, and covering a single page, comes simple little remarks as to what the imagery represents in each Icon. Also, the book is divided into sections, with Icons of Christ, Mary, Saints that lived in towers, Saints who were martyrs, and so forth. This makes it easy to study the iconology of TYPES, and not a simple alphabetical approach, as in the western art book in this series does. (St. Ambrose, St. Boniface, etc.) I sadly have this warning to give however. I had a FIRST EDITION of this book. However, it was "Borrowed" from me against my will, and they refused to return it to me, and I had to replace it. I ended up with a SECOND EDITION of the book,and the color isnt right on the prints. THe red plates are supersaturated, and the black plates seem too saturated as well, on many of the pages. I so much enjoyed this book, that I bought the COMPANION BOOK in this GUIDE TO IMAGERY series. If you are interested in the artistic representation of religious figures, the book SAINTS IN ART does for the western religious art world, what this book does for the eastern religious art world. Both books are from Italy initially, and are printed by the PAUL GETTY MUSEUM in the USA. The big difference, is that the western art, is obviously well known to anyone with college level art history study, and access to big city museums. These icons are art not seen in other books until now, for the most part. My other beefs with this book, are as follows. Besides the problems with the color in the second edition, most of these pictures are just TOO SMALL to really examine properly. This book is about 6 inches by 8 inches, so the pictures are reduced too far, to see the smaller details, where many of the symbolic features of the Icon can be found. Also, when they show what the icon is about, they draw black lines thru the pictures. But the pluses outweigh the minuses, and its well worth the cost. I only hope, that if they go into a third printing, they will fix the color balance to the book. I can highly recommend this book without reservation.



5. The Getty Museum's reputation for quality is upheld in this small format handbook. Chock full of reproductions, it includes obscure images.
   
   The color quality shows egg tempera's true and intense hues on feel good low gloss paper.
   
   Copy is like a short survey course-informative and addictive. This is a good reference book.

No comments about Daniel Eatock Imprint: Works 1975-2007.

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 How to Carve Wood: A Book of Projects and Techniques (Fine Woodworking Book).

1. still not worth the money, go on line, alot better info on the web, its free and save the money for your tools. tim



2. As a beginner, I appreciated the breadth of topics covered in the book, particularly the various styles of carving. This was my introduction to chip carving, and I think he covered it quite well. Sharpening is also covered, but I'd already bought "The Complete Guide to Sharpening" by Leonard Lee (of Lee Valley & Veritas) and found that to be a most comprehensive source of information on that topic.



3. This is an excellent book that covers the fundamentals of carving plus adds great advice on what tools to purchase. Asked if I would buy this book again, my answer would be yes! I messed up on the rating of this book and I give it five (5) stars. Sorry!
   
   David Self, New Boston, Texas



4. To an experienced woodcarver this book may seem unfocused and thinly spread, but for the beginner it does exactly what it should do. The book begins with a good grounding in the tools of the craft and how to care for and sharpen each type. After that it gives you a sampler of carving styles with at least one project for each. It's guaranteed there is at least one or two chapters the reader will not care for. Even this is useful since the reader avoids launching into the craft with a project they really have little enthusiasm for, and then lose interest in wood carving all together. This book should be required reading before the beginner spends a single dime on tools, equipment, or wood. If it's not 'the' best beginner's book, it's in the top five.



5. A good general book on woodcarving. This book could be better if it didn't try to be all things for all people. There are better books for beginners out there for the money and more advanced carvers probably need to buy a book concentrating on their type of carving. I found it to be a little on the technical side and would have preferred a few more patterns for each type of carving.

   My favorite sections were on finishes, sharpening, and the tool section. There are numerous photographs of some beautiful examples of the various types of carving. The author does show some very useful carving techniques in most of the carving styles.

   Sections include tools, sharpening, woods and finishes, design, whittling, chip carving, relief carving, wildlife carving, lettering, archatectural carving, and a bibliography.

No comments about Men and Angels: The Art of James C. Christensen.

5 comments about Life: Heaven on Earth: 100 Places to See in Your Lifetime (Life).

1. I bought this book for just a table book for people to look at and it's just that. People love to pick it up and look at the beautiful pictures inside. Makes you want to take a journey.



2. The pictures in this book are gorgeous. I have become obsessed with traveling to these places.



3. This book is very disapponting. The 100 places picked most of the times are over rated and the pictures in it are poor. Also the list forgets about magnificent places in the world, one of them is Angel Falls in Venezuela, the largest fall in the world in the middle of the jungle. I think it must e reviewed.
   We all have opinions but I didnt enjoy this book at all.



4. I bought this book to get travel ideas. I was not disappointed. It included several terrific places that I've already gone to such as Paris and Cartagena, Colombia, several places I've already planned to go to such as Guilin, China and Kauai and dozens of beautiful places I had never known about before. Only 20 of the places are from the United States so it does a good job of depicting places from every continent except the south pole.
   
   The photos, for the most part, are high quality and beautiful. The only drawback is that there is only one picture of each location with only a one paragraph description of each place. Although you will have to do more research on your own if you are interested in actually going there, this is a very good place to get started.
   
   Another good book is "Unforgettable Places to See Before You Die" which only has 40 places, but has multiple photos of each place as well as a six to eight page description of each place. There's not that much overlap since only about 15 places are in both books.



5. First, it took forever to get this book shipped and then when I did receive it - what a disappointment. Most of the photos are poor, lots of "noise" in most enlargments - which is very surprising for "Life". Second, there is very little written information.

2 comments about The Power of Images: Studies in the History and Theory of Response.

1. Freedberg clearly sets out to write against a tradition in art history of overemphasizing a history of art (high culture) to the detriment of other image-histories, which he associates with low culture. His approach is, in this sense, novel.
   However, Freedberg falls well short of the mark in several key areas. First, he never contends directly with the idea of a high-low hierachy in culture, but rather seeks to reconcile the two into a system of images. He could well have said that a system of images replaces distinctions between high and low culture (his analysis certainly leads this way), but he does not do so. There are also serious problems with this book as a piece of historical scholarship. Freedberg fails totally to address, or even acknowledge, the significant contribution of Michel Foucault and Jacques Derrida (and hordes of followers) to the field of reality-representation. Indeed, this failure may in fact be a concerted effort on Freedberg's part--many of his ideas about the essential nature of human response are poorly insulated against Foucault's well-developed argument that human nature is historically specific. (See, for example, Foucault's "The History of Sexuality.") Finally, Freedberg's reliance on psycho-history shows a generally poor knowledge of historical scholarship; this approach has been roundly critiqued by post-structuralists, (again, see Foucault). He does not, however, seem to address this critique anywhere.
   In addition to problems of analysis, scope, and lack of awareness, or selective ignorance of historical literature, Freedberg's book suffers from one additional flaw that hinders its overall usefulness. Freedberg's prose is flabby, and the text suffers because of this. His stylistic flourishes and indulgences seem out of character for a book that purports to be in part a critique of the Ivory Tower of art history. All in all, the prose renders the book frustrating, and likely inacessible to the unitiated in this field.
   Freedberg has, however, undertaken an interesting project -- namely an interrogation of histories of representation. Were he to recast this book in later editions he could add much to his analysis by reading widely in history, and tidying his prose.



2. This book was ground-breaking for its time because of Freedberg's insistence on a new? approach to the study of images that focused on writing biographies of particular images which highlighted the historical and locally constructed responses, and what those responses could tell us about the psychology of the human response to images generally, rather than the more "traditional" art-historical aesthetic analysis approach. "Power of Images" is organized thematically with topics such as versimiltude, iconoclasm, and desire played out in front of the eyes of particular representative images. One of best aspects of this book is how clearly Freedberg takes seriously the notion of "presence" in images.

   The biggest limitation of this book is that it is almost completely bereft of information on non-pre-Enlightenment-European-Christian images. Rather than recusing himself from treating say Thai amulets, Freedberg overextends his conclusions in an unfortunately totalizing metanarrative. To be specific, I disagree with his brief rejoinder aimed at Stanley Tambiah's "Buddhist Saints of the Forest and the Cult of Amulets," and generally, I think many of Freedberg's conclusions would map poorly onto Tibetan or Japanese sacred statuary.

   In conclusion, I would still highly recommend this as a first-book for someone who wants to either learn about how to begin thinking about (religious) imagery and our responses to it, or someone who is looking for a wealth of short biographies and references to information on some of the most famous European Christian images.

5 comments about Animal Anatomy for Artists: The Elements of Form.

1. Haven't had a close look yet but based on the authors other book "Human Anatomy for Artists," I'm sure it's amazing. Only disappointment was a tare in the front cover from the way it was packaged by Amazon. Disappointing when your book is over $45. Wasn't sure how to contact them to have the opportunity to fix the problem.



2. Excellent reference book. 5 stars from the first to last page.



3. I got Goldfinger's human anatomy book, but in comparison, this is even better. Great multitude of drawings and diagrams of different species of animals, from bones to muscle to final skin with great angles. Highly recommend it.
   
   And many of the reviews here were very helpful.



4. This is a very detailed book and a must have for those that need to know more about animal anatomy. This book does layout the skeletal and muscular design of the used animals very well. One thing that it does not give you is a detailed description of exactly how the joints move or muscles work. But overall a must have if you are doing an animal study for sculpture or 3-d modeling.



5. Artists who plan on focusing on animals had better pick up a copy of Animal Anatomy For Artists: The Elements Of Form: a virtual 'Bible' of animal anatomy, is features over five hundred original drawings and over seventy photos which painters, sculptors, and illustrators can use to understand the underlying anatomy of a range of common and wild animals. Forms created by muscles and bones provide artists with a three-dimensional figure of the final surface of the animal, while Goldfinger provides discussions of how each piece of animal anatomy interacts with another.