5 comments about The Elements of Graphic Design: Space, Unity, Page Architecture, and Type.

1. The book itself is a powerful illustration of the principles contained within. Concise, clear, and absolutely relevant. Has had a major influence on my design work.



2. Not sure where the author came up with book title but it is not accurate at all! Space, unity, page architecture, and type are NOT the elements of graphic design. Anyone who has studied graphic design in college knows this. First off, there are actually 5 elements to graphic design, not 4. The elements of graphic design are: line, shape, texture, color and space. As there are the elements of graphic design, there are also the principles of graphic design. The principles of graphic design are: balance, proximity, hierarchy, alignment, repetition, contrast, and dominance.
   
   I did buy this book however. Despite the fact that the author is not aware of the elements of graphic design (ouch!), the book does have its moments.



3. This book reinforces the basics of graphic design. I found it helpful and informative. The book itself has some fun design elements that I found inspirational. I would recommend it to someone interested in the subject matter as a straight-forward overview.



4. This is one of the most valuable print design books a novice or professional without much formal design training could own. This well written, concise little book shows as well as it tells what makes for good print design. It introduces all the basic concepts and terminology of typography and page layout with page after page of quotable axioms and unique perspectives on design by notable designers and artists as well as White himself. It also includes a succinct glossary, designer's checklist, and bibliography.
   
   It's especially important for design books to associate through proximity the graphic examples referred to in text, and this book does an excellent job of that. Most discussions are limited to one spread, with graphic examples on the left, discussion on the right, captions in the middle (margin to the left of the text)--a demonstration of well designed layout. And what examples. White assembles fascinating, sometimes vintage, advertising and publication covers to illustrate his points.
   
   If there is one theme that drives the book it's White's emphasis that the message should always drive the design. And if there's one concept that's exhaustively addressed and illustrated it's the deliberate control of white space and activation of negative space, interests that no doubt stem from his extensive work in advertising.
   
   One minor criticism I have of this otherwise thoroughly enjoyable read and exceedingly practical guide relates to the scope of its title: it primarily concerns itself with typography and printed page layout, not "graphic design" more generally. The bibliography, overwhelmingly in favor or books of typography, bears this out.



5. I picked up this book from my local bookstore. From reading it, my assessment is that it's a somewhat mature look into the basics of graphic design. Alex draws upon several analogies, some of nature and people, and others of architecture, to explain broad aspects of design, particularly with respect to print media.
   
   The style of writing is occasionaly obtuse, but I think there are good intentions throughout, to concisely document some sound principles and good thought processes for graphic design.
   
   Alex details how design evolved from ancient times, giving us example design pieces, which have clear and descriptive captions, and are referred to from the main text, all of which are on the same page, so there's no page hunting to find which piece or picture relates to what information. Modern designs are critiqued with an interesting selection of pieces, and the basic framework for assessing design is also explored.
   Quotes from other designers are frequently used in the text, to good effect I think, as they relate to the concepts under discussion.
   
   My favourite chapters were the one on space and the last one on type. There were a few errors in the text, but mostly minor things.
   
   If you're looking for a technical book then this book probably won't be for you.
   
   I think this book would certainly appeal to designers who wish to acquire a broad insight into graphic design.

5 comments about Indian Art.

1. Vidya's survey is outstanding.Her exposition of the 'Rasa' theory in Hindu aesthetics should help non-Hindus to understand the alternative basis of art appreciation.She points out that according to this 'Rasa' theory the contemplation of a work of art must evoke in the viewer a state of "heightened awareness" of an emotion, the emotions being, erotic, comic,kindliness, furiousness,heroic,terrible,odious, wondrous and peaceful.Hindu aesthetics thus stressed the prominent role of the viewer's response in the appreciation of art.This theory was crystallized in the fourth century ACE.
   One may recall Eliot's criticism of Shakespeare's Hamlet that it lacked 'objective correlation',i.e.,that when certain external facts which must terminate in a sensory experience are given, a relevant emotion should be immediately evoked.
   Vidya also points out that in the visual story-telling adopted by sculptors in Ancient India, viewers understood that the lower part of a panel was near to them and the upper part further away.When this has been basically understood, displaying the objects in the 'background' of a relief as large and clear as those in the 'foreground' led to a legible telling of the story. Vidya says that ,therefore, perspective was a non-issue, clarity of of visual comprehension was the objective.
   On the whole a very impressive survey. The photographs are also very good. I only wish Vidya had said more about Chola Sculpture like Dakshinamurthy and Bronzes like Parvathi in the Sackler Art Gallery, Washington.



2. 
   Excellent high quality product, lots of good photographs, well written, concise overview of complicated subject



3. While no expert in Indian art and architecture, I have been studying in this area off and on for about fifteen years. I have not encountered an introductory survey that was more balanced and illuminating. It is also well written and beautifully illustrated. The eccentric reviewer who accorded this book merely one star is obviously carping--perhaps because his or her own work was omitted from the necessarily selective bibliography. The other reviews have all been favorable up to this point, and for a good reason.



4. This is a significant improvement over Roy Craven's colonialist take on Indian art. This book is much more sensitive to the culture of India and its rich amalgamation of Vedic thought, the religion and philosophy of Buddhism, what we now term as Hinduism, and of course, later Islamic influence. Especially significant is the explanation of the narrative sculptural relief panels at Sanchi and Amaravati. Dehejia explains their rich narratives clearly - and what at first appears confusing becomes instead a rich tapestry of imagination. Her explanations also merge style with context; in effect, we understand these panels as they were understood at the time of their historical inception. She rightly de-emphasizes the dynastic and stylistically rigid categorizations that are so predominant in Western scholarship. A worthy and timely text. I highly recommend it.



5. I cannot agree with the previous reviewers. The illustrations may be wonderful, but the text is vague and uninformative. There are some puzzling omissions. Dehjejia wrote a book some years ago on Orissan architecture, but there is only the briefest coverage of this topic (and she does not even list her book in the bibliography. Speaking of bibliography, there are so many important omissions that it would be difficult to list them all. For the general reader, or for use as anintroductory textbook, it would be better to use Craven's by now classic Concise History of Indian Art.

2 comments about Criticizing Art: Understanding the Contemporary.

1. I am a high school art teacher. This book has been very helpful to me, in that I better understand the criteria for theories in contemporary art and I am better able to communicate the criteria to my students. It's an easy and interesting read.



2. A wonderful book. Boy, i was dragged through galleries and museums by my parents throughout the 60's and 70's, seeing things I thought interesting, some beautiful, some scary, some outright nonsensical. I never got to understand nothing, though I felt the impact of "the better stuff". Mr. Barrett does a wonderful job in being sincere and easy to understand as he, with impressively up-to-date examples, puts forth the meaning behind those formulae of formalism, modernism, post-modernism and the like. He carefully introduces techniques of criticism which are acknowledged as "best practices", but always underlines that other avenues will take us to excellence, too. I definitely appreciate what he covers under the "feminism" and "multiculturism" headlines, cos when we get to see it, we rarely have the nomenclatura to understand it properly. This is not just a book for someone who in earnest wants to make a living off "criticizing art", but for anyone young (in mind) enough to set out on the adventure to enjoy, understand and recommend contemporary art with some kind of vision for the betterment of mankind. The art, Mr. Barrett tells us, is all there - it's now up to us to make something with it.

5 comments about Japanese Art (World of Art).

1. book kind of sucked. not what I thought I was going to learn from it.



2. The author Joan Stanley-Baker earned her Ph.D. on Chinese art. Probably being aware of this, I felt that an outsider's view is rather strong in the book, as she discusses Japanese art in terms of the two axes of indigenous and imported traditions, and regards domestication as an important issue throughout. However, I found the introduction very interesting, especially her notes on the coexistence of contradictory aspects in Japanese art, such as complete mirroring of foreign elements and introspective and insular tendency. The following chapters are rather disappointing that her insights are not very well demonstrated in dealing with individual works of art. For comprehensive understanding of Japanese art, Penelope Mason's _History of Japanese Art_ is much better.



3. I found this to be a great book for learning about the different periods and art forms from Japan. The cultural periods from Prehistoric to Modern are covered, with stops in the Asuka, Heian, and very important Edo periods! Over 80 color illustrations from wall paintings to temple architecture to lacquered chests are presented for your viewing pleasure. The author has taken great care in describing whether an art form is native, imported, or has been modified and adopted into the culture (i.e. japanization). You'll find hundreds of illustrations but let me warn you THIS IS NOT A PICTURE BOOK! If you are looking for a book just to flip through to see nice pictures and also take a crash course on 'Japanese Art' then you most likely will have to look elsewhere. By reading this book from cover to cover you will gain a great understanding of Japanese art. Not every picture makes sense unless you read the accompanying paragraphs. If you do take your time you will come to appreciate the art of Japan and will gain a greater understanding of the people as well. My art & humanities teacher, a PhD, describes this book as "excellent and splendid". For her that is like putting Tom Selleck in front of her fireplace with a bottle of champagne. After reading this book I hope you will be equally excited. :)



4. This classic book in its new edition presents a thorough, level-headed introduction to the many varieties and periods of Japanese art. Individual chapters highlight the major works and offer both beginner and armchair expert a background to the development of each genre. Unfortunately, what is lacking -- and this is a critique of the publisher's investment in this fine work rather than of the author's efforts -- is a presentation in size and color that suits the written content. How can the stunning but subtle beauty that is typical of all Japanese art be properly displayed when the accompanying photographs are small sized and printed in black & white? This book is highly recommended as a comprehensive overview of Japanese art, but you will need to look elsewhere to see the art as it ought to be seen.



5. Well, it is one of the best guid-book for the beginners who is interested in reading about Japanese art. My interest is in the Nanga and Ukiyo-e. I got the basic ideas about the two from this book. Then I started to read some other books about the two topics. If you have no previous knowledge about Japanese art, pls start from this book.

5 comments about Understanding Art (with ArtExperience Online Printed Access Card).

1. Although it was required for my course, I used this book thoroughly and I think it's excellent. It lays out a strong foundation to build upon and explains clearly and thoroughly. Great Book that I would recommend to anyone!



2. The book came really fast even though I did not choose the expedite shipping. Keep up the good work
   :)



3. I do not care too much with how this book is written, but it is exactly what I needed for class! excellent shape too!! I saved over $100 buying it off EBAY!!



4. This book made understanding art easy. I especially enjoyed the cd rom that came with it, which gave interactive ''flash cards'' to help me memorize dates, artists, media, and famous (and not so famous) works.



5. I recently had to purchase this book for a correspondence class on art appreciation. My teacher however failed to list the edition I needed to buy so all of her questions and such do not correspond with any of the figures featured in my textbook. Anyways, I looked at this book with my kids for about 2 hours when it first came in the mail. I love the color reproduction and all the background info given on all the pieces. I only gave it four stars because the author has a tendency to tell you what you should be feeling when looking at each work while I would like to form my own opinion.

5 comments about Acrylic Revolution: New Tricks and Techniques for Working with the World's Most Versatile Medium.

1. I don't know where to begin praising this book. It is like a candy store of ideas and new things to try.



2. I haven't actually used any of her techniques yet, but the book is beautifully put together with excellent instructions, illustrations and materials lists for each project. As a silk painter who also paints on canvas, I was delighted to see she even had a technique for painting on silk. The spiral-bound book binding is an added plus. I'm really glad I bought the book - it's opened new doors for expression.



3. I didn't know I wanted this book until I had a gift certificate to spend. I am a mixed media painter and always want to add any books to my library on acrylic painting techniques. I really like the ideas in this one, and most of the descriptions and demos are pretty well explained. I was glad to see some information provided on different substrates, and processes as well as the basic techniques!



4. Looking to make the switch from oils to acrylics, I wanted a text that was a kind of "user's manual" for the medium. This book was very useful in this regard. I believe Franz Kafka said, "Art needs craft more than craft needs art." This manual can't make you a great painter... but the simple, reference-style layout and generously illustrated, "how-to" text will strengthen your familiarity with the paint. Some of the example art is a little kitschy, but it serves to illustrate rather than enlighten. Also, the book is spiral-bound within a hard cover, so it is both durable and will lay flat... very handy for reference while at the easel. Anyone starting out in acrylics, looking to see their possibilities and limitations, will gain from having this reference in their library. Experienced acrylic painters, or people looking for inspiration beyond technique, should pass on this book, however.



5. This is a great book focusing on the tools and techniques used in creating acrylic artwork. The techniques are easy to follow and the tools used are simple enough to find. NO obscure or artist-patented colors forcing you to buy into their personally-branded, over-priced products.
   
   I only wish that after each technique is covered,there were some step-by-step projects/lessons to follow along with for trying out the techniques.
   
   An excellent, must-have guide for all aspiring acrylic artists.

5 comments about Modern Architecture (Oxford History of Art).

1. Didn't even open this book for my architecture class but if you are an architecture major than this book might be great.



2. I am an architecture student, and this is a great book for the money. The photography is well done, with a good selection.



3. This book provides a much easier way to view modern architecture than the usual method-To study each individual that impacted the world of architecture through this modern method and perspective of architecture. Consequentially, this book is easy to read but the depth isn't there, I would prefer the other Modern Architecture books,(see my other reviews). But for the casual reader, or anyone interested in history of architecture from the student to professor, this is an appropriate choice.



4. Rather than just writing a history of modern architecture, Colquhoun distilled a polemical theory into this succint historical writing. This book could be read as a history book and a polemical theory book on architecture in the 20th century.
   
   Rather than chronologically writing a survey of modern architectural history, Colquhoun placed emphasis on certain modern architects (Loos, Wright, Corbusier, Mies and Kahn) whom he thought, had brought substantial influences to the modern architecture. He used these architects as examples to illustrate the formation of modernism and the phenomenon of modern society. Other than just analysed the work, Colquhoun brought a dynamic discussion of architects' theory, criticism and also relevant references. From there, he provided his critical point of view.
   
   His discussion on Corbusier, Mies and Kahn were fascinating and profound. It would certainly open a new chapter for those who already knew these architects very well. Colquhoun used Corbusier and Mies as two representatives of a dialectic flows in modern architectural movements: 'functionalism' and 'rationalism' accordingly. The whole book ended with the works of Louis Kahn. To Colquhoun, Kahn's 'Rational Functionalism' provided a way out to modern architecture.
   
   He says at the end of the book, 'Modernism was to survive, but only after abandoning it's totalizing claims and by a process of continual self-cancellation. Paradoxically, the work of Louis Kahn- anchored as it was in a belief in a transcendent order - was one of the chief propelling agents in this emerging regime of uncertainty.'
   
   Readers might disagree with Colquhoun's point of view, but could not disagree with his extremely insightful and rigorous approach in understanding modern architecture. Most importantly, this book invites us to develop our own critical point of view towards the architecture culture.



5. Who needs another history of the modern movement? Coloquhoun, emeritus professor of architecture at Princeton, shows us why in this wonderfully succinct, readable, and opinionated account of movements and formgivers, from European art nouveau to the post-war decades in America. Each of the chapters focuses on a theme or a region, ranging from the artistry of Loos to the social engineering of Scandinavia. Though most of the examples are familiar, the author gives them a fresh spin-starting with the cover illustration of Hans Scharoun's Schminke house of 1933, now restored and used as a day care center. It embodies the daring and idealism that powered the modern movement and is now being rediscovered. (Michael Webb is the book reviewer for LA Architect magazine.)

5 comments about Emotional Design: Why We Love (or Hate) Everyday Things.

1. This book is a great way to take new perspectives towards design. I read it about five years ago and I still pick it up when I'm in the creative doldrums. I thought every chapter was interesting and useful until the end when Don starts talking about robots.



2. The subtitle of this book is misleading: "Why We Love (or Hate) Everyday Things". The last 1/3 of the book deals with how emotions will play a role in robotics. Even in 2009, robots are still behind the scenes. Perhaps Norman's assertion that when robots take on emotional aspects, they will become commonplace but until then, we could all stand better designed 'Everyday things'.
   
   One thing that Norman does predict in this 2005 book is that the video game industry would do well to take a better look at behavioral and reflective design - rather than purely visceral design.
   
   The wild success of the Wii over the Playstation 3 shows Norman to be somewhat of a prophet in this regard. Wii design from a play standpoint focuses nearly entirely on an antithesis of the visceral/visual sense - with players not having limbs and so forth. Controls are also simple rather than complicated. The focus is on personalization and relational aspects; crossing multi-generational lines.
   
   In all, the book would be well served with many more examples of actual everyday things that connect on visceral, behavioral and reflective levels rather than theorize about the future of servant robots.



3. 
   I've been a fan of Donald Norman's "The Design of Everyday Things", (also known as "The Psychology of Everyday Things") for many years, but only recently finally read "Emotional Design"
   
   Norman greatly expands his ideas about design here, breaking it down into visceral, behavioral, and reflective design. Behavioral design includes everything discussed in Everyday Things, visceral design is design that appeals to our most basic instincts, instincts that prefer things like primary colors, sweet tastes, round smooth objects, and smiling faces. Finally, reflective design is design that appeals to us because it's "cool", or because it has a message, or it's clever, or it supports a cause we believe in, or it has prestige.
   
   Norman expertly weaves together his analysis of these three levels of design, including plenty of examples to clarify his points. Of course, the truly great designs often appeal to us in two or all three of these ways. His examples range from teapots to cars to showers to roller coasters to water bottles. In the chapter entitled, "People, Places & Things", Norman offers the best analysis of "always being connected" that I have read, clearly explicating both the positives and the negatives of being in that state.
   
   Finally, the last two chapters discuss machines and robots, whether they should have emotions, and if so, what kind and in what degree.
   
   Overall an excellent book that will really make you think about design in some new ways, regardless of what kind of design you do.



4. I really like this topic, but i found the book a little hard to read because some parts can be boring.
   
   It's a good book



5. I really enjoyed the first part of the book. It is a good read as the Design of everyday things was (which is a must), with great examples and stories.
   
   The concepts in this book are quite simple and the book becomes a bit repetitive after a while. Having said that, I would recommend the book if you are a designer or if you closely work with designers.
   
   (The last quarter of the book is about emotional machines and robots and less about design. These I simply skipped.)

5 comments about The Artist's Way.

1. The Artist's Way is a profound exploration into creative recovery. Never before have I found a book that is so aligned with my own person value system, and never before has book so immensely impacted my life in a positive way. In The Artist's Way, Julia Cameron has developed a life-changing 12-week course in discovering the meaning of life.
   
   I've always known that my creativity is the life force that drives me, but I have never understood why I was so intensely blocked. From the first few pages of The Artist's Way, I knew I had stumbled into a course that was going to take me deeper into discovering things about myself that I had never previously understood. Fundamental to success in the course are two foundational elements: The Morning Pages and Artist Dates. The Morning Pages are three hand-written daily journal pages written first things in the morning, a stream-of-consciousness purging of problems, fears, concerns, hopes, dreams, and anything else that consumes the mind. The Artist Date is a weekly excursion to be taken alone with the intention of refilling the mind with new ideas and revitalization after a week of creative effort.
   
   Cameron's approach to creativity is rooted in spirituality, and her concepts are dependent upon acceptance of some higher power, who she refers to as The Great Creator. According to Cameron, everyone has access to the creative flow of the universe, and being creative is inherent in our nature. Understanding the root causes of blocked creativity (fear, upbringing, society, stereotypes, misperceptions) is the first step in becoming unblocked.
   
   Over the course of 12-weeks, Cameron forces her readers into some of their darkest places, uncovering and acknowledging demons that have molded them into the fearful and doubtful individuals they are today. Through a series of therapeutic writing exercises and other activities, these issues are dealt with head-on. Cameron explores the concept of the Censor, the inner voice that tells us we are not talented, original, or worthy of a creative life. The Artist's Way teaches its readers how to recognize and silence those debilitating thoughts.
   
   As I proceeded through the 12-weeks of the course, I found myself astonished at how accurately my own creative recovery reflected the stages in the book. From week to week, I was amazed at how Cameron's essays seemed to speak directly to the exact point at which I had arrived in my own creative recovery. Prior to this course, I felt that I had no time to accomplish anything. Having finished the course, I find myself rising early and writing every morning and ending each day by painting. I have learned to love and appreciate the process of creating without focusing on the end product of my work. Additionally, finding satisfaction in my own creativity has had a profound physical impact as well. I've lost weight, am exercising more, and enjoying life more than ever. This is the best book I have ever read.



2. Hello!
   I am not finished yet reading the book The Artist's Way, but I already found out that
   the recommendations and lines given in the workshop to de-block helped me a lot to
   start again with a new poem. However, it is not only the reading of that book that
   helps. Walking in nature and claming your inner voice is very important.
   Regards,
   Astrid Dewancker



3. The item when received was exactly as described, in perfect condition and it arrived quickly. I was very pleased with my experience.



4. Great service on shipping this item and it is definitely what I was looking for by way of both quality and quick service. The book is somewhat worn (having first been purchased by its original owner some time in 1997 which I know from a receipt tucked into the middle), but that is understandable due to age AND the book seller had already listed the product description accordingly. I love ordering books that intrigue me for a reasonable price!



5. A lot of people rave about this book. I don't really get it. It feels a little bit like the 12-step program, and the author's thoughts are a little bit disorganized. I feel there are better books today on the subject. For general information about creativity, I prefer "A Whole New Mind" by Daniel Pink. And for a more practical how-to book on creativity: "The Creative Advantage Book" by Guillaume Wolf. The Creative Advantage Book: Unleash Your Creativity And Change The World!

5 comments about The Elements of Color.

1. It is too bad that this is practically the only one of the kind. The aim is great, the contents are great, but the author does not know how to write a technical book. The author refers to concepts and terms that are yet to be defined or never defined at all. For example, at the very beginning, the author talks about "violet" and "purple". Am I the only one who did not know "violet" means a color of a single frequency, whereas "purple" is a color of combined frequencies? This is a No-No for mathematicians and scientists. For those of who are already familiar with Color Theory, the book must be a great assurance, articulation or enhancement of their existing knowledge, but for those who are new and try to learn as an artist, this is a nightmare. I am the latter kind. The only reason I could finish it was because I am familiar with fundamental physics and optics already.



2. This book is excellent. Very informative for artists to conquer colour. The service was also fantastic - very very fast. Thank you.



3. If you know nothing about color theory, this is a beautiful introduction to it. I was very interested in illusions and the physiological effects of color, this book taught me what I needed to know. After this book I went on to another book that taught me more specifics but this is a wonderful addition to any artist's or scientist's book collection.



4. This is a fabulous book, making an intellectually rich subject palatable for the more right-brained of us!
   Needs to be read in conjuncion with The Art of Colour. I wish I had realised that when I ordered it.
   However this study provides a reliable and essential foundation for the serious student of colour.



5. 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.