5 comments about Oil Painting Techniques and Materials.

1. Art instruction of this nature are hard to come by. This book should be entirely redone - different format, larger illustrations in color, a little updating - not too much. Speed is so interesting and helpful. He organizes what you already know, introduces you approaches you never thought of, shares his artistic philosophy and generally fills in the gaps in one's education. Glad I bought it.



2. Harold Speed has in this book explained everything an oilpainter needs to know. Very informative, and a great learning tool.



3. I enjoyed this book very much, in spite of the writing style of the day. The author knew his subject and was able to convey it to the reader. I've been painting for forty years and he had pointers and tips I have never seen or read anywhere else. I have put some of those into practice, and feel that my paintings are better for it. Even with the run on sentences and the not so humble opinions interwoven into it, this book is a valuable addition to anyone seriously studying representational painting, and I don't think it any more biased than many books written about painting which favor modern or non representational art.



4. This book is one of the best books out there for painting, it offers a wontderful insight to the craft of painting the classical way. I read it multiple times and I keep learning from it. The drawing book by the same author is just as awesome.



5. As a professional artist I have been a long time admirer of Harold Speed's books. If you are interested in learning the craft of painting the human figure in oil, then there is really no better primer than Oil Painting Techniques by Harold Speed. From my own experience in painting I have come to find that Speed's approach is the most intelligent and manageable of any I've studied. It's a method that applies to any subject, not just figure painting. No cheap gimmicks or "tricks," just good common sense and a clear explanation how to break down the spectrum of visual data into the most important components.

1 comments about Success through Failure: The Paradox of Design.

1. Fact-based analysis of how we can learn from past failures. A good lesson with good examples but the book is a little slow in places.

5 comments about The Paintings of Joan Mitchell.

1. This week we mark the anniversary of Joan Mitchell's death to oropharyngeal/pulmonary cancer (10/30/1992). We turn to a splendid book put together & written by three impressive ladies.
   Joan Mitchell, not often found in general art books, none-the-less imposes a powerful presence in the tapestry of american art. Overshadowed by masculine icons the likes of Pollack, de Kooning, Kline. Mitchell brought a strong feminine bravura to the abstract expressionist genre.
   This lovely book celebrates the Whitney museum's 2002 - 2004 exhibtion. The paintings presented here sweep through the decades from her establishing herself during the 1950's - 60's through her mature visual paraphrasing of the 80's.
   Delicate energetic masterpieces are beautifully brought forth in 88 full page color plates. An embodying text follows her life from marginalized artist to a forefront figure strong in both expression and lifestyle.



2. If you're looking for a book on Joan Mitchell's vivacious abstracts, this is as good a place to start as any. In 2002, ten year after Mitchell's death, the Whitney staged a comprehensive exhibition of her work. This book was published to coincide with that exhibition. The colour quality of the illustrations aren't bad; although the description and bioblurb are pitched to a ubiquitous audience, they're nonetheless grounded in reality, intelligently written, and thus painless to read. All in all, you can't go wrong. If you can afford it, go for it!



3. text isnt that good.....way too many plates from when her paintings werent so good...1950 to 1964



4. I went to this amazing show at the Whitney. I stood for hours with her huge paintings. Even though a book cannot compare to the artwork in person, this book does a good job presenting Mitchell's stunning work. The only other book I have seen that might compare is Joan Mitchell by Klaus Kertess, but this book is hard to find.
   
   I recommend buying the Whitney Museum book. It is inexpensive and is comprehensive.



5. The painting of Joan Mitchell was for me a discover of an tremendous and excellent painter, almost unknow in my country Argentina. The quality of images, photographs and texts includes on this catalogue dont dissapoint me, in fact, it gave me hope in contemporary paint and help me as a painter.
   I recommended this book for any person who love the beauty of color, life and paint, and for painters who want to learn what means the freedom of action and think.
   Thank you and excuse my english.

5 comments about How to Draw Cars the Hot Wheels Way.

1. I bought this book solely because Scott Robertson wrote it. Normally I would have passed this book by thinking it was a children's book on drawing hotwheels. Boy was I surprised when I received it.
   
   This is not as much a book on drawing cars but a book explaining how to use perspective when drawing vehicles which could be used for all types of vehicles. I've read many books on perspective and this one has been the most well developed instruction on vehicle perspective. His instructions are very detailed with great illustrations for each step. And we're not talking about glossed over quick 3 step instructions, most instructions are over 10 steps. So he goes slow with enough detail to not miss anything necessary to truly understand this topic.
   
   Another bonus, is that he explains in detail how to render with various art media and also step by step how to render in Photoshop. These instructions are as detailed as that for drawing in perspective.
   
   This book was a Great Surprise! I wish I had found it earlier. I probably could have forgone many books for what I've found in this one. Don't let the name fool you, pick this book up no matter what level of artist, illustrator, cartoonist or designer you are. Great book!!! 5 Stars.



2. Purchased for a 7.75 year old boy who loves to draw. He likes it but not as well as the drawing book by Hart.



3. Great Value - My son just keeps using this. For the enjoyment he receives from this guide, it is worth twice as much to me.



4. this book is probably one of the best books on drawing cars. lots of great pictures. and really great art of street rod cars. much better than How to Draw Cars like a Pro. everything you'll need on drawing cars is in here!



5. The minute this book arrived and I saw how great it was I realized that I would need to give it as a gift to a designer friend. Then I needed to order another copy to keep for myself. If you are a designer, want to draw cars, or are just a fan of Hot Wheels cars, Scott Robertson's book is a wonderful insight into the world of unlimited transportation imagination. Kids of ALL AGES would love this book!

2 comments about Drawing and Painting Animals: Problems & Solutions (Problems and Solutions).

1. I bought this book after struggling to draw birds. While it does not focus specifically on birds, it does cover many different mediums and teaches a few simple techniques that are invaluable to any artist, whether they paint or draw animals, landscapes or humans. While this book does not specifically deal with the subject of digital painting and drawing, many of the techniques within can be adapted to a digital format. I highly recommend this book to any artist, no matter their specialty. The lessons learned in this book have been invaluable, but may be difficult for a younger reader to understand.



2. This was a very informative book. For anyone wanting to paint or draw animals.

5 comments about Little Nemo: 1905-1914 (Evergreen).

1. After having only had the opportunity to read a handful of Little Nemo strips in the Smithsonian Collection of Newspaper Comics (another great book), I was happy to find that this was available. Even though the size of the pages are smaller than the original newspaper prints, I think this collection is definitely worth it, particularly since it's a fair price for so much material.



2. I discovered Winsor McCay only 2-3 months ago when reading the Sunday book review supplement in the San Francisco Chronicle. The column was about several different books and authors, however one of them was about the recently (July 2007) published Dream of the Rarebit Fiend (complete), edited, published, masterminded, etc. by the German Ulrich Merkl. I probably wouldn't have noticed the review but for a graphic showing several of McCay's sketches. It turns out that they were from the front cover of Merkle's book. They are, of course, illustrations from McCay's Dream of the Rarebit Fiend series. I was immediately taken with McCay's obvious genius and I immediately looked up McCay at my local library and checked out a copy of Little Nemo in Slumberland, the "Best of..." book edited by Richard Marschall. I was highly impressed by this and looked online and bought this Taschen/Evergreen version and at the same time the inexpensive but very nice reprint of the 1905 book published by Frederick A. Stokes of early Dream of the Rarebit Fiend strips.
   
   The Taschen/Evergreen (the book reviewed here), it turns out, has renderings of Little Nemo in Slumberland that are evidently taken from the same source as those in the Richard Marschall book I just referred to. The colors and even the occasional imperfections are the same, as well as the size. This volume, however, has many more episodes, over 400, probably. The Marschall has a few that are not in this, but they appear to be mainly late (after 1920) episodes, and are generally not up to the quality of the earlier work.
   
   Looking at the reviews of the Peter Maresca 2005 version of Little Nemo in Slumberland ("So Many Splendid Sundays"), I was highly impressed and I discovered that my library had a copy, and of course I checked it out. The full size presentation and superior production was so astonishing that I decided to buy a copy of my own, and it arrived yesterday. I'm still glad I have the Taschen/Evergreen because it has more than three times as many episodes as the Maresca (which has about 110 episodes) and it's nice to have that for continuity (there are often serial runs of episodes). This book is adequate to get the stories and conveys a lot of the majesty and McCay's genius, but having seen the Maresca it's hard to be satisfied with the 2:1 reduction and the inferior colors. They are certainly OK, but the Maresca is breathtaking.



3. This book is the quintessential collection of Winsor McCay's "Little Nemo" Sunday strips. Every single page is lovingly reproduced herein, guaranteed to delight the devotee and novice alike. I cannot and will not try to expound on the oft-repeated acknowledgment of McCay's brilliance. The focus here is the completeness of this compilation. It's all here, in one handy volume for all to see and be dazzled by. The only thing that could have been better would be full-sized reproductions (hint, hint). My thanks to the editors and everyone else who brought it into reality!



4. This is an excellent collection to own.
   
   The visuals in Little Nemo are excellent, leaps and bounds above what most filmmakers can do, even with technology and money.
   
   And Little Nemo was probably one of the ten most important comic strips of the early part of the 20th century.
   
   And this is a reasonably affordable edition that contains all (or at least claims to contain all) of the strip.
   
   That being said, I'm not sure that Little Nemo is really something that would hold the interest of a lot of contemporary readers, comic and otherwise. This was kind of a hard thing for me to write because it is an important work in terms of comic history.
   
   If you do plan on buying this, think of it as a reference book or a picture book (when I bought this at the comic store, the employee said it really existed solely for the art and, history aside, I'm not entirely sure I disagree with him). It is incredibly useful in that regard. In terms of an actual plot or characterization, don't really go in with high expectations. This is an attractive volume worth having on a shelf and consulting every few months but it isn't something that you are probably not going to read cover to cover.
   
   Little Nemo has little to speak of in terms of plot or characterization. And, like the Walt and Skeezix collection, racial stereotypes come in occasionally, something that would probably have flown in 1905-1914 but something that is unacceptable now (though I regret that the dislike of such things often comes at the expense of a reasoned view of the historical context).
   
   And I really wish that I could give this a better review due to its historical importance. Overall, it gets three stars but with a qualifier of some kind.



5. Little Nemo in Slumberland was introduced to America over a century ago, and these pages still have the power to astonish and touch anyone that reads them. The utter timelessness of this strip, both in artwork and vision, is the kind of testament to genius that very few graphic artists ever receive. Winsor McCay was such a genius and his major work, Little Nemo in Slumberland, is a vastly rich exploration of human dreams.
   
   What is it about Little Nemo that was so special? First and foremost, we have the pure draftsmanship of Winsor McCay. The man could (and with his imagination, often did) draw anything. Where a great deal of comic art from the time was somewhat static and stiff, McCay's figures had fluidity. His characters seemed to be caught in motion, captured in very difficult angles and postures to draw. McCay handled it all with incredible ease. When McCay drew Little Nemo climbing over a wall, it captured perfectly the struggle of a nine-year-old boy, fighting both his own small size and his pajamas. The man had a sense of perspective and composition that was nearly superhuman. He could portray an entire make-believe city, with shimmering towers and distant castles, in a single panel and give it a quality of detail and depth that barely seems possible.
   
   Secondly, of course, was the breadth of McCay's imagination. Sometimes little Nemo dreamt beautiful fantasies, sometimes disturbing nightmares (Nemo's journey toward Slumberland at times resembled Dante's journey through the nine circles). Suffice to say that the details of these dreams are simply mind expanding. One can only imagine the impression they made on a 1905 comic strip reader.
   
   Lastly, and for me most importantly, was the character of Nemo. McCay's portrayal of a six year old boy was completely spot on and timeless. Anyone that has ever had a boy child will instantly see their own son in Nemo, and this superb characterization was done more visually than with text or dialogue (if this doesn't make sense, have a look at the strip to see what I mean. Nemo's very posture suggests all the heartbreaking vulnerability and innocence of a young child). There is a subtle and complete sweetness that underlies the entire work that makes it emotionally memorable and captivating. The staggering beauty of McCay's panels often overshadows the fact that Nemo was nearly always the terrorized victim of his dreams. Yet no matter how hostile and threatening his dream world became, he never responded with anything but trust and hope (amazingly, this quality never seemed sentimental but always rang true - such was the power of McCay's art). It is the kind of work that has a place in both your heart and your mind.
   
   This is a very affordable and worthwhile edition of McCay's historic series. The colors are well reproduced, the paper stock is excellent, and the binding is superb. Lovers of the graphic arts should be very grateful to Evergreen for producing this well-done and reasonably priced book. I highly recommend it. ---Mykal Banta

5 comments about Seventeenth and Eighteenth-Century Fashion in Detail.

1. When I bought this book, I was a budding historical seamstress. It is a marvelous representation of historical dress! The pictures are lovely, but the design sketch of each garment is what really sets this book apart. The descriptions explain the construction as well. A smart purchase you won't regret!



2. The photo close ups showed the amazing details of the craftmanship in that time period. I only wish there were more French pieces.



3. I purchased this book to see more examples of dress from the time period. I was very satisfied with the pictures it shows of the clothing. It shows a pencil drawing of the entire garment and then there is a colored photo of certain details on an actual garment from the period. In the pictures you can even seee some of the hand stitching. Many of the dresses are very detailed with embroidery which of course someone must have taken forever to stitch on. The garments are beautiful examples to look at for anyone interested in this time period.



4. It did not have most of the information I was seeking. I wanted to find info on the style of the time in detail. Although a few years had detail and were helpful for my needs, I was expecting to see more years be explained in detail by the title. It spent to much of the book talking about things that for my mind didn't tell what the fashion styles were. For the most part I found the book disappointing.



5. A great read for all seriously interested in the history of fashion. Very detailed photos with clear text. The work nicely fills the gap where costume books who concentrate on whole garments can gloss over. Dovetails nicely with the Janet Arnold and Norah Waugh more scholarly works. Totally recommended for those who want more!

4 comments about Weaving in the Peruvian Highlands: Dreaming Patterns, Weaving Memories.

1. Having traveled with Nilda to meet the weavers and observe the weaving process in most of the villages featured in the book , I can attest that the stunning color reproductions (kudos to the publisher for the choice of so many wonderful examples and for selecting a outstanding printer!) in the book accurately represent the superb work still being done under the direction of the Center for Traditional Textiles Cusco. If you are looking for "visual understanding and aesthetic appreciation" of the best of Peruvian textile weaving today, this is the book to buy! And the economical text thoughtfully complements the numerous illustrations.
   
   Eric Waples



2. Nilda Callañaupa Alvarez is a Quechua weaver and scholar. She was born in Chinchero, a village in the southern highlands of Peru, was educated in the United States and in Cusco, and is the founder of Center for Traditional Textiles in Cusco.
   
   "We started the Center for Traditional Textiles of Cusco in l996 to explore which Andean weaving traditions still exist today, how we might educate people in our culture to value and continue the Inca heritage, and how we , as a group of concerned individuals, might aid villages and families in this process.
   
   "In the Andes we depend mainly on farming to provide food for our families,but it brings little income. Like those who came before us, we still honor the earth and continue practices adapted to difficult conditions of high altitude, steep slopes and unpredictable weather. But we can no longer depend on the agricultural systems of land planning and food store-housing put in place by our Inca ancestors to assure that everyone received enough to eat in bad years. Those systems were destroyed during colonial times. Families today must find ways to supplement their income to meet their daily needs.
   
   "The work of the Center is not just to preserve and to study Peruvian textiles, their symbolism and significance, etc. Our goal also is to assist families to create a larger market for their textiles and a new economy for their communities."
   
   The works of art are beautifully reproduced in this well printed book, and the text explains much of the history and the meanings of the patterns. On a recent visit to the Center, we saw many beautiful pieces, quite different from the acrylic tourist belts and purses on offer everywhere.
   
   The book also explains some of the many difficulties using natural materials -- lack of firewood, scarcity of some plants, even practical problems -- a soft boiled egg takes either eight or nine minutes of cooking because of the high altitudes around Cusco.
   
   The book and the Center make an important statement about preserving these ancient weaving techniques. The resulting works are a feast for the eye and for the mind.
   
   Robert C. Ross 2008



3. This is a marvelous contribution to understanding the beauty and cultural importance of traditional weaving in the Andean heart of the Incan empire. The author, whose Center for Traditional Textiles in Cuzco, just opened (2007) as a museum, market, and center of learning and research,
   is superbly qualified, as the expert who is illuminating her own traditions. She has produced a stunning, accessible and fascinating work which should appeal to weavers everywhere and to anyone who is traveling to the area, or armchair travelers who wish to learn more about the vibrant traditions of the Andes. Highly recommended for artists, weavers, and travelers.



4. The pictures and text in this book are wonderful! First, it's a visual delight and when I went back to read the text, the background on weaving is thorough and very interesting. I highly recommend it!

5 comments about Graphic Designer's Guide to Pricing, Estimating & Budgeting Revised Edition.

1. This book is an excellent comprehensive guide for any person who is either considering becoming a freelance graphic designer, starting a design studio or setting up a full-service design firm. It outlines, in a detailed and easy-to-follow way, all the key elements one must consider, such as fixed costs, budget management and establishing rates. Theo Williams, the author, employs a fresh and user-friendly approach in every business concept she presents. This book is the bible I'm using to set up my business. Someone took my copy, so I ordered another right away! I don't know what I'd do without it!



2. This book is not nearly as helpful as I had hoped. If you want to read to entire book, you'll get an overview on basic ethical and pricing theories, but there is no pracitcal "this is what designers are charging now" basis, and it is less that fun to read. Skip it.



3. I have been operating a freelance graphic-design business on a casual basis for over 10 year and have just recently decided to take it to a more professional level. I purchased this book because I thought it would help me streamline my billing system and teach me something I didn't already know. Unfortunately, I found that this book was much more chatty than informative and that the information was a bit too vague. It would have also helped if the forms at the back of the book were more fully discussed in the book itself.
   
   While I found it interesting and somewhat insightful to read about the author's opinions and experience (which is credible), I did not feel that I gained much new insight from the book. Another book that I found more pragmatic and useful was Cameron Foote's "The Business Side of Creativity". Even though that book covers all aspects of running a graphic design business, it also includes a section on billing with advice that is both practical and concrete (including how to deal with clients who are price-sensitive in an assertive manner). While this book may help someone who is completely new at billing clients for graphic-design services, I personally gained more from Foote's book than this one.



4. Freelance Graphic Designers, or those considering it, get this one. It is excellent. I have read it 3 times and still learning from it. It is Good advice. She's a nice lady. I want to meet her. This helps you in negotiating and deciding on a price, and not letting the client take advantage of you, and invoicing.
   
   The author is a woman, btw. I think it is cool that a woman can have such a hugely successful business.



5. In straight-forward, witty and very business-wise language, Theo Stephan Williams lays it all on the line for anyone in or thinking of getting in the design business. She explains exactly how to negotiate, what to say and how to actually make a profit. While all other books dance around the subject of money, she just lays it on the table, giving hourly rates and project break-downs and without having to feel bad justifying prices that will keep you in business, I finally realize that it is a right to make a profit out of what we do.
   For ten years I've been operating exactly like the kinds of people Theo knows inside out - thinking that breaking even is good enough, afraid to raise prices for fear of losing work. All that gets, she explains, is a huge, unprofitable client base, all making demands and not paying a good price for the services they receive. Theo provides clear, logical, sensible and highly convincing arguments to turn your business around and make a real success of it, as she has done of hers.
   Read it and join the ranks of enlightened designers and design firms who actually make great money out of doing great work.

4 comments about Beyond Tolerance: Searching for Interfaith Understanding in America (The Documents of 20th-century art).

1. "Beyond Tolerance" is an excellent book for a church adult study group. We are thoroughly enjoying it at our Congregational church and would recommend that you consider it for your group. It is very pertinent for our times.



2. BEYOND TOLERANCE: SEARCHING FOR INTERFAITH UNDERSTANDING IN AMERICA tells of religious tolerance issues in the U.S., renowned for its religiously diverse population. This history of religious freedoms in America will find its place not only in spirituality collections, but in any high school to college-level library strong in American civil liberties and history. Chapters consider religious impact and social connections, offering depth and insights suitable for student debate and study.
   
   Diane C. Donovan
   California Bookwatch



3. It's almost painful to criticize this slim volume because the sentiments behind it are ppraiseworthy. Niebuhr argues in favor of interfaith dialogue. He says that in the post 9/11 world, mutual understanding and respect between different religions is more crucial than ever. I heartily agree.
   A former New York Times religion reporter turned academic, Niebuhr travels around the country finding various small-scale but nonetheless inspiring examples of such dialogue. It's all quite heart-warming.
   Where the book falls short is in its lack of context. How can you balance these earnest efforts at mutual understanding against other developments which suggest that intolerance and racism only seem to be increasing? Take for example, the wave of anti-immigrant feeling that has swept the United States -- to say nothing of the racism that Sen. Barack Obama's presidential bid has awakened, fueled not only by his color but by the false rumors that he is a Muslim?
   Nieburh goes into quite a it of detail about post-Holocaust efforts by Christians to come to terms with their legacy of 2,000 years of hating, persecuting and humiliating Jews. "The overall record of Christians toward Jews and Judaism is discouraging," he says (page 145) -- one of the more spectacular understatements I've ever read on the subject.
   He completely fails to address the unprecedented, disproportionate and unwarranted targeting of Israel by the Methodist, Presbyterian and other churches. Their attitude seems to be, "OK, we've said sorry for the Holocaust and we won't preach hatred about the Jews any more -- but the Jewish state is fair game." When these churches advocate disinvestment from Israel, they are once again falling back into the historical pattern of declaring Jews beyond the pale. It's anti-Semitism by another name.
   This book is well-intentioned but falls short of confronting the subject with the true intellectual rigor and painful honesty it advocates.



4. Every once in awhile a book transcends paper, ink, and binding to paint a picture. Niebuhr's book does just that -- casting a vision for interfaith understanding and issuing a challenge to engage in a transformative dialogue -- to move beyond the boundaries that limit and constrain us. Our future health, vitality, and sustainability as a global culture lies in collaboration and connection that is greater than any one religious faith or belief system. Too often modern religion is framed in divisive, destructive, and dysfunctional terms, with little regard to the essence of the good, the beautiful, and the true that undergird every major faith. When differences can be set aside in deference to the common good and the shared values of diverse faiths, amazing things can happen. Niebuhr offers an invitation into a new way of being 'religious' in a complex, chaotic, and often contentious world. This is a recommended read for every person of faith who desires to see our world become a place of peace, justice, mercy, and love.