2 comments about Portrait Painting Atelier: Old Master Techniques and Contemporary Applications.

1. This book imo has become the standard for learning to paint portraits in the indirect method. First, because other texts are outdated, shallow, and don't reflect the ascendancy of classical realism, many beautiful examples of which are shown in this lusciously printed work. Second, because the major thrust is to recapture the almost-lost fundamental techniques of the Old Masters, before our infatuation with the Impressionists and their greater circle largely blinded us from that very different world. Third, because the techniques shown help to go beyond the epidermis from the camera, yet with similar clarity, to let us become more as one with the spirit of the sitter, in the transparent modeling of the shadows, the emotions from color/temperature counterpoints. It is not gross hyperbole to say that painting a portrait can be a dance with the divine, to care so deeply not just about a likeness, but about the persona upon whom we lavish meticulous effort, because the devil is in the details, and this book goes beyond all others in making sure the artist avoids all the little technical things that bedevil the final image. Pivotal examples and names.
   And finally Madame S does so in a very well-written, gentle style that is both a pleasure to read and a training in patience of technique. The very feminine way to select a blending filbert, for example, with springiness just so, nearly parallel to the work, just so, to make the small circular blending just so, to follow the curves of the face just so. And thereby get very thin layers that allow the toned grounds to glow through. Rather like a lover with a slow hand. Beautiful brushwork that leaves no pits to doom the final glazing. A spiritual translucence. To go beyond a photograph.
   It is no surprise that her paintings do not photograph well, perhaps this is an attribute of most artists with whom we really connect, from Memling to Mattelson and many others, you have to be in the painting's presence to get the full effect. It reiterates the critical importance of having a mentor who can show how it's done and critique one's progress in learning. Not even this book can replace that, but it makes a very helpful head start or companion to any who would paint to the highest standards.
   Weaknesses? Not really. This is a seriously helpful book. You won't get her colorful language, and I would have liked to read a thorough introduction to lighting, posing, digital photography, post editing, color management, since there is no such adequate book for us, but the publisher already cut nearly a hundred pages to get this price point. She ah, feels rather strongly about the evils of some things, such as the use of alkyd soy oil, gesso panels [prefers canvas], PSE printout over transfer paper [a shame imo because gridding is great for really big works, but too slow for the usual sizes]. But better than being wishy-washy; when she knows what will work for you, you listen. Intently. The strongest teachers have the highest standards, strongly held. Follow them and you won't make a mistake. Experiment later with other approaches. For slow eye-learners such as moi, this book is essential.
   Sure, there are other great teachers, Frank Covino, Marvin Mattelson, followers of the Boston School, etc. with whom she shares many aspects of theory, materials and techniques, and there is no substitute for having such an experienced artist to critique your work. But you may not be able to just waltz in to their courses and get educated. Now you have a chance to get a good start until that day comes, for I'm sure she will inspire the same artistic hunger in you as well toward better painting. When you can deliver a truly beautiful image to the one who in essence has entrusted you with a vision of their soul then you can be happy too. But not until you learn. Here is the real deal. Strongly recommended to intermediate painters and up. Likely to be a classic, and now a screaming buy.
   
   
   Portrait Painting Atelier: Old Master Techniques and Contemporary Applications



2. The author presents a coherent approach to painting in traditional "Old Master" style. To absorb the wealth of
   valuable information takes several readings, as well as working through the exercises and much practice. Techniqes
   are clearly described.
   There are some impressive examples of painted portraits -- but not by the author. The step by step demos she herself
   does are not inspiring and result in stiff, "tight", uninteresting images.
   This book will be most useful to painters who have some experience and have already encountered the technical issues the author describes. Beginners will probably find it overwhelming.
   Incidentally, the author's mentor Domenic Cretara, who supplies the introduction, is a modern master in his own
   right, and his work is well worth looking up online.

5 comments about The New Drawing on the Right Side of the Brain.

1. Hello customers, i just want to let you know that the book i purchased was very good. Despite that there were some highlighted pages, which i really didn't mind, the book was in great conditions. I really like the service, so i really recommend others to buy their books or other products from my friendly vendor.



2. I by no means have read all of the art books out there, but I have read a few and as far as I'm concerned this blows them out of the water. Seriously I read this on a whim while I was trying to learn to animate and the results have astounded me. I still am not a great artist as a result of going through this book and doing the exercises but I have improved vastly. Not only that I also feel like this book profoundly changes your mindset and the way you see things in an almost disturbing and very amazing way. There was a few exercises that involved handwriting that I found intriguing because I never considered handwriting art really but after I did the exercises I found myself able to write in a way I and other people found beautiful. Seriously my writing wasn't even legible before, that short little exercise made years of handwriting practice in school obsolete(my handwriting was atrocious and I had years of special classes on it which had no effect whatsoever). That alone was like insanely valuable to me and just everything in the book is like that. You will find yourself seriously amazed at how you change and improve and just see things differently. I urge everyone to give this a try, even if you have no interest in art because I have a strong feeling that the practices in here on different modes of thinking will drive you to use both sides of your brain to effectively solve problems in not just the artistic sense.



3. I have not finished reading this book, but I felt compelled to do an early review for fear that any skills I gain while reading the book might dissuade me from leaving the negative comments that are just dying to burst out of me at this moment.
   
   I am well into chapter four, and so far there has not been a single line of drawing instruction delivered by the author. There has been one exercise to establish a baseline, and one exercise to try to acquaint the reader with the feeling of left-brain - right-brain competition. I read some reviews of B. Edwards that noted her use of "psychobabble." I have a B.A. in Philosophy with a minor in Psychology (M.S. in Computer Science) and as such, I am not opposed to psychobabble, nor am I opposed to B. Edwards interest or exposition about dichotomous brain functions and the duality of processing. What does piss me off is the fact that I have faithfully drudged through four chapters of her repeating essentially the same thought OVER and OVER and OVER. Seriously, she has told me that the left-brain thinks serially and in words and symbols, and that the right-brain thinks holistically and spatially. And she has told me almost nothing else. So far, it reads like an infomercial.
   
   At the moment, I do believe that the point of this book is valid--that its a slow starter--and that its going to win me over through results in the end. The fact that my faith still holds is why I have given it two stars instead of one. The fact that this does not make up for the absurd repetition is why I am reviewing it early.



4. I bought this as a gift to an artist, who has just started looking at it and the first reaction was very positive, as there are many things one can learn from that book.



5. This book presents a very ineresting take on art theory. It is the authors opinion that Anyone can learn to draw, somthing traditional artists would tend to take issue with. She seeks to train the eye and not as much the hands. If you access the right brain mode of truly "seeing" she feels anyone can draw. And might I say IT WORKS. Try it!!!

5 comments about Thinking with Type: A Critical Guide for Designers, Writers, Editors, & Students (Design Briefs).

1. a good intro on how to work with type and what mistakes to avoid when formatting type



2. This book talks about the history and elements of type. As a part-time designer I really enjoyed reading this book and learning about some of the creative people behind typefaces.



3. If you're looking for an instructional guide to typography, check out The Elements of Typographic Style or The Complete Manual of Typography. After revisiting this book, I've upped it to 4 stars, realizing that while it doesn't serve as a typographical reference, it is thought-provoking.
   
   This book, while it does contain some practical dos and don'ts, is more useful for: seeing good examples of interesting typography; learning a bit of history about typefaces, layout, and grid; and for learning about how typographical grids and other techniques apply to web design.
   
   I agree with some other reviewers that the design and layout of the book at times is overwrought, and distracts from the content. This is most evident in the first chapter, Letters, which I found very difficult to get through. However, the second (Text) and third (Grid) chapters aren't laid out so busily, and are much stronger.
   
   I wouldn't recommend this as a first or only book on typography, but is worth reading after more complete, nuts-and-bolts volumes.



4. After reading all the glittering reviews (and realizing that I could probably do with a little more typeface history and design knowledge), I purchased this book from Amazon. To be honest, I found the inside of the book to be laid out in a very ADD manner, with varying multi-colored, different-sized, intersecting sections of what-not COMPETING FOR ATTENTION. The information itself was good, but to be honest it was so badly laid out that it hindered me from reading any further, and had to force myself to read to the 20th page. As a Master's level Graphic Design student, I am APPALLED at the design or lack thereof of the pages of this book (with the exception of the cover), and even more shocked that this is considered one of the best typeface textbooks there is (and even more so that it was written by a PROFESSOR who is currently teaching in this field). There has to be a MUCH better and reader-friendly textbook on type out there.



5. Good learning material. I needed it for my class and i like the ease of reading it and the useful amount of knowledge it has. since i am a graphic design major, i found it helpful. Good condition when i bought it as well.

5 comments about Landscape Painting: Essential Concepts and Techniques for Plein Air and Studio Practice.

1. This book was written by someone who obviously has been teaching oil painting for some time. The writing style, the organization and the informational content is exceptional. I am a novice oil painter who has struggled with various aspects of this medium--especially in a plein air setting using the direct alla prima method. Most of my oil painting education has come from reading many, many books--yet there remained signficant impediments to my learning curve. Well, finally some hope for progress as this book addressed my particular issues like no other. It was almost as if Alabala watched me struggle in one of his classes and then wrote sections of the book just for me. Even some of his sidebar helpful tips--so seemingly simple at first glance--have helped me immensely. I highly recommend this book for anyone who wants to become a better oil painter in particular and a better artist in general.



2. Mitchel Abala's Landscape is an outstanding new text on the art of landscape painting. It's going on my shelf right between John Carlson and Edgar Payne. Abala is well organized. He progresses through rudimentary concepts, constructing layers of information on which to build more complex ideas. He presents ideas clearly and concisely and uses illustrations for each idea that are very helpful. Mr. Abala is obviously an outstanding and experienced teacher. I found his presentation of spatial clues and compositional decisions especially helpful. And..... the book is beautiful. Abala has used the work of mostly contemporary artists instead of just his own. These are obviously some of the very best landscape painters today. Buy this book---it's worth it!



3. I purchased this book because it contained a painting by Gavin Brooks, whose work I enjoy and learn from. Little did I know the vast wealth of information that Mitchell Albala so generously included. This book is a must for anyone (new or seasoned) who's first love is plein air painting.



4. Not only is Mitchell is a great artist, he is a generous and wonderful teacher.
   This book addresses all of the concerns for the landscape painter at ALL levels. There is much information discussed in this book that I have never read or heard discussed anywhere else and he communicateds it clearly. He gives other gifted artists a boost by using their work to illustrate the concepts in this book. Most artists who write art instruction books only use their own work and perhaps some old masters for this purpose. I haven't read every book on this topic, but so far I would say that this is the BEST BOOK EVER!



5. An excellent instruction book that covers all the basics, as well as discussing more advanced painting techniques in later chapters. From the start the author acknowledges that there is more than one way to make a successful painting, unlike many art books which use a "my-way-or-the-highway" approach to art instruction. The book also provides the best explanation I have read on how different artists approach color and the many different strategies employed to use color to create the desired effect.
   
   Using artwork examples by many different artists to highlight the concept or technique being discussed is much better than if the author had tried to "fit" something of his own or created something simply to illustrate the point being made. Excellent quotes from many artists and creative thinkers, as well as the author's insightful margin notes, are helpful and inspiring.
   
   The chapter on working with photographs and using digital effects as a tool for creating better paintings is refreshing. However, the book also acknowledges that photos and the computer are not replacements for painting outdoors, directly from nature, but provide a way to learn and grow as an artist using the tools currently available.
   
   The chapter on abstracting nature will be helpful to anyone who has yet to try pushing their paintings in this direction.
   
   One thing that would have made the book even better would have been to include more painting exercises, like the three on massing. However, this is a minor point. There is enough information for painters at any skill level, beginner to advanced, to study and then try out on their own.

5 comments about Understanding Comics: The Invisible Art.

1. I've first see this book in my friend's home. I was amazed by colors, quality of paper and last but not least the content. I've never thought about the comics books in the way this one explains. and the form the explanation takes is adding a flavor to the reading experience. i'm enjoyed reading it (i did it already twice). this is a book that you can take from the shelf at any time, open at any page and read. of course, to do it you need first read it once from the first page to the last... :)



2. Scott McCloud has written a 216 page comic book to explain comic books. The artwork, language, humor or social criticism of comics are obvious to most comics readers, but McCloud delves deeply into the underpinnings of this world--the technical, invisible paradigm that supports the creation and consumption of comics.
   
   Understanding Comics is a comic appreciation book. I was impressed with McCloud's grasp of the discipline's history, the psychology of the art and his own creativity when explaining his topic. For me, entering into this paradigm was very much like Thomas Kuhn discovering paradigms, when he said, "The scales have fallen from my eyes."
   
   Those familiar with comics have recommended a couple of alternatives in their reviews, but still end up suggesting that this book deserves a place among the serious works about comics. I agree.
   
   Jack H. Bender, author of Disregarded: Transforming the School and Workplace through Deep Respect and Courage



3. Let me begin by saying that I am very design and artistically challenged. I enjoy art passively. "Understanding Comics" introduced me to concepts in art and comics specifically. Scott knows as much, if not more about comics as anyone else. This is a brilliant book which presents really complex concepts to the readers in a way that a reader can understand, appreciate and remember these concepts.
   Why are we not taught these books at school. There is so much about design to learn from the book. I had borrowed the copy from a library but I am buying a copy now.



4. During these holidays friends were going to visit the Petroglyph Park in ABQ. I remembered this book, reread for the 4th time and when done gave it to my friends, and bought another copy. This book should be required reading for anyone in the visual arts, including those involved in websites, video, internet, gaming etc. Saying it is a book about comics is a great disservice to the book. It explains and dissects everything from symbols to how we read the visual and written medium. This book has helped me in my photography work...I really think about how an image I shoot can forward and represent what I want to say. I can't say enough positive things. The greatest thing about this book is that it seems like Scott is in the room with you explaining extremely complex ideas in the most simplistic and fun manner. If half my textbooks in college were this fun it would have cut my education time in half.



5. McCloud - to my mind - stands with Edward Tufte as an illuminator of visual information - and along the way, in reading all three of McCloud's books, I got a bit of art history, cinema history, graphic design - the connections between them - and more than enough to make me want to know more about all of McCloud's connected territories.

5 comments about Keys to Drawing.

1. The best drawing book out there! I recommend this one to all of my adult and teen students.



2. Watch Video Here: http://www.amazon.com/review/R27B82B4AIGAX3 Here's a pretty good book for anyone who's thinking of picking up drawing. Bert Dodson has written it in a crisp straightforward manner. The are 55 keys of drawing, introduced at a very comfortable pace. Alongside are 48 easy-to-follow lessons.
   
   The examples are all sketches from Bert Dodson, his students and selected pieces old art masters. They are all pretty sketchy but this book isn't about techniques on realistic drawings. It's also not about specific technical rendering techniques, although some are briefly introduced.
   
   This book is really about the approach to drawing, which aims at helping students tackle any subjects confidently.
   
   The principles are very similar to The New Drawing on the Right Side of the Brain: A Course in Enhancing Creativity and Artistic Confidence. I prefer this book as the lessons are shorter but effective, and the book can be picked up at anytime after reading for some inspiration.
   
   This book is recommended to beginner artists.
   
   (More pictures are available on my blog. Just visit my Amazon profile for the link.)



3. I have purchased this book enthusiastically reading all the excellent reviews, and it is with mixed feelings that I write this review, since I was fooled by the good reviews which all lacked a neutral point of view. One thing that is crucial is do I want my drawing to be artistic, similar to painting, or do I want it to be illustrative, as in comic books? It is the difference between art and illustration. This is a book for illustrators, there is no doubt about it, and the author is an illustrator. This does not mean that the book is bad, but the book is a bad choice if you try to be an artist in the classical sense--it lacks information of the drawing's decomposition, upon making correct lines on the first try, detailed analysis on the changing of angles and on drawing the change, and it lacks the detailed discussion of the scope of the drawing tools, as would be needed for academic drawing. On the other hand, the author does not try to hide that this is a book on illustrating, and moreover that is a book mainly for beginners, so in a way my criticism is a bit unfair, since the ones to blame for the ill purchase I made of this book is not the author, but the reviewers.
   
   Anyone who draws for some time know not only how to draw with an HB and a 4B pencil, but also how to draw with a songle pencil on any surface, but this could be a better subject than simple perspectives.
   
   Or better to say, a book dealing with the analysis of the traces made by Escher or Kokoschka, i.e. what pencils did they use and how on which drawing would be more in the line of what I was looking for, and what the title suggested-- keys to drawing in my mind means tips on drawing, not drawing for beginners.
   
   This book offers none of that. In my opinion, a better title would be ''Illustration for beginners'' or something similar, and in that case I would give it five stars, but the title is too badly misleading,and most of the reviews do nothing to correct the wrong impression one could have, so my final verdict is three stars: one star down for the misleading title and one star down for taking in account only the illustration part of drawing



4. This book, is probably the best drawing book i've ever read. Not only does he cover so much, but Bert Dodson also goes into detail with out boring the reader to sleep (unlike drawing on the right side of the brain)
   If you used amazon.com's online reader and see some drawings that look childish inside, don't let those discourage you. I was discouraged by those and immediately saw a new light when I actually READ the book. Many books that have fanciful pictures haven't covered NEARLY as much as Bert Dodson's book. I am ordering his other book, Keys to Drawing with Imagination: Strategies and Exercises for Gaining Confidence and Enhancing Your Creativity
   
   Keys To drawing covers things like drawing what you See NOT WHAT YOU KNOW. Drawing from your mind or knowledge tends to be the problem with most people, it is not that they necessarily know that they are doing this because that is how the human mind is. It is by that, that we as humans think we can't draw. Because our minds dont take in as much information and detail about the subject as we think it does.
   It also covers things like restating, self critiquing, analyzing, the power of squinting to flatten objects around you, mapping, light sources, shadows, negative space, merging shapes, proportion and so on (all of which I thought weren't going to help me the least bit, but were actually the mistakes i made in drawing.
   
   Has anyone ever read those get rich quick books that always promise you that they know ways to make YOU rich, but always disappoint you anyway? Those people sell those books to you so that they could make more money, they don't have any wealth of information stored in them. Well, keys to drawing is definitely the opposite. He breaks the stuff down clearly and doesn't encourage you to draw one specific way or clone someone else's style of drawing. Some artists or authors have a hard time explaining themselves but him, oh he definitely knows what he's talking about.
   I'm only thirteen so please excuse the lame review and just hold my word to it. I drew little people who were far from realistic, but with this book, along with Carrie Stuart Parks books (Secrets to Realistic Drawing, Secrets To Drawing Realistic Children, Secrets to Drawing Realistic Faces) I can already see drastic differences. I would also recommend Lifelike Drawing with Lee Hammond. But lifelike drawings with lee hammond probably doesn't break it down as easy and have as much detail as Bert Dodson because she tried to squeeze so much things into the book without putting much detail for each subject.
   
   All in all i wish i could rate the book higher. I can not begin to describe how pleased i am with this book.
   P.S the book is about the size of a textbook with less pages. (REALLY BIG) and I got my own (new book btw) for a really low price because I don't buy from amazon, i buy from the sellers within the amazon website.



5. I love this book so much, that I recommend it to my friend and bought one for my grandkid who loves art.

5 comments about New Drawing on the Right Side of the Brain Workbook: Guided Practice in the Five Basic Skills of Drawing.

1. Purchased the book as I can not draw. I did the first exercise and
   it looked like George Washington (self Portrait), the second drawing
   looked like me! The book keeps getting better. I am very impressed
   with just the workbook! However I did buy the book to go with it.



2. This is a wonderful book and method, along with small part on theory, for young people, young adults. Great exercises. Helped me a lot to get into art, to learn to drawn, to turn off the left side of the brain analytical chatter. I feel it is an excellent method and recommend it very much. Overcoming ADHD Without Medication: A Parent and Educator's Guidebook



3. The company sent the textbook, not the workbook. I would rate them as unacceptable



4. I do have her original book and her "new" Drawing on the Right Side of the Brain, and each time I picked them up I found the exercises useful but was quite turned off by her fairly incessant, and often physiologically incorrect, psychobabble. Now this exercise book provides you with her exercises largely shorn of the right brain/left brain psychobabble. The exercises are good and do help release and train your creativity and are designed to improve your "vision" of the surrounding world, and in this it succeeds. The workbook has blank pages left for you to draw in the book itself, which is useful since it leaves you with a permanent record of your progress. I do wish they had used better drawing paper for those pages, but then I can be fussy about my materials and since many art students use newsprint for their practice exercises and since the book is meant as a set of exercises rather than as finished art work, I guess I am nitpicking here.



5. I have taken many classes in drawing. I have learned that one really learns how to draw when one learns how to "see". Betty Edwards leads the reader through steps that (if followed carefully) can enable one to "see". I have used this book in a fifth grade classroom with remarkable results. If one looks at objects the way Betty Edwards suggests, one can "feel" one's mind "shift" to the right side.

5 comments about Drawn to Life: 20 Golden Years of Disney Master Classes: Volume 1: The Walt Stanchfield Lectures.

1. This book is better than I expected. It's a very big book full of amazing tips for animators at any level of knowledge. The way it explains how you can give life and shape to characters is very simple and efficient, it can be used for animators, illustrators and character designers. I bought the two volumes and they are both really helpful.



2. Stanchfield's voice is so clear in his writing, you get the sense of his passion for the art, and his desire to teach and inspire the next generation of animators as if you were one of his students. His writing ranges the philosophical discussion of what it means to be an artist (animator) and it's place in society, to very specific instruction on what to draw and why. You should read this. Animators in any style should read this.



3. This book is a real wonder of the animation art. Deep knowledge of how to bring our drawings & sketches to life. A must have/read/enjoy book for sure!



4. I really enjoy this book, I find it great for beginners. He bashes into your brain the need for gesture and exaggeration. I found it repetitive... and at times some pages were repeated. I like the repetition because he really tattoos on your brain gesture drawing. I had a hard time getting through the 2nd volume... so repetitive. I also enjoyed his spiritual approach, and really shows you that to draw, you must love it with all your being.



5. Drawn to Life, Volume 1 is an excellent book for aspiring animators and artists who want to improve their craft and take their work to the next level. Walt Stanchfield was an incredibly influential animator and instructor at Disney Animation. His conversational notes have been passed on from animator to animator for over 30 years. With this volume, artists the word over can now benefit from his wealth of knowledge.
   
   He breadth of topics covered include major sections covering:
   
   The Principles of Animation
   
   Anatomy vs Gesture
   
   Seeing (observation and 'talking' to your audience through drawing)
   
   Action Analysis (Angles and tension, "essence" drawings)
   
   Creativity - going beyond the gesture
   
   Thinking - inspirational words of wisdom for artists
   
   This book is all meat, no filler. Be aware, it is NOT a paint-by-numbers book on how to draw. Walt's lectures provide a lot of food for thought for artists - it's a treasure trove of valuable information for students, teachers, and anyone who loves to draw. Reading this book, you will learn about drawing for animation, motion, acting, and the core of underlying animation principles. Walt's lectures are the quintessential refresher course for fine artists, sequential artists and film professionals.
   
   I am incredibly fortunate to have a copy of this book. It is written in a very conversational, and often times, humorous tone. There are several pictures and Walt's illustrations interspersed throughout the text, to clarify the author's talking points, but potential readers should bear in mind that this is primarily a text-heavy book.
   
   "Drawn to Life" is excellent for anyone who has a serious interest in drawing. You do not need to be in animation to appreciate the wealth of techniques and words of wisdom that are in within this book. Highly recommended for the serious artist. Highly recommended.

5 comments about Creative Paint Workshop for Mixed-Media Artists: Experimental Techniques for Composition, Layering, Texture, Imagery, and Encaustic.

1. I consider myself an intermediate level mixed-media artist. A few years back, this would have been a much more helpful book. It's great for getting started, gathering essential materials, and diving into mixed media works. However, because only one artist's work is shown, it's a very limited book. I would have liked to have seen at least 5 other artists, as this field is so broad, and learned some of their techniques. So again, this is a great beginners book, but only for beginners. Good how-to section on encaustics is helpful to those who haven't tried it, it's not easy to find that in a book.



2. Ann Baldwin is a marvelous instructor. Her workshops are very informative and loads of fun, & having this book is like continuing her classes right in your own studio.



3. This book is "full" of basic information for the beginner artist or a good reference book for the more experienced artist....excellent purchase !!



4. My own personal interests don't run to collage, which she relies upon almost exclusively. Don't get me wrong, she does it well. But I had heard so many good things abt Ann Baldwin that I bought this w/o looking at one first. So, I'm disappointed since it's more about collage than painting.



5. Baldwin introduces her techniques in great detail. It is a great 'Technique 101' bible. The lessons on composition are inspiring, as are her layering techniques. If you've never taken brush to canvas but have the need to try, start here. If you already create mixed-media art, continue here. Everyone will learn something from this valuable book.

5 comments about Drawing for the Absolute Beginner: A Clear & Easy Guide to Successful Drawing.

1. PURCHASED THESE FOR MY 11 YR OLD GRAND-DAUGHTER. SHE LOVED THEM. SHE HAS LEARN TO DRAW WITH PERFECTION. WONDERFUL LEARNING TOOL FOR EVERYONE, YOUNG OR OLD. A MUST HAVE ITEM FOR EVERYONE WHO HAS A DESIRE TO BECOME AN ARTIST!



2. As a beginner to drawing I have checked out many drawing books from the local library. My classes are very informative but I can't remember everything that is taught and this book covers all the beginning techniques with lots of examples. I think it is the best of the many that I have read.



3. It is really cool because it shows shading techniques, viewpoint and how to draw trees. I would recommend this book for other beginner artists.



4. I purchased this art book for my 12 year old granddaughter. She was doing some very nice sketching but did not know any of the techniques that you need for shading, etc. She was thrilled with this book and spent a couple of hours on Christmas day drawing from it. She is homeschooled and will use it weekly for art class.



5. My grand daughter loves it-- she has just started art clas... and this is a valuable tool.