2 comments about Painting Fabulous Flowers with Donna Dewberry.

1. Absolutely WOW!! Makes several of her other books look mundane. She has many that I was interested in learning to paint. Excelllent



2. This is an excellent book for beginners and experienced decorative painters. Donna Dewberry always has clear instructions and wonderful ideas.

4 comments about The Art of Describing: Dutch Art in the Seventeenth Century.

1. An analysis of the 17th century Dutch preoccupation with vision, the discovery and use of the microscope, lenses, optical devises, the study of the retina and how we see, new ideas of perspective and a discussion of the work of noted scholars of the day, as Keppler and Huygens. A fascinating discussion of Vermeer painting exactly what he saw while Rembrandt painting "the invisible human depths." A very fine study designed to help us think and see.



2. While not for those looking for a coffee table book (or a list of catalogue entries with glossy photos), this work remains interesting and creative. Alpers is one of those scholars interested in the "period eye," studying epistimological habits and visual strategies in 17th C. Netherlands. She covers issues thematically, with chapters dedicated to issues surrounding cartography, optical devices, etc. A nice work.



3. Alpers' brilliant 1984 study teaches us how Dutch artists of the seventeenth century "saw" in contrast with with their Italian counterparts. Already one of the most frequently cited books on Dutch art, this ground-breaking work should be read by anyone with an interest in visual representation.



4. the author took a fascinating topic and destroyed it by writing in a convoluted, unintelligible fashion--a lot of artistic claptrap, unfortunately--it's like witnessing a stream of consciousness acid trip at the Rikjsmuseum

1 comments about Drawing and Painting Plants.

1. The book consist of detailed botanical illustrations of flowers, plants, trees, vines, leaves and mushrooms. I bought this book so I could get an inspiration for my graphic design work and the book almost have it. It shows the details of tree barks and stems, cross section of flowers, roots and bulbs. If only it covered more fruits like berries and strawberries it could have been better. Since I prefer color illustrations, I wasn't so crazy about the pen & ink drawings. I really like the fern illustrations on page 115. Overall, this is a great book.

2 comments about Ceramics: A Potter's Handbook.

1. One of my all-time favorite references. I really love this book. It was a "suggested reading" in my pottery class, and I am very glad I purchased it. I'm an artist that is just as much about researching and understanding as I am about the actual doing and studio side of my work. This book is a treat and I highly recommend it.



2. A wealth of knowledge can be found in this timeless book that covers all the major aspects of ceramics.

   For the novice, it covers the the world's history of ceramics. Discusses clay and glaze compositions and gives step
   by step explanations of the various techniques from wheel throwing to hand building to making plaster molds for
   slip casting.

   For the advanced ceramist, there is good information of various kilns and their construction. It offers analysis of
   several major clays, frits, and feldspars as well as other useful reference tables including some recipes for
   glazes from low fire to high fire.

   I first bought the book in '82 as a college freshman and it has proven a valuable aid ever since. It is on the top of
   my "required reading" list for anyone interested in getting involved with studio ceramics.

5 comments about The Seuss, the Whole Seuss and Nothing But the Seuss: A Visual Biography of Theodor Seuss Geisel.

1. As we celebrate the centennial of Ted Geisel's birth, material is appearing that looks at the influence of Dr. Seuss on generations of American readers. Dr. Cohen brings us what is obviously a labor of love. Drawing inspiration on his extensive collection of Seussiana, he has produced one of the most lavishly illustrated and broadly scoped book on the life and works of the good doctor.

   Cohen reaches back to Geisel's school days and illustrates the development of the artist's style and humor. Continually he will point out how pieces done at various points in Geisel's life can be traced as part of the development of what would become some of his trademark images and beloved characters, including the Grinch. Instead of focusing heavily on Seuss's books, he draws attention to the vast collection of other artwork that was drawn, mostly before the books even came into being. Seuss's work as a humorist, advertising artist, sculptor, and cartoonist (political and otherwise) are shown here as he continued to improve and hone his craft. The end results are the books that are so beloved to multitudes of people who were lucky enough to grow up with Seuss in the house.

   The book would be worth it for the pictures alone, but the accompanying text helps get below the surface of many of the pieces, and to tie them together into a artist's whole output. Even if you only look at the pictures and read the captions to the pictures, you will get a whole new appreciation of Dr. Seuss's work over the years. If I any complaint, it is that in some ways the books almost get shorted too much in this narrative, and too often the captions for the illustrations are repetitive to the text. But these are minor quibbles that in no way detract from the glorious whole.

   For the Seuss lover, and for the casual reader, this book brings the reader a whole new appreciation of a beloved illustrator's work and the genius that was Dr. Seuss.




2. Since 2004 is the Seussentennial, or the hundredth anniversary of Dr. Seuss' birth, this is a great time to get to know more about one of America's most popular icons of children's literature. Ted Geisel, aka Dr. Seuss, was far more than an author and illustrator of children's books and movies. His career includes humorist, journalist, advertising genius, magazine and political cartoonist, creator of wartime training and propaganda films, president of a publishing company, and spokesman for children's education.

   Author Charles Cohen, a dentist and avid collector of Seussiana, is well qualified to write this visual biography of Ted Geisel. Through lavish illustrations, many from his own collection, Cohen shows the many facets of Geisel's art and imagination. The reader is treated to Geisel's earliest works from long before his first published children's book. These include examples of his college newspaper cartoons and his many successful advertising campaigns that blended humor and salesmanship. These creations are juxtaposed with his later children's books to provide the reader a deeper understanding of how culture and history shaped the evolution of his ideas and whimsical bestiary, and to point out the same themes cropping up over and over again in his works.

   Although this book provides a fascinating view into many unusual perspectives of Dr. Seuss the artist and innovator, there is little here about Ted Geisel the man. In the introduction, Cohen says that he neither met Geisel nor interviewed anyone who knew him. Instead he delved into Geisel's works to discover what made him tick. As a result, there are many facts missing about Geisel's personal life and friendships. The few personal facts that were thrown in, mostly towards the end of the book, came from out of nowhere and made me crave more details. It is for this reason, especially since this book is called a "visual biography," that I rated it four stars instead of five. It is more a visual exploration of Geisel's works than a biography. Nevertheless, I strongly recommend this book. It will open your eyes to a creatively obsessed man that you never realized existed. It will also rekindle your fond memories of the Dr. Seuss books you read as a child. Perhaps it will even shed a bit of light on why you loved those books so much.

   Eileen Rieback




3. With the awful, distorted, contrived pile of wasted film, conjured up in the form of Mike Myers' take on the "Cat in the Hat," it would be nice to know why, in the beginning of it all, Dr. Seuss was ever popular at all. He was a great writer and cartoonist before his famous cat's striped hat became chic fashion among post-grunge era teenagers.
   
   In "The Seuss, the Whole Seuss and Nothing But the Seuss: A Visual Biography of Theodor Seuss Geisel" by Charles Cohen, we are shown the greatness of Seuss -- of Theodor Geisel, through drawings, paintings and text. We get to learn about his early days at Dartmouth, as he toyed with hybridic animals, wit and satire.
   
   Not every idea worked. Seuss, an experimenter, evolved from being a talented but rustic styler of odd creatures into a sophisticated artist of odd, if not bizarre beasts that had genuine identity.
   
   Before he write and drew books about green eggs, grinches, and elephants named Horton, he was an editorial cartoonist. His language in many of the cartoons was far from being politically correct, but his social commentary decrying racism was right on. He hard-handed racist thought with no evidence of his sweet children's characters kindness.
   
   Cohen has produced an array of research. Samples of Seuss' art grace most pages. We also get a look at the vast merchandising, parodies, and unlicensed knock-offs.
   
   This is not a children's book. Don't be fooled by the name of the publisher. It is for someone interested in reading a serious look at the history of one of America's beloved cartoonists.
   
   I fully recommend "The Seuss, the Whole Seuss and Nothing But the Seuss: A Visual Biography of Theodor Seuss Geisel." by Charles D. Cohen.
   
   Anthony Trendl
   editor, HungarianBookstore.com



4. This book is not all about reiterating the Seuss stories we've already read, but instead an objective well researched pictoral and written account of the man so many love. Cohen does a great job researching the possible meanings of Geisel's cartoons and later texts. There are many, many Judge magazine and other political cartoons that are absolutely hilarious, and absolutely adult in nature (similar to alot of his "childrens" stories).

   I highly recommend this book to anyone what likes to drop into a chapter then skip to another at an opposite end of the book because they are somewhat independent although chronological, it is easy to skip around to the parts you feel like reading for that day.

   Also, at 400 pages full color, who can pass up the bargain?

   f.y.i. This biography seems to coincide a lot with *In Search of Dr. Seuss* the movie that just came out in dvd




5. Kudos to Dr. Cohen. The writing is insightful, the illustrations and pictures are outstanding, the sheer volume of content is overwhelming and of course, the dedication is tear-jerking. A must have for any Seuss fan. Read the inside jacket-I'm guessing someday there will be a Poem Repair Shop.

5 comments about The Art of Hellboy.

1. Anyone who appreciates Mike Mignola's unique art style will enjoy this book. Lot's of unpublished pieces in here that I had never seen before. Definitely worth a look!



2. Mike Mignola's amazing art for Hellboy looks very different from anything else being used in comics today. His distinct linework and inking style, combined with a well-honed eye for panel layout makes his artwork a perfect complement to his stories.
   
   That said, this book is mostly a collection of finished art, covers and promotional pieces. What I really expected from an "Art of" book was process, sketches, and perhaps some discussion of technique. A fair comparison would be the recent Usagi Yojimbo art book or the Blacksad Sketch Files.
   
   Maybe one of these days Mr. Mignola will put out a "Making of Hellboy" book that fills the gaps. The few sketches and thumbnails in this book really aren't enough.



3. I would be warry of spending too many of your hard earned dollars on this book. I am a new fan to Hellboy, and absolutely love Mignola's art. However, the reason I would be heasitant about recommending this art book is that there is very little new art in it. Most of it is just rehashed covers, pages and posters. Probably about 10% of it is stuff that you've never seen before; which in my mind, does not warrant the hefty price tag. If you have all the books in the series then you already have 90% of the art found in this book. The sketches and other doodles that are only in this book can most likely be found floating around the net if you look hard enough for it.



4. Mike Mignola is the master of what not to put in a finished peice of art. While he draws loads of details with the original pencil lines as soon as the ink is applied, he buries them. What makes that technique work so well is that regardless of no evidence of the black flooded pencils the viewer knows the details are there. That masterful ambiguity is what makes the Hellboy art so creepy, menacing. From out of the shadows lurch horrors not meant for the eyes of humans. This is quirky, fun and scary without having to overwork the skilled designs and careful layouts. When I look at all the cartoony comic artists, with their minimalist leanings, and contrast them with the guys who insist on drawing every hair on a head while laying in invented overdone musculature that fairly bulges through a sweatshirt, it is refreshing to see Mignola's seeming ease and inpeccable black spotting that shapes even the things not seen, but definitely suspected, along with shambling ancient horror and explosions of combative violence in the defense of the human race against festering ancient evil.Words? In this book? My brain is full of words unread but ever present. That's Mike's other gift to me.My only question is when will we see a volume collecting his myriad other works?



5. Mike Mignola's comic books are great. You should buy them instead of this overpriced collection of Mignola art. The very thing that makes Hellboy so beautiful, the simplicity and elegance of design, means that looking at a Mignola sketch is exactly like looking at a finished comic book panel, except you can see the India ink brush marks in the black areas, and there is no supporting narrative thrust to give the picture meaning. The same goes for his pencils (of which there are few included- I don't think this guy makes a mark on paper without inking and publishing it). There is not even a discussion of Mignola's sources or inspirations, no bibliography of the occult (oh, I forgot, we're living in post-literate America). There is no insight to be gained by investing in the Art of Hellboy, because it is just a sampler of beautifully designed panels that look better in the comic books.

5 comments about The Artistic Anatomy of Trees.

1. Ok, If the date keeps extendeing for me to get my stuff, then don't ask me to review it. I looked all over for it, then found out you didn't even send it yet.



2. Many years ago I learned a very subtle, but critical lesson from one of the grand old masters of oil painting, David Leffel. The first impulse of any artist is to ask "How do I _____?". How do I paint a vase? How do I paint a tree? How do I paint water? How do I get my work into the galleries?, etc. Upon careful scrutiny it may be observed that by asking "How do I", all sensitivity toward the subject is replaced by a desire to control.
   
   It is ironic that many artists so crave adulation and success that there is little energy left over to excel at their art. Those who learn to paint well have little competition, because there are relatively few people that paint well. We must therefore remind ourselves to ask why things are the way they are, and by careful and humble observation appreciate what we are looking at. The "How" cannot fail to manifest once a certain depth of observation is attained.
   
   A book like this helps because it makes us aware that the shape of every tree - trunk, limb and branch - have written into them a history of survival, of harsh winters, damaging winds, competition for sunlight, and even a respect for their neighbors. A little patience yields a new perspective and appreciation for these large, silent denizens of our planet, and an unmistakable improvement in subsequent landscapes recognized by artist and patron alike.



3. I rated this a 2 only because it is not what I expected, I'm really not qualified to rate it's accuracy. This book is more a botanical treatise than I expected. Lots of artwork and diagrams for the person who wants to draw/paint the most accurate trees in great detail.



4. This book may not be gorgeous, but it goes into excellent detail about the structure of tree branches, shapes, buds, fruits and leaves. Everything from the shape of branches in a windswept oak to the way the leaves and flowers are structured is covered for flowering leaf trees. Conifers are not covered. The composition of groups of trees as well as examples from artwork are here. The plates are rather hazy and old, as befits this classic work, but it still is a standard for European trees.



5. If you are interested in becoming a botanical illustrator this book will be a welcome addition to your library. The charming illustrations and discussion of botanical details will be most useful to you. If however you are interested in an all-around book dealing with various types of trees and ways to use them in your landscape artwork you will be disappointed.

   The book dates from 1915 and is in black and white, which in itself makes it less useful than one in color would be. Even so it could have been much more generally useful to the painter if it had concentrated on identification of various trees and their shapes, with textual descriptions of their color.

   Instead it begins with small pictures of paintings by the 'masters' which have included trees, and then proceeds to discussions of composition. Later chapters do indeed have illustrations of several trees, and details abound. These ensure that there can be no excuse for the reader to misrepresent the joining of twigs and so on, of various species. The last 40% or so of the book gives the most minute botanical details of a number of varieties of trees.

   There are useful illustrations and text in the book, and it is inexpensive enough to make me willing to keep it on my shelf, but there are books on drawing trees that are far more helpful to the painter.

5 comments about Master Disaster: Five Ways to Rescue Desperate Watercolors.

1. This book looked like a good one to add to my growing collection of watercolor books. I got the book browsed through it and thought, well it is alright. Later I was reviewing some paintings for a show, found one that was "just so-so" and thought I would try some of the suggestions from Susan's book, thinking it couldn't hurt. So I scrubbed and cropped away at it. Now, instead of a painting I was ready to discard, I have two purely eye catching watercolors.
   Can't wait to frame and show them.
   This one correction has paid for the book twice over. Strongly suggest it as an addition to a painters book collection.
   Mary Schiros



2. I found the information in this book to be very helpful in figuring out ways to rescue a watercolor painting.



3. Sue Webb Tregay's book, "Master Disaster", is one of the best art instruction books to come along in a very long time! As a professional artist for a number of years now, I was simply blown away by this book. I have never seen, in any other art book, such a widely diverse selection of artwork by ONE artist before! There is something for everyone here. Her ability to paint in many styles with widely divergent subject matter makes this book so unique. Couple that with her lively writing style, and "just do it" attitude, you'll want to race off to your studio to create your own masterpieces!
   Simply put, a "must have!"



4. Susan Webb Tregay presents logical, methodical, and imaginative approaches to "fixing" disastrous watercolor paintings that would benefit painters utilizing all water-media from the amateur to the more experienced. Her book, "Master Disaster" is loaded with great illustrations and explanations that are easy to understand. I particularly like her flexible approach to fixing a painting, and I'm now using many of her suggestions. Additionally, unlike other painting instructors, Tregay's approach enables students to retain their individual style while incorporating her ideas for mastery. Many other instruction books are practically "paint by number" in approach, where you use the author's compositions, color pallette, technique, etc. That approach isn't particularly effective because it produces painting clones of the author. Tregay's approach eliminates that possibility. I think this is a GREAT watermedia instruction book and highly recommend it to others.



5. This book is so easy to follow. It makes so much sense and to think it's the only one if it's kind that I've found. I love it and have used it already to "Master a Disaster".
   Thanks Susan
   Elaine Bailey

5 comments about Make It Bigger.

1. I ordered this book late November in 2006. It was not in stock, so expected to ship sometime in February. Every 3 weeks I received another email notifying that the expected ship and delivery dates were pushed back another month or two.
   There's NO reason that this should happen - so I googled the book and eventually found a publisher's site to order from.
   
   Great book, but BOO amazon.



2. A great read for anyone who is ready to make the jump from art school to working clients. Scher goes into excellent detail about working with illustrators, the structure (and politics) of agency work, her strategies/approach to design. She also shares good insight on how to work most effectively with clients who may not know a whole lot about design. I found this very practical, and a very easy read. I am also a big fan of her work, which spans several decades.



3. Paul Scher hit me. No, literally. On a student tour of the Koppel/Scher offices, I was standing by a closet--Paula flung the door open and I provided the rubber stop. Though it's been a struggle, the last 12 years have softened my emotional pain. Make It Bigger provided some very necessary closure.
   Also, trust whatever Randy Silverman (a previous reviewer) says about anything, especially anything concerning design. Frighteningly insightful.



4. I have to say I'm not a big "fan" of Paula Scher's visual style, it's far too "horsey" and "big-boned" for my taste, but I am a fan of what she has to say about the design profession and her experience in it.

   This book is an excellent reference/story book on the frustrations of dealing with clients (which are many, as I can relate) who have poor taste or are just clueless. I agree with everything Paula says here and enjoyed the grain of salt with all that's said. I can feel the frustration and exasperation Paula speaks of as anyone worth their blood has designed something great, only to have a client with tunnel vision ruin it. Sigh.

   Any serious designer should read this book, or already has. I would have no problem calling anyone who hasn't read it a poseur in this profession!




5. Too often designers see their own result(s) and design solutions without the knowledge of the 'client process' . . . a truly remarkable reality in this business. ALL design students should be made aware of this aspect of the profession, possibly even before seriously considering if one wants to be a designer. There is so much more to it than having an 'AHA' on one's own. Ms. Scher has presented this in a manner both pictorially and honestly with examples and explanations . . . and, of course, with much experience in the real world of design (which must also include some humor). I have been a designer for thirty years and would recommend this as part of required reading from the start for future "wannabes" and for all of us who need that reassurance that this is indeed how it works.

5 comments about True Colors: The Real Life of the Art World.

1. This review is written long after I have read it, about 9 years !
   
   As it is the first book I have a glimpse about the contemporary art world (focused mostly on US and a tiny part of Europe), I enjoy reading it. I did not (at that time) find any book with simiar nature. It looks like there are more books in the same category now.
   
   Have fun reading it at your leisure time!



2. 
   Although certainly with the pages are these words, these purpose built spores, like
   feilds or kansas. And although again, like a cousin. I read this book and yet somewhere there were people outside the cover, some other story. Perhaps is pehaps is a juice box, what is needed here are vitamins. Such bitter health.
   
   Read about art maybe?
   
   for more secret reviews visit secrettechnology (add the normal web page bit to the end of that).



3. This book really has provided me the insight into collecting that I had always wanted to see. It was a fantastic,important and redefining period for art and collecting. Tremendously well done.



4. Trashy & obsequious. A gossipy journal of obliquely connected anecdotes about characters from the 80s and 90s art world, most of whom have lost most of their importance, and some of whom are even dead now. Begins with a section on the 70s minimalists and conceptualists, etc., by way of introduction. . . Not lacking in intelligence, but not employing much of it either. Haden-Guest places himself more strategically in the narrative than he most likely was in reality, but what journalist doesen't? Don't expect anything memorable or important (except perhaps the section on Donald Judd's various amusing feuds with native Texans and his rich European benefactors). I suppose it makes for good beach reading for those with a taste for the lurid. Be advised that it's also hopelessly dated (not documenting anything after the mid-nineties), which puts it in a strange position: it offers little information of historical significance, yet in the terms of the world it documents is now filled with ancient history! In short, an ephemeral amusement.



5. With only the most banal of polemical perspectives and no aesthetic undepinning, this journalistic description of the recent fluctuations of the art market and its suppliers falls sadly short of the potential interest and excitement of the subject. It's readable. That's it.