5 comments about The Birth of Graffiti.

1. The Birth of Graffiti...I will begin by saying that if you have an inner soul of graff...the curiosity of where it was conceived...of how it was back in the day...the day where you werent even thought of...THIS IS THE BOOK THAT SPEAKS TO YOU THROUGH VISION.
   
   I have never seen a book where the images speak to you as strong as they do in this book...but that is maybe because I have a love for NY and its Graff.
   
   I have a GREAT amount of respect for Naar, and I thank him for bringing us these images of art(as we see it). He did not have to give us this gift, but he did. And the best way you can thank him is by purchasing this book AND adding it to your personal collection, as I have.
   
   The photography is amazing...the shots are unique...and you can tell that the subject of the book IS the begginings of graff...where it all lived up to the hype that we are know. I was born in '79 and arrived to the USA in '84...so I never lived the days of which NYC was NYC...where the walls spoke in MANY voices and many ages in many languages. I have caught a glimpse here and there, but never what I have now captured with this BEAUTIFUL book of NYC-a city I love and GRAFF-the form of art I love.
   
   If you really desire to know what it was like back in the day-on the real-how NYC really was...not no postcard propoganda stuff...GET THIS BOOK.
   
   GREAT BOOK...take it from a cat who's introduction to graff was back in '92 seeing all the Kez5-Bruz-MsMaggs-FLone-Ench throw-ups all over Queens...
   
   Get the damn book...you won't regret it.
   
   NAAR...thanks man.



2. this magnificent book speaks to me like no other book on graff, and i have many. aside from a nice introduction, there are no explanations about the photos, nor interviews with the writers, and none are needed. there is such a profound simplicity to these photographs. they expose the beautiful ugliness of urban blight in a sad and delicate light. you want to go there to relive a moment when things were louder, smellier and uglier but that much more innocent.(or so it seemed.) before digital, micro, macro, and the information super highway there was this; innocence, ignorance and bliss. there were no books, magazines or videos about it, there were no websites and rest of the world to share your passion with. there was just you and somewhere out there others like you. whole youthful identitys condensed into an alter ego embellished onto a steel messenger then sent to announce "you were there". unknown in the flesh but known in word and deed. we all spoke and wrote an esoteric language that only a choosen few really understood. to have been there, to have seen it, to have breathed it, ate it, sleeped it, to have known it as it was, not as it is now will remain to me always, a privlidge. how lucky we are that jon naar choose to preserve these precious moments in time as if it truly might mean something one day. i thank you sir. p.s. great review by j.son.



3. Birth of Graffiti could easily have been titled Faith of Graffiti 2. It is basically Faith of Graffiti with added photos from Jon Naar's archives. Some of these photos such as a The Man 550 piece and marker tags on long extinct subway vending machines bring me back to the days before a slew of talking heads with erroneous sociological and psychological theories started writing books explaining our culture. Mr. Naar's photos are striking and capture graffiti in the transitional period between tagging (single hits) and piecing. Many of the writers documented quit before piecing became the fashion , but the emphasis they put on handwriting style is more formidable than the signatures most writers throw up today. I watched this movement from birth to death on the NYC subways and was lucky enough to participate in it. Although not as visually dynamic as the work that came later, this period fascinates me more than any other. I grew up seeing the names featured in Naar's photos, wanting to meet them and follow in their footsteps. We all owe Jon Naar a debt of thanks for preserving the roots of an ever-changing culture. The book is a must have for any old-timers who want to re-live their glory days and neophytes who want to learn who the real pioneers of the culture were.



4. It was thrilling to see such a vivid documentation of early seventies New York and the graffiti of the period. The prints in this book mark an important period of graffiti's history where the building blocks of the craft were being developed for the first time on the walls, buses, and subways of New York City. Graffiti, for the first time became means of expression for a generation of urban youth in New York. The Birth Of Graffiti demonstrates the inception of style which was evolving on the walls of every borough of the city. Today the techniques and traditions pioneered during that period have been passed down through generations of graffiti writers to develop into one of the strongest and most innovative art movements of the last century. Before graffiti was on every brand of clothing, on billboard advertisements, and used for marketing schemes across the world, it appeared on, city buses, subway cars and the gritty brick walls of 1970's New York City. The youth of New York who created this work were the first innovators of this powerful craft which has now evolved into a worldwide art movement. Jon Naar's photography captures many important moments in a period of great change and turmoil for the city of New York.



5. This is a really well done book - the photographs are incredible and the printing is perfect. Unlike many graffiti books, this one is very well laid out and is "arty." A very professional treatment of the rough edges of the first spray can art. If you lived in NYC in the 1970's this book will take you down memory lane. You will pick this book up time and time again.

5 comments about Perspective Drawing.

1. The book arrive in great time and in near perfect condition for a used book!



2. The book came in a timely fashion along with its "Creative Drawing" counterpart and has been exactly what I needed for my art class at school.



3. Unfortunately, I would too often come out the other end of a chapter realizing that I had only really learned a small handful of facts that I could universally use. The convoluted drawing descriptions tended to leave me a bit cross-eyed and I found the illustration captions did a better job of explaining what the entire page just did. Still, it does offer enough useful information overall, but despite all the drawing technique, does not really offer many basic solid rules of perspective. Leans a bit more on memorizing techniques in an array of possible circumstances rather than understanding the basics which can then be applied to any circumstance. The book is worth reading however, particularly since it is so short that you will hardly lose anything by doing so, and will likely gain some useful knowledge along the way.



4. I have to differ with the positive review of this book. I have a little experience drawing, and had some specific questions about perspective, such as how to draw a receding row of arches. This book answered none of my questions. The first several chapters focus on conceptual basics, often drifting toward common sense rather than solid technique. (I don't need to be told that tall buildings seem smaller at the top stories; I need to know how to use that realistically in a drawing). Complicated (and practical) applications of perspective, like portraying rooms full of furniture, are given short shrift. There are exceptions - the chapter dealing with cast shadows, especially the detailed treatment of light on complicated surfaces like stairs, is well-done and potentially very useful - it's the only reason I have not thrown this book out. I don't know of a good practical overview of perspective drawing for all levels, but I have gotten a lot more useful instruction out of the amusingly dated (and cheaper) "Perspective for Artists" by Rex Vicat Cole.



5. Perspective drawing is one of the skills many people see as neccessary repertoir for an artist to have. Particularly for subjects such as architecture or some types of still life. The subjects covered in this book include everything from 1,2 and 3 point perspective to circles, ovals, cylinders, squares, rectangles, inclined planes and an entire chapter on cast shadows during different points throughout the day, shadows on overcast days or from artificial light.

   The author explains everything in a clear manner without talking down to the reader. He says this book grew out of his 30+ years teaching perspective to art students at San Jose State University. Each concept is shown with plenty of examples and details and the author assumes the reader will practice each of them. One of the last chapters is on Visualization - basically drawing a picture in perspective using the rules and concepts as test that you truly asorbed all the preceding lessons. While I am sure there are other good books on perspective available, I was quite pleased with this one. A lot of beginning How-To Draw type books never give more than a cursory mention of one or maybe two-point perspective. For the majority of artists this book will be all they'll ever need on the subject. There is enough material here that it will probably take at least 6 months to really get a good feel for everything it covers. The book contains a glossary and index. For the amount of information given it is very affordable.

5 comments about The War Within: One More Step at a Time (Doonesbury Books (Andrews & McMeel)).

1. My wife Kathy is a counselor with a specialty in Post Traumatic Stress Disorder (PTSD) applied to war veterans. The internship in her master's program was at the local vet's center and she still maintains contact with the people who work there. I had reviewed another Doonesbury book and another counselor who works with vets contacted me and said that she used this book in her treatment programs. She asked me if I knew of any follow up to the story told here.
   The premise is that B. D. has lost a leg in Iraq and while he now has a prosthesis and his physical wounds have healed, there are deeper, subtler wounds that are opening over time. This is a chronicle of his actions, denial, his and other's disbelief regarding his problems and his halting journey to treatment. At my request, Kathy also read this book and she has been emphatic that this description is exactly the way it usually goes for veterans with PTSD.
   As you read the cartoons, you emphasize with B. D. as he struggles to come to grips with the fact that he has a problem. The people around him find it hard to cope, as they have no understanding of the source of his odd behavior. Finally, he makes contact with a counselor at a vet's center and you are relieved when it appears that he will be able to deal with the problems and live a reasonably normal life.
   Once you understand that these problems are real, it makes you all the more shameful when you read and see stories about the lack of long-term care veterans are receiving as they come back from Iraq and Afghanistan. It takes time for PTSD to emerge as a condition; many times it appears nearly a year after the soldiers have been passed through the initial treatment they receive immediately after returning.



2. Doonesbury has always been cutting edge and great social and political satire. But Trudeau's work has always had a serious, important edge to it. The War Within shows that. It shows the struggle of returning vets.



3. connecting veterans and those who share their lives with the reality of their struggles, in this easily understandable format, is a great service. "If we cannot learn our history, we are doomed to repeat it."



4. Featuring a foreword by General Richard B. Myers (USAF, Ret., Former Chairman of the Joint Chiefs of Staff) The War Within: One More Step At A Time is a unique collection of G. B. Trudeau's Doonesbury newspaper comics that is not only humorous, but also cutting-edge relevant . The strips follow the daily life Vietnam, Gulf War, and Iraq War veteran B.D., whose tour of duty was cut short by a near-death experience, the loss of his leg, and perhaps most shockingly, the loss of his iconic helmet. Far more life-altering than the physical damage is the post-traumatic stress disorder that leaves him increasingly disoriented, hostile, withdrawn, and turning to alcohol to self-medicate. When B.D. is on the verge of mistaking friends and family for mortal enemies, the turning point comes when he overhears his own daughter say that she has become afraid of him. Help comes in the form of the local Vet Center, and the skillful aid of counselor and fellow Vietnam vet Elias. The War Within brims with classic Trudeau wit, yet also reveals the author's resolve to accurately portray the harrowing pressures America's armed forces are subject to during and after risking their lives in the service. Highly recommended. Proceeds from "The War Within" are to benefit Fisher House, a "home away from home" for families of patients receiving medical care at major military and VA medical centers.



5. Received and read "The War Within" last week but find it hard to characterize this one. While BD was the central figure in "The Long Road Home" I think this one has a cast of figures with equally important stories to tell. BD continues his journey but one gets a much deeper understanding of his pain and struggles as well as those of his family.
   
   Adding to the story are his counselor Elias, as skillful and intuitive as any of us could hope to ever be and the ever clever Celeste... an equally skillful counselor in secretarial clothing! "The War Within" will be required reading in one of the classes I teach Spring semester.

1 comments about Design Fundamentals for New Media.

1. Was not happy with at all, did not even get product because problems before it was supposed to be shipped. Canceled order. Only good thing was I got my refund right away. If you need the product fast, don't order from this person.

5 comments about Color Mixing the Van Wyk Way: A Manual for Oil Painters.

1. This book is an excellent book. I have just started art lessons and need a little help in knowing how to mix colors.
   Helen Van Wyk books have all been excellent book. Easy to understand with great information and instructions.



2. This is a great book specially for beginner. Excellent reference book. I'll certainly read it several times.



3. All the theory in this book is dead wrong. There is little by way of practical advice. The book is mainly a collection of amateurish paintings by Ms. Van Wyk that are supposed to illustrate how to use various tubed colors. You should aspire to paint much better than Van Wyk ever did.
   
   To date, there appears to be no good book on mixing color. Instead, see www.handprint.com. It's about watercolor, but the color theory and mixing sections apply equally to oil paint. Also give a look to www.wetcanvas.com



4. I just received this book for Christmas 2002 and I have read it and re-read it! It has a wealth of information and is even a good reminder for those who might not have painted in a while. It helps you attain effects that you want and gives some step-by-step descriptions to help you understand what the author is talking about. I find that the information on casting shadows and the information on focal points most helpful. Helen Van Wyk also helps you to dimensionalize your art. Once you have read this book you will not look at colors in the same way. "The 4 Questions" will have you looking at art completely different. Don't paint without it!



5. This is a great manual for beginning and intermediate painters. It is arranged in a rather unusual way: by paint color. Within each chapter there are step-by-step paintings showing the color's usage. While I found the the organization odd at first, I quickly grew to appreciate it. There are colors I never would have thought to put in my palate, but seeing them in action was very valuable. Likewise, having a blended value scale for each paint was wonderful!

   What I found most valuable as an beginner/ interm. painter was being able to see a variety of paintings in stages. And not just "one, two, three, boom its done" like many books, but really layer by layer. She touches on a couple of different styles, discussing glazing as well as her painterly approach.

   This book also has valuable reference pages discussing (and displaying) color scales, color temperatures, earth tones, blending tricks, etc. It touches on portraits, backgrounds, and a variety of other related topics. I have read a number of other basic painting books, and this is my favorite. I have also seen (and own) other of Helen van Wyk's books, and while they are nice, this is by far the most valuable (and it includes some paintings and sections repeated in other books, i.e. portrait painting and color mixing bits).

4 comments about The Practice of Tempera Painting.

1. Uno de los mejores manuales existentes, con consejos y ejemplos sobre la practica de la pintura al Temple, comodo de leer y directo al grano...pequeno de tamano, pero con las bases tecnicas de dicha practica.



2. This is, as the title promises, a very good foundation for any artist interested doing traditional egg tempera painting, or for any art lover who wants to know more about the medium itself. It covers everything from mixing gesso accoording to traditional recipes, to framing and care of the finished work. For me, though, that's the least of it.
   
   First, it's an incredible reference on the tools and techniques of water gilding. It limits itself to gilding as it works with tempera painting and frames, but is exhaustive within that scope. It discusses everything from the laying the bole ground to burnishing, then tinting the finish. Although this emphasizes traditional tools and materials, the author isn't afraid to use modern aids, like rubber cement masks. By the way, anyone who wants to use scrapers to smooth the gesso ground, as this author suggests, should consult a woodworker's guide for directions on sharpening the scraper. A little extra effort up front makes a world of difference in the scraper's performance.
   
   Second, it's a fascinating historical document. Although the book was written in the early 20th century, most of its recipes go back to medieval times, maybe earlier. Therein lies a potential problem, though. Back then people were a bit less careful about pigments like lead white and mercury-based vermilion. Since egg tempera doesn't keep well in wet form, the artist must use many pigments in their hazardous dry form. The practitioner should review the safety of pigments and techniques very carefully before trying the directions in this book.
   
   Still, it's interesting to read about the daily practice of art, including the artist's relationship to a pigment supplier, from a time so different from our own. The recipes, too, have an antiquated sound. I'm not sure I've ever seen sandarac, for example, let alone the range of colors all identified as "vermilion."
   
   This isn't just history, though. It needs some adjustment for modern safety and materials, but it's a very practical guide to everything there is to know about the many techniques in tempera painting.
   
   //wiredweird



3. There are not many books available on tempera painting mainly because few artists these days have either the time or the patience to grind their own pigments and mix them into a binder. For anyone who does have such an interest egg tempera is a fascinating and beautiful medium to learn. Anyone who has ever tried to scrape off dried egg yolk from a plate will soon realize how incredibly durable a binder it makes for a painting medium. The Practice of Tempera Painting covers a lot of subjects in-depth. Everything from preparing the surface, pigment to egg to water ratios, discussions of various pigments to actual instructions for the traditional hatching and cross-hatching brushstroke technique is shown.

   The only section readers today might want to supplement is reading up on a more up-to-date book on pigments. Many of the pigments discussed in Thompson's book, while still available, are now known to present health risks. Modern pigments that are safer and just as lightfast (in some cases even more lightfast) are now available that Thompson and painters of the 1930's didn't have. Other than that one caveat this book is a great introduction to egg tempera painting.




4. This excellent introduction to egg tempera is invaluable to oil painters as well. Thompson's writing is filled with humor and wit, making the book very readable.

   I was delighted to discover that, unlike so many books about painting techniques, Thompson's is clear and thorough without being a condescending "how to" manual. It also avoids being mired in footnotes and tedious tangential detail. It is obvious that he speaks from the perspectives of both painter and scholar. The only drawback is that the reproductions are in black and white, but as this was standard when the volume was written it is forgivable.

   This book will prove informative for artists, teachers, and museum professionals (I am all three) who are in search of solid information on tempera painting. Look no further and enjoy the read!

No comments about Designer Faux Finishing: Ideas and Inspiration for Sophisticated Surfaces.

5 comments about Ear Training: One Note Complete Method with 3 CDs.

1. Bruce Arnold's series of books are designed to achieve one and only one purpose: to teach...and to teach each subject the right way and in the most rational manner. He makes mention in different books and interviews to the fact that most music books or methods are designed for students to get good grades in school (I can't see how this method could be easily grade-able) or to offer the consumer a quick fix of success to feel that the book has worked and they haven't wasted their money, while in fact they will not really retain much of the information at all in the long run and the whole experience will have been a waste of time and money. I personally in my quest for good books on the subject of music have found this to be true, and I think that most of these books are made solely for the purpose of generating money (as most things are these days) and not really achieving their true purpose...the ones that seem to try to go past this I have found to be filled with half baked ideas and hazy methods.
   
   I am a professional jazz/classical saxophonist and an composer. I have a degree in music composition and performance and studied with some of the greatest teachers that I believe that are out there. For me, disappointment with music study books, whether they be for improvisation, ear training, composition, has been a normal experience and I have been mainly writing and inventing my own exercises,techniques, and practice routines for lack of finding anything that made any more sense from any "educational book". This ended when I found Bruce Arnold's series of books. I am in awe of the infallible logic behind every method in every book. I have been working out of many different books of his: the ear training books, the sight singing books, the Rhythm series, Big Metronome and Time Transformation, and they all WORK. I mean they really, REALLY work, as long as you follow the instructions and have patience and make up your mind before you start that you are going to stick with it. When I first found the books I instantly knew that I finally stumbled across something finally that made sense...but have refrained from writing a review anywhere until I thoroughly tested the products out. I believe that many of the more negative or indifferent reviews you will find here or on other sites are from recent buyers who have not yet started to see the results or are from people who have not made the decision to follow the directions and truly have the patience to follow through.
   
   I have been working with the Ear Training Method for some time now and am in the Two Note Series now, and my ears are at a level that I never thought possible. The concept of relative pitch as opposed to interval training is dead-on and if you study the method diligently you will see why it makes so much more sense. I have been working from THE BIG METRONOME every day and going through the rhythm books...and I am feeling rhythm in a way that is so effortless. When I play or compose music now it becomes more of a joy every day rather than a strenuous effort.
   
   If you want to learn music the right way, so that every aspect of music from theory to transcription to rhythm is like a second nature, then I recommend Bruce Arnold's books. As an added plus, you can (and are encouraged) to email him about any problems you are having or just even on your progress and he is very prompt and thorough in his responses. This is clearly a person who truly cares about what he is teaching and who has limitless integrity in his methods.
   
   If you ask me, the series of Bruce Arnold's Books and CD's are a goldmine, priceless treasures that can be bought for an incredibly low price considering the immense benefit that can be reaped from them.



2. I have been working with Mr Arnold's ear training methods for just over two years now and would like to share with you some of my experiences over that time.
   
   There is no other system of ear training i know that constantly pushes the boundaries of your aural perception. Working with his is as Mr Arnold reminds us a "lifetime's journey". Over the years i have steadily gained the ability to recognise any pitch in relation to a key center and sight-sing any required pitch readily (including chromatics). That is what one note complete and the fanatic's guide seeks to achieve.
   
   The above lays the foundation for further development. In December of 2007 I finally completed key note recognition, that helps you to learn to adapt to various modes(major and minor) and recognise the key by listening to how notes function in relation. Now I am beginning work on two note that builds recognition for multiple notes and following complex modulations.
   
   All this is impossible without dedication and an intense commitment to practice, practice,practice. As a guage i have worked at this at least an hour a day broken up into short sessions over the last two over years. And without keeping to this and really working at it, you won't be able to really understand what this method is all about. But IF you do, this will really change the way you are involved with music.
   
   Just to describe a few simple experiences...
   
   - Early on i began to gain a deeper sense of the music i was listening to. Suddenly everything opened up what can only be described as a kaleidoscope of colours.
   
   - As an active musician, people began commenting on how musical and expressive my performances were getting and always "spot on" with pitching.
   
   - Am now coming to grips with progressively more harmonically complex melodic forms such as modern jazz and funk.
   
   I'm now embarking on the next phase in my ear training that is two note and beyond. I know it's going to be nothing short of gruelling, but with the positive changes that I have experienced in aural perception, I really can't wait to discover what else happens along the way.
   
   Many thanks to Mr Arnold for his fantastic work, gift to aspiring musicians and continuing commitment to music education.



3. Bruce Arnold is a teacher, not a writer. Don't think of this as a book, or really even as a CD. Think of this product as an approach to training your ears. It's a discipline that will probably take me years of effort to see results, if I'm good and do it every day for 10 minutes or so at a time. I'm not sure what I expected, but I think this point should be right up front.
   
   It is the opposite approach to that used in my college level skills class. At my school they used an interval approach. Sing a note and then sing the note a major 3rd above that. Now up a tritone, down a minor second, etc. Frankly, I was thrilled at my progress with this method, but at the same time, frustrated at what I couldn't do and felt that there was something not quite right about it. It felt artificial and limiting, and somehow disconnected with true music. I believe that this approach to ear training (though hard) is the right one, and will (eventually) bring me to the skill that I want to possess.
   
   This part of his training method focuses on hearing what the fifth (for example) sounds like in a key, if I understand it right, not in relation to the tonic, but in relation to the whole context. Well, that "recognition" extends eventually to all 12 semitones within the context of the key. Establish a key in your head, then hear a note and realize that it is the raised fifth, or the 7th or whatever. All octaves, even ones that you cannot sing. You're not to recognize the note out of context...that would be more of a perfect pitch. Not by the physical feeling of the note as you try to sing it. Similar to how you see a color and learn that it is blue, you would hear a tone and learn that it is the raised 5th. I can imagine hearing a tune on the radio or something, and then knowing that the melody started on the 6th, or that this passage had a significant word on the 2nd. Also, I can imagine making up a melody, and realizing that this note "sounds like" a 3rd...therefore I would know the key of the melody much faster than any technique I might have used in the past to finally figure out the harmonic context of a melodic line.
   
   He's got more method than just this, which also needs to be going on at the same time. The Fanatic's Guide to Sight Singing and Ear Training (and be sure to get the CD that comes with this book--there are versions of the book available that don't include the CD. I suppose you could make your own). This is the other side of this coin. Given a key, produce (as opposed to recognize) this semitone and that semitone. This guide has exercizes that take you through collections of 2 semitones up to 6 semitones. Really, lots of exercizes there. My intuition tells me that producing and hearing the notes against the tonal center will complement the other book/CD where you're asked to recognized the isolated tone within it's context. He also recommends that you do these 2 exercises together for best progress.
   
   Other books/CD's that he has are for later, so don't make the "mistake" that I made and buy those up front. You really have to master the basic levels before you'll be ready to tackle the more advanced phases of the method.



4. This is a book/tool that cuts out all fluff and gets right down to the bone. The message: To get the Ear, you need to listen & listen & listen & listen & listen ... After two weeks I'm getting C & G, but the rest is taking a lot longer; still working on it, but I have faith in this method. It's not a whole lot of fun; it's just plain simple & repetitive & effective.



5. My only previous ear training was from my piano instructor a number of years ago. It was interval based, and useful to a limited extent. Mr. Arnold's method of ear training is very straight forward and logical. I must admit that the first word that comes to mind to describe using the One Note ear training CDs is FRUSTRATING. I really gave it my best shot for a couple of months and had virtually no progress. It is distressing to read so many reviews that say things like "I am looking forward to great progress." I did not see very many that claim significant progress. Like myself, they see the logic of the method but have not "gotten it" yet.
   
   I have the luxury of having a good bit of time to listen to these during my commute to and from work on public transport. Not driving has it's advantages. However, I have to say that I can not listen to the CD for more than about 10 minutes without wanting to use it as a Frisbee.
   
   I addressed my frustration to Mr. Arnold via e-mail and he told me that many people listen for a year (maybe more) before they make significant progress. Unfortunately, I could not make myself do that. Frankly, I just got too bored of guessing the wrong notes to a point that I could not pay attention. I began to dread listening to it and finally just gave up.
   
   There are stories of success on his website, but most of the reviews here on Amazon sound like the people are still in the initial phases of the learning process, just as I was.
   
   I rate this book/method four stars for potential for practical application and apparent logic of method. If I had to rate it on what I got out of it the first time around, my rating would have to be much lower. However, I suspect that my impatience was more to blame than the method, so I will give it another try.
   
   It would be interesting to see follow-up reviews from readers here that have continued using the CDs and can now report more success (or not) than in their initial reviews. I, for one, could use the encouragement.
   
   RHB

5 comments about Artist's Color Manual: The Complete Guide to Working with Color.

1. Great basic book on color for any new artist or person who buys gifts for an artist.



2. For those of us who actually want to learn something new, something you probably didn't learn in undergrad. Excellent refrence book for specific pigments and the results when mixed with others. For example, I forgot that when mixing Cadmium Red w/a blue results in a "brownish" viloet hue. Instead using Alizeran Crimson creates a much more desireble violet.
   
   Not only does this book dispell myths, include historical birthings of pigments, give acurate detailed information about each color (including variations w/in each family)...it also has a chapter on "Creative Directions". This is a really great chapter giving inspiration for branching out w/your work.
   
   I'm an art teacher, and artist myself. I don't have to the time I'd like to keep my own journals of pigments and mixed colors...it just isn't practical for me...too much to do, too little time. This book is amazing, perfect for the 3 second memory I have and much better than leafing through an ENORMOUS reference book just to remember which red to use when making violet (was it Alizeran Crimson or Cadmium Red)...
   
   However, if you're just starting out in painting or you're looking for a sequence for a "curriculum" get the "New Artist's Manual...". It is basically this book and "Art Class" combined. Wish I had bought that one first.



3. Excellent! Well organized with great side comments, this book is really a journal for color. From its significance, invention and evolution into what we know today, this book is full of color information that is fun to learn. Jennings gives you a true education in color appreciation complete with nuance, historical facts and lots of pictures. Easy to reference, it is a great addition to any library. I have been looking for a book like this for a long time. Much thanks to the author.



4. Wow - what a great guide to color! Plus insights into how artists with various styles work and some historical artists, too. Extremely well organized for quick reference. Whatever kind of art you do, including jewelry, fabric and needlework, you'll find tons of inspiration in this book.



5. WOW - what a great guide to color! Info about how paint is made, mixing, history, how artists work - it's just great. Whatever kind of art you do, including jewelry, fabric, needlework, you'll be heavily inspried by the visual and printed information here.

5 comments about Spectrum 9: The Best in Contemporary Fantastic Art.

1. The Spectrum series is a collection of contemporary and fantastic art illustrations. I recommend it to anyone looking for discovering interesting work and contemporary artists. The work ranges from cover illustrations, paintings, sculptures to some toys, action figures and graphic novel work. The selection is usually very well done. I think the sculpture section is not as good as the graphic and painting area.
   
   It is interesting to notice in the volume 9 the diversity of techniques presented there. There are some pure digital art, but most of it is made of traditional media, or a mix with digital tools and some other technique.



2. I recently purchased Spectrum 9, 10, and 11. These books are absolutely wonderful, and I would recommend them to any artist or fan of fantasy/sci fi art. They are extremely well put together, of high quality (reproduction wise), have a large number and variety of artists, and contain some of the most beautiful works of art I have seen. Some of the subject matter can be disturbing or somewhat sexual in nature (certainly nothing explicit, but not exactly innocent either), so I wouldn't recomend them for the very young (12 or under?) if you are a parent. These books are worth every penny and highly recommended.



3. This book is like a kick-ass mobile art gallery. Anyone interested in some cool artists with real talent that you can't find in museums or galleries should have this edition on their coffee tables or on their mantles. A visual cornicopia of excellently presented ideas compiled in a book that will have you closely staring at the pages. Really cool.



4. Not unlike the other titles in the Spectrum series, Spectrum 9 provides a great overview of contemporary fantastic art, the best emerging artists, new trends, and samples of the forever-loved art. The artwork is much better documented with sources listed for further study of fantastic art.
   

   If you've ever admired a cover on a sci-fi book, cool credits in a fantasy movie, or even action figures of your favorite super heroes, this book might be for you. The nice thing about the Spectrum series is that you do not need to reach for a specific volume to look at specific form of art. Each volume offers a pretty even and ,personally I think, good cross section of the current fantastic art and design.




5. I have been patiently waiting (OK, maybe not so patiently) since November for Spectrum 9 to be released. Even though I had to wait an extra month and a half, it was well worth the wait. Once again, the Spectrum series provides us with the best in contemporary and fantastic art, and it IS fantastic. Entries range from weird, to gory, to funny, to beautiful. I began this series with Spectrum 8, then bought 7. Unfortunately, the other 6 are out of print (and cost a pretty penny), but these 3 will do. If you like sci-fi/fantasy art, this is the book for you. There's something for everyone, and in my opinion, there is not one bad painting in the whole book. Buy this today - you will get more than your money's worth.