5 comments about Decoding Design: Understanding and Using Symbols in Visual Communication.

1. This is a very good book, and I'd recommend it to artists & designers. Some good thought that's gone into analyzing deeper patterns and meanings that give influence to a symbol in our minds.
   
   However, I'm continually disappointed by the author's unlikely connections. For example in the chapter on the number 2, she joins 2 circles together to create an almond shape called a "Vesica Piscis". The she almost-arbitrarily draws two connecting lines inside that vaguely look like a christian cross, and uses that to explain the deep religious significance behind the cross & piscis.
   
   While some things are a bit of a stretch, the book on the whole is fascinating.



2. A logo, more often than not, is the culmination of a complex process of discovery, interpretation, experimentation, and refinement. The problem, from the design student's perspective, is we often see the result but are rarely privy to the course of action that produced it.
   
   Macnab has set out to reveal that process. She theorizes that the most successful designs are rooted in natural patterns such as spirals and branching. The book presents those patterns and seeks to define the underlying meaning behind them.
   
   What most interested me were the many logo design case studies. In addition to the author's own studied insights are discussions by design heavyweights such as Woody Pirtle and Tim Girvin in which they explain some of the underlying meaning of their work.
   
   In the end, the quality of a logo is dependent on how clearly it's verbal and visual elements define the purpose and style of the entity it represents. But those who want to grow flowers know that the key to learning is in understanding the mysteries of working the soil. For that, Decoding Design is well worth a look.



3. Originally written for www.DESIGNERTODAY.com:
   
   Today's fast paced world tends to lose track of its surroundings and move away from understanding nature's relationship. Ironically nature has embedded itself into all we do and it's a big part of logo design, even if we tend to be unaware of that.
   
   In Decoding Design: Understanding and Using Symbols in Visual Communication, Maggie Macnab does a wonderful job of pushing aside some of the everyday noise and clutter to reveal how the nature of numbers and symbols are deeply rooted in design. Using both a scientific and philosophical approach, each chapter does a wonderful job of revealing some hidden gems about logo design. As the numbered chapters 0-10 progress, these hidden gems bring about an amazing awareness, almost an enlightenment about how certain logos have come to be what they are. Focusing on the strength of the number and shape involved in the design.
   
   While many of us are taught the philosophy of K.I.S.S., sometimes "keeping it simple, stupid" doesn't always mean the logo is truly simple at it's core. Logo design is a process, sometimes very complex, that goes on between a designer and a client. Decoding Design, helps you be better prepared for that process through case studies and "deconstructions" of logos we see regularly. These explanations are by no means shallow but rather deep with information and theory. Examples range from the author's own work to many other well known designers in the field. It was especially nice to see sketched concepts, as well as the finished logo. Giving even more insight into the process.
   
   Decoding Design is wonderfully written and points are nicely displayed visually with many examples throughout the book. The design of the book itself is very intriguing and well thought out. In particular, the cover design is interesting with a wheel showing simplistic examples of what the book is all about. This is an excellent interactive feature.
   
   This book is not a light read and some may find it a bit overwhelming with its large amount of well researched information. By no means does this mean anyone should shy away from this book. Just take your time and absorb this books theory. That is exactly what this book is all about; design theories. It is a MUST READ for any design professional involved with the process of logo design. It will surely open your eyes to things that may have been swirling around you all these years without notice. Nature is all around us and influences all we do. Let this book help you "reconnect" and bring your visual communications to the next level.



4. What really makes good design work? It's a question we as professional designers ask daily. For some designers, it is a constant struggle. But for a handful of top award winning designers, it seems to come easy. What's their secret?
   
   The answer? It's all around us. The answer is given to us in nature. The answer has repeatedly revealed itself to us over time.
   
   Mathematicians and philosophers throughout time have been aware of the key. The key to what makes things 'work' - both from a spiritual perspective, and in the world of physics.
   
   Perhaps what sets top designers apart from the rest, is that they have discovered this key. Whether through deep personal exploration, or simply by being more in tuned to the world around them - they are aware of the patterns all around us and have harnessed these 'secrets' and applied them in the world of graphic design.
   
   Award winning designer, Maggie Macnab is one of these unique individuals. Her logo design work has taken top awards worldwide for decades. In her book 'Decoding Design: Understanding and Using Symbols in Visual Communication', Macnab shares her secrets of success.
   
   Each chapter progresses numerically - from zero to ten reflecting the importance these numbers play in design. From simple shapes like circles and squares, to more complex shapes like spirals, they are all seen in nature. They are all part of the key to effective design.
   
   In each chapter, Macnab deconstructs award winning logo designs by applying the principals she is teaching. The book contains photographs from nature, architecture, and history. She includes photos of her sketches in which she reveals her creative process when designing logos. And finally, she includes visuals of the completed logos. Through this process, readers begin to understand how everything is related.
   
   What we learn from the explorations in this book, can be applied to all aspects of design - not just logos. From brochure and website design, to motion graphic design - the principals of effective design are all the same.
   
   I would rank this book as the top design book of the decade. It is something that has been sorely missing. It should be required reading in all design curriculum. Never before has a designer taken the time to go through their process, and put it down in words in such an eloquent and explanatory fashion. I for one, am grateful Macnab has taken the time to do so. Decoding Design is one book that should be on all designer's bookshelves.



5. As an artist this book helped me to understand what makes some art better than other art. Correct use of symbols! Maggie does a great job of explaining what makes for good design and why. Deep book and full of usable knowledge for anyone in the arts. Congrats!

5 comments about Creativity for Graphic Designers.

1. I'm so glad my professor made this a required textbook! Mark Oldach's insights into the process of concept development are so helpful. This should be in the graphic designer's library. I will return to this book again and again!



2. This book packs a lot of punch. It's written in an easy to understand format that is very creative with handwritten notes from the author in the margins. It's a great source of ideas with the numerous full-color case studies that are included. This book does an excellent job of providing graphic designers with step-by-step instructions on how to ask the right questions at the initial client meeting, go back to the office and download the information, then take the information and begin generating ideas, and finally, select which ideas should be developed. It's an invaluable tool for new designers.



3. I love my mac, but I also love not using it. This book tells a lot about a designers prosess outside the mac. I found this sentence in the book: "Designers have a responsebility to do what they are paid to - design .... To many designers use the (mac) for a substitute for thinking". So right!



4. Unlike design books filled w/ eye-candy & no direction on processes, Mark Oldach steers the reader through well defined concepts & thoughts. An excellent book for all designers who wish to communicate through design.



5. I found this book to be very helpful in getting you to think of the box. Instead of being like a picture book with not much information, it tells you how to come up with ideas and explains the process of making a good design. This is a great book to have if you already have those picture books with just designs and need something to help you with actually creating your own designs.

1 comments about Action/Abstraction: Pollock, De Kooning, and American Art, 1940-1976 (Jewish Museum).

1. This is a magnificent artbook enriched by breakthrough studies on the most important movement in post-war American art, namely Abstract Expressionism (and its offshoots like color-field painting). Based on the intellectual rivalry between the two most famous critics of the period, Clement Greenberg (the advocate of abstraction, who insisted on the importance of the work of art versus the creative process, abstract art being the only valid modern form of art) and Harold Rosenberg (who coined the expression "action painting" in a 1952 article in Artnews and to whom what counted was the act of creating, more than the end product) it enables the reader to discover some of the most canonical works of the movement, by De Kooning, Pollock, Newman and many others, lavishly illustrated.
   
   The book accompanies an exhibition held at the Jewish Museum in NYC and is a trove of information and documents on the roots, the influences, the governing ideas, the artists' personalities and their reactions to the various opinions stated by Greenberg and Rosenberg on their art but also on the state of contemporary culture.
   
   The reproductions of facsimile of letters are especially interesting, such as the ones Clyfford Still sent to Harold Rosenberg, first urging him to get into art criticism and then condemning him for doing so ("I am deeply disappointed" he ends up writing).
   
   A landmark exhibition enlightened by this rich catalogue (a highlight is Irving Sandler's article on the convergences and divergences between Greenberg and Rosenberg)which I strongly recommend.

5 comments about Painting Beautiful Skin Tones with Color & Light.

1. The explanation texts associated with photos and paintings are technically accurate and clearly comprehensive in such a way very few authors are used to doing. Subject performs diversified approaches covering watercolor, pastel and oil with in depth analyses and subtle interpretations on the alternative effects in skin paintings.The systematic organization of the matters allow every artist to follow the indicated trajetory to improve his knowledge and practice or test whatever is presented.



2. Great work for painters...
   
   The book was ordered to find out what I did wrong in painting portraits in oil. Clearly instructed by the book I now improved my skills dramatically, especially painting eyes... with the look of love.



3. I happen to think the pictures in this book are beautiful. I wish I could achieve the same level of competence with color. By buying the book, I hoped to improve my ability to quickly make sound color choices, but try as I have, I just can't get the needed information from this book. I have purchased quite a few books on painting, and some have really helped me. The really frustrating thing is that it's obvious she knows what she's doing, but equally obvious she has a hard time communicating it.
   
   If you already understood the topic, I'm sure you would get some comforting reassurance from seeing that which you have grasped reaffirmed. If you are not already a good artist, it's pure misery to try and figure out what she is saying. I have read every word and studied every picture in some cases 3 to 5 times, and I have taken little away.
   
   I'm sure that if she were watching me paint, I would eventually understand what she is teaching, but I was not able to get much from the book. I did enjoy looking at the pictures, but the text is pure torture.



4. A very excellent reference book. A must for a novice painter.



5. I agree with several of the previous reviewers. I believe that some of the writing on skin tones offers great insight. I also believe that most of the portraits in the book are garish at best. If there were Sears Portrait Studios around before the invention of photography there is no doubt that their portraits would look like these paintings. I would even be okay with that if it weren't for the fact that the book does not even begin to discuss skin tone until halfway through the book. I would say that 1/5 of the book is actually about skin tone. The rest of the book is just like any other beginners How-To. The basics of painting. Unfortunately there is little about skin tone.

5 comments about Complete Guide to Self Publishing: Everything You Need to Know to Write, Publish, Promote, and Sell Your Own Book (Self-Publishing 4th Edition).

1. This is it folks. If you are trying to decide which books to buy for the independently publishing path, GET THIS ONE! It is a jewel, please ignore the haters saying its overrated (there are always haters). It's a great book!



2. When I decided to start my own small press, I bought perhaps a dozen books about publishing. The Complete Guide to Self Publishing was the best of them all. It is somewhat outdated (2002 edition) but the information is very solid, practical and well-organized. I carried it around until it became stained and dog-eared.



3. I have always used mainstream publishers, so I cannot attest the the accuracy of the content. The book gave me ideas for marketing, however, and I appreciated some of the beginning, concrete information.
   
   Seems logical and up-to-date, so I added it to my recommended books list for a graduate communication projects course.



4. Having met the Ross's at Colorado Independent Publishers Assn and purchased their book, I felt ready to complete my manuscript. I found I was using it almost hourly. Lots of straight from the shoulder opinions as to what not to use or do. As well as sure fire suggestions in what to watch out for. They even have forms and phone numbers that can be used. I found out what there was to know about ISBN numbers and how to get them. I keep it handy and still use it to remind me of points that I find have slipped my recall. No other publication is needed in this area of information, that I can imagine. A keeper. Not a loaner.
   Randall Shelton, author of "Life on Earth The Game."



5. Well, "YES," but only if you intend to hire professionals to do a lot of your technical self-publishing work. But if you want really to do it ALL yourself, Tom and Marilyn's instructions do not include the step-by-step, bottom-line, technical details on how to create formatted computer files that POD presses will accept.
   
   You will not learn how to use a computer to setup and format your pages, to insert section breaks and page numbers, to insert 300 dpi photos, or to format a cover for your book. And, this book tells you nothing at all about how to convert your book block and cover files to PDF, the format required by POD presses. (Amazon offers other books that will teach you these skills.)
   
   However, if you really don't want to do all this yourself, The Complete Guide to Self-Publishing is THE book you surely should buy. This book is geared primarily to teach you how to set-up your own, full-blown publishing business, and how to sell your books, once you have published them. Virtually all aspects of these two main topics are covered in great detail. To a lesser extent (in 53 of the book's 521 pages), suggestions and instructions concerning book and cover design are helpful as far as they go. But to convert their ideas to computer files, Tom and Marilyn suggest repeatedly that you should hire professionals to do these technical tasks.
   
   Even so, because of its overall, valuable content, I have given this book a five-star rating.
   
   Edwin Scroggins is author of HOW TO SELF-PUBLISH YOUR BOOK WITH BOOKSURGE FOR LESS $$$: A Step-by-Step Guide for Designing & Formatting Your Microsoft Word Book to POD & PDF Press Specifications

5 comments about Hell Beasts: How to Draw Grotesque Fantasy Creatures.

1. "Hell Beasts" by Jim Pavelec represents a book filled not only with original and entertaining illustrations, but with information on many mythological creatures, some not so well known. I enjoy reading about these creatures, and will use the book as resource for my own artwork.



2. Mr. Pavelec's book is an excellent resource for anyone in (or interested in) the fantasy art niche (though, the lessons is just as valid for any type of art, I believe). Though the book is loaded with all sorts of tips about making convincing and interesting creatures, I'd say the underlying focus is on the composition of a figure. Jim displays in many examples how to focus on the primary action or energy of a pose, even if the pose isn't inherently dynamic. The viewer gets to see many paintings evolve from thumbnail sketch to a completed illustration, along with a side commentary about why he makes his choices.
   
   When I was starting out, I would have begged. borrowed or stolen to get my grubby paws on this book. Even as a reasonably seasoned professional, there are still a number of pearls residing between the covers.



3. HELL BEASTS: HOW TO DRAW GROTESQUE FANTASY CREATURES is for any would-be comic or graphic novel artist: it tells how to create and draw monsters, how to make selected monsters even creepier, and how to draw upon imagination to create new monsters. It's a pick not just for graphic novel and comics collections, but for any general-interest lending library reaching out to young would-be artists.



4. This is an extremely well illustrated, and well put together manual on how to draw hellish fanasty creatures. Jim Pavelec's representations of abstract and chaotic beings such as the Demogorgon, Leviathan, and Basilisk (to name a few) are quite phenomenal. His creations are not typical of the common how to draw monsters, dragons, etc.-type books. His hell beasts are one-of-a-kind, carefully crafted works of art. It is very reminiscent of Frazetta. One feature that I especially love about this book is the mythology behind each creature. Jim pulls many of his beasts from Japanese folklore, European folklore, and Greek and Roman mythology, and provides detailed descriptions of their origins. Jim Pavelec is definately a master of his art. I highly recommend this book!



5. I'm not much for the entire fantasy genre and neither do I have the imagination for such macabre concepts. With that being said, let me continue and make you understand why I am writing a review, and a positive one at that!
   
   Jim Pavelec is an amazing artist. I've read instructional art guides before and I never really got much out of them. Out of this one, I received way more than I bargained for! He covers the basics and the tools that you'll need to do what he's about to cover. At the end of the book, he says that he has many inspirations and that it is okay to use that inspiration from other artists to create something of your own. In finding your niche, you can go through many. That may or may not make sense, but it did me a hell of good! I never knew these monsters had names!
   
   It was 18 bucks well spent, thank you very much. It made me want to become an illustrator and offer services to paint nasty aquatic on bathroom walls. I could write another page on how happy I am that I bought this book and the nightmares that Mr. Pavelec's creations dwell in, but I have walls to paint.

5 comments about 501 Great Scrapbook Page Ideas.

1. There are alot of creativity in this book. I like most of them and would recommend if you are looking for ideas.



2. This book has several different layouts to get the creative flow going. I would have liked more instructions for the layouts but you can't have it all. It was definately worth the money spent though. I especially like how the layouts are grouped by subject matter. If you are looking for a zoo layout, look under zoo. Its a practical book for practical people.



3. This book has it all!!!! There are plenty of ideas in this book and it has gotten me out of scrappers block many times. I love the alpha order by theme, it is very easy to look up a topic and get an idea. All of my scrapping friends have this book. It is worth checking out :)



4. This is s cute book and has lots of good ideas for layouts. I wish it showed more specific ideas and how to do them. The layouts are really good, and great ideas, but I'd have liked more info on HOW to get the look.
   
   All in all, I'd say it's a good book and worth the buy. I'm a scrapbooker and a book lover, and this is a good addition to my library.



5. I love this book. I have just about every scrapbook ideabook out there by Creating Keepsakes, Paper Crafts, & Memory Makers. This one is a major favorite of mine. It's broken into wonderfully unique sections new inspiration to "think out of the box" while designing my scrapbook layout. The layouts are great, and just the right complexity so some normal jane scrapbooker like me can do them and has the embellishments needed without fancy techniques.
   Also recommended: PET PAGES UNLEASHED by Memory Makers!!!!!

5 comments about 100 Days Of Monsters (with DVD).

1. Once upon a time, a control enthusiast with a pen drew himself a monster--and the rest is history.
   
   You can test-flight this book at Bucher's site, www.dailymonster.com, where all 200 of the monsters he eventually released still live--going to their jobs, having their babies, reading and writing and dancing and taking over the world--doing all the things monsters do. I encourage you to do so, and then buy this book.
   
   Someday someone you are talking to will rail against the web, talk about all the terrible things on it, all the bad people. Then you can point to 100 Days of Monsters, and you can say, "Things like THIS--people from all over the world sharing a creative moment, interacting to make something beautiful and funny and playful--how would you make something like THIS happen, if not for the internet?" And if not for, it goes without saying, Stefan G. Bucher and his band of authors.
   
   I came to the game too late to be part of the book--but oh, it was a lovely thing to have my child come downstairs every morning and say, "Mom! Did you monster yet?"
   
   What a wonderful time. I thank you, Stefan. You did good. You didn't just talk the talk, you walked the walk. You followed your heart, and it shows. :)



2. 100 Days of Monsters is a fun journey through 100 days of artist Stefan G. Bucher's life. Each day starts with a great drawing of a "Monster," and includes stories and comments from many of his avid readers. Each monster is endearing in its own way, and Stefan's unique way of creating these characters, only makes them more endearing.
   I highly recommend this book. Just think of it as a really good picture book for adults!



3. This is a great book. Very well put together. The little unexpected tidbits of an off the wall comment here and some all but hidden messages in the the fine print there make it not your everyday, ordinary book. This one is fun in all respects. The Monsters are all distinct personalities and the stories accent their lives. I love it!!



4. My friend would go to the blog site and she would make up stories about the picture's. Not being as artistic as she is I thought oh well. But once I started to get into Stefan Bucher's method's and thought process I realized how great it was to read the book. Thank You Stefan Bucher. ( please look for
   Sequena/Annie Nordmark in the book my friend writes great stories for the pictures )Thanks



5. This book was just a neat thing to check out everyday. Still. It gives me a smile every time he starts with just one blot of ink and spreads it, from there it becomes a living, personified, under the bed madness!, type creature that lurks off every new page. Its grand, most definitely worth checking out!!!

5 comments about Watercolor Artist's Guide to Exceptional Color.

1. This is a clear and concise review of different watercolors and their properties. It is well written and understandable with many examples and lesson illustrated in the book. It is a must for any artist who uses watercolor whether they are a beginner or more advanced in the use of color.



2. I just read the reviews of my book for the first time and am really so appreciative and pleased! As a teacher, the purpose of this book was to share what I've learned - hoping that I could write it and show it and communicate it. It looks like it works - and that is the greatest pleasure possible for me. The book took me two years to write and paint - but two years well spent. Hope some of you readers will visit my website, [...] - and come to a workshop! I'd love to meet you!!!



3. Ditto the above reviews.
   Jan Hart has painted and written an excellent book on color. I would say one of the top 2 or 3 I have found during 30 plus years of painting and study, and I have read and studied a lot of them. Constant insightful tips of using color, constant color circles painted with sets of pigments, very specific as to the colors used. Many, many color examples and paintings further clarify the well-written text. Frequently there are 3 or more color illustrations on a single page, all of them with Jan's crystal clean and clear, beautiful watercolors (except there are some included paintings by other artists). Every serious watercolorist should own, read, and study this book. It is much more valuable that its selling price.



4. She exhibits an enthusiasm to try different color combinations than you might not have tried before. Very important to have someone who has as much experience as she has to encourage you to experiment. Nicely done.



5. Jan Hart has written articles for Daniel Smith Paints, most on her "amazing mixes"--unusual blends of watercolor that give luminous results in mainly landscapes. If you enjoyed seeing her articles and work (which really glows with subtle and startling color) then this book has a lot more of her way of mixing paints.
   
   Though landscape and botanicals seem to be her major love, the book also has animals, buildings, seascapes, skies and other subjects. She shows them in variations. There is no attempt to reproduce reality exactly--instead, Hart shows how to mix colors to get a result that dazzles the eye like fluttering leaves and bluish shadows on a bright, sunlit day.
   
   There is a section at the end on Daniel Smith Primatek colors. These are natural pigments made of ground stones and earths. They are sometimes less colorful and bright than synthetic paints, but Hart shows how to use their unusual granulating properties along with more traditional watercolor pigments to gain some eyecatching mixes.
   
   This book is a good tutorial for those who want to break away from the standard three to eight color palette and try for something different.

5 comments about Anatomy Lessons from the Great Masters.

1. I will just say that this is very helpful for reference to specific part of the human anatomy. Especially the skeletal and muscular diagrams at the back of the book.



2. for us amateaur artists who want inspiration to create great works of art. This book shows the details of the human body and how great artists drew from live and dead bodies as they create the greatest masterpieces in art history.



3. I took an art class at the junior college and the instructor suggested copying the masters to improve drawing skills. I bought this book and copied every picture. Not only did it familiarize me with many artists I had not heard of but, over time my drawing skills improved dramatically. I am now buying collections of drawings of other artists and copying. I highly recommend the book not only as a reference but also to be used to improve skills. I have an engineering background, not art and this helped immensely.



4. Pick up this book if you are looking for a great artistic anatomy reference book. If you are looking for more than reference, however, you might want to look elsewhere. While this book is definitely good, it doesn't give the artist direction in how to draw or depict the illustrations. The text is pretty much straight-forward, usually only noting the parts of the bodies in the images. Second, this book lacks the poetic and great writing of Robert Beverly Hale.

   Anatomy Lessons from the Great Masters is more of an extra reference book or a supplement to Drawing Lessons from the Great Masters. In that book, Hale really teaches to the reader whats needed to depict anatomy, what steps the artist must take, gives tips on how to become a great or accomplished artist, why the artists of the past were so good, what mistakes beginners of figure drawing usually make, and sooooo much more. It's pretty much an incredible book to have even if you're not into figure drawing.

   I think Anatomy Lessons would probably be more highly regarded in my eyes had Drawing Lessons been nonexistent. Anatomy Lessons is great for further reference, if thats what you're looking for though. I probably wouldn't recommend anyone to buy this book unless you already own or have thoroughly read and studied Drawing Lessons by the Great Masters.




5. An excellent book on artistic anatomy. Reading this one book has taught me more than some figure drawing classes. A systematic deconstruction of how the masters of artistic anatomy have integrated their knowledge into some of the greatest drawings of all time. The book goes through the drawings of famous artists, categorized by the region of the body on which the drawings are focused, and attempts to explain how extensive knowledge of anatomy has been effectively applied. It touches on how these artists could create drawings which are more powerful than merely a photographic rendering of the model through their use of anatomy.

   Unfortunately, the book is very cheaply bound. Entire leaves have detached themselves from the spine, though I have treated the book very well. My copy has turned into a stack of paper and scotch tape, wrapped loosely in its former cover. Despite that fact, I still consider it worth the purchase.

   I have both this book and "Drawing Lessons from the Great Masters." Both are excellent books, but if you must only buy one, get this one. It is the better of the two.