5 comments about PMC Technic: A Collection of Techniques for Precious Metal Clay.

1. This is one of the better PMC books out there for explaining things. A must for all metal clay artist.



2. Just received this book , it is the absolute best for anyone wanting to explore the best in pmc creations. The artists featured are awesome ,their explanations are understandable even by novices.Their work is so inspiring. I have been a fan of Celie Fago,(who wouldn't be?),so it is great to get her instuctions.I know I will just look at it for a while,relishing every word and picture!



3. As a miniaturist, I've worked with sculpting clay for many years, and PMC is a newly discovered joy for me! Being uneducated in the formal jewelry-making field of expertise, it's all a big play-pen for me, and I have been desperately searching for artist-quality inspirations, and that is what I found in this Luscious book on metal clay artisan styles! Not only am I able to learn techniques, but there are masterful photographs and detailed directions on subject matter that I have never seen before....such as HINGES! Kudos to the Author, and to all of the extraordinarily talented artists who share their tricks of the trade! Perhaps this wouldn't be the best book for a beginning artisan, but even for me, with very limited experience with PMC and metal clays, I have found a TREASURE of KNOWLEDGE in this book! Blessed & Inspired! Deanne



4. This book has some interesting and different techniques some of which I haven't seen before. I'm really keen to try making a bead core and then doing a flamework bead over the top.
   
   I prefer books with clear photographs to show techniques and this one has mainly sketches. But they are clear and it's easy to follow.
   
   This book is clearly aimed at more experienced metal clay users which is fine with me.



5. PMC Techniques edited by Tim McCreight is an excellent reference book for metal clay artisans at the intermediate or advanced level. The technique chapters are written by metal clay experts well known in the field, and are presented in a stimulating manner. The illustrations are excellent and the format is very inviting and easy to read. It inspires the reader to move outside the box and incorporate new techniques and experiment. I love it, and hope McCreight will work on a second book incorporating more techniques as this medium is in a state of constant evolution.

5 comments about Perfect Neutrals: Color You Can Live With.

1. So it is a nice book -- well printed, good in the hand, and done on quality paper.
   
   I can't stop staring at this thing. There is something so utterly correct and compelling about the color sense that underlies the work here. Quite a remarkable achievement.



2. I am delighted with this book, which is very current since it was just published in 2007. It covers every color in the palate, but in their muted, neutral versions. It's divided into several sections that show ideal ways to blend each neutral color family, including reds, purples, blues, yellows and greens, in addition to several shades of white, beige, gray, taupe and brown. Each section has fully referenced pictures of swatches of paints, fabrics, and flooring material. The paints are readily available in the USA from Benjamin Moore among other suppliers.
   
   The quality of the photography is outstanding, with crisp, clear detail. The book focuses on the work of a handful of designers in USA, England and South Africa. It is nice to see the geographic dispersion -- the South African rooms, for example, contain feather headdresses on the walls which are just extraordinary and something I've never seen in USA.
   
   If you are doing your own design, you can easily replicate what is presented here. Not only are there schemes to copy, but the author clearly presents a practical methodology to create lovely interiors using the "neutral" fabrics, paints and materials that are widely available today.
   
   I own lots of design books. This one ranks among the very best.



3. This book shows how many muted colors can become beautiful, new neutrals for your decorating. Each section is broken down into color palettes. Easy to flip to hues you are interested in. Colors used in photos (of famous int. designers) don't always agree with paint, fabric and rug swatch examples used in each section. Paint colors are all referenced, but furniture, etc are not.



4. I don't know much of decoration and having this book makes me feel like I have the best decoration book I could wish for...full of pictures and great ideas.



5. The book is well priced and full of beautiful color photo's showing this neutral concept that is always in style. Nice work on color boards of real materials that you can research. I see this influncing many of us to use more neurtalized colors in our palettes for our homes and places of work. As big user of the Munsel, color theory is alive and well and it shows in this book neutrals will always be in style they are the canvas and background that enhances the higher chroma colors.
   
   This will become a resource book for me.
   
   MS (Industral designer and colorist)

2 comments about Philip Guston Works on Paper.

1. The book is based on a major Guston exhibition in Europe a few years ago. Each of four critical essays is followed by a series of about 20 to 40 full-page plates relating to the preceding essay's theme or perspective. This format allows for better insight into Guston's work than a typical chronological format for instance. All except the last essay have smaller illustrations also complementing knowledgeable text.
   
   Guston's work displays "expressive range and changeability" more so than most other modern artists, including Pollack and de Kooning to whom he is often compared. Nonetheless, these works on paper show the whimsy, humor, exploration of forms, and recurring underlying sense of menace which have made Guston's paintings distinctive. The whimsy, almost obsessive dissection of forms, their depth, etc., are threads which link--though do not unify--Guston's paper works (and paintings) from his early days in the latter 1940s and early '50s when he radically used "naked line as a vehicle for the most brittle compositions" through to his maturity with "the compilatory, the cumulative that conveys the sense of involved objects."
   
   Guston's unpredictable, imaginative works are rooted in his "restlessness, self-doubt, and a mania for hard work, [which set him] off in search of the unknown and undiscovered in hopes of being able to lend these qualities pictorial expression." No one can doubt that Guston achieved such pictorial expression. The instability--though not to the point of disintegration--of the personality was the matrix of the art work. More than almost any other modern artist, even Francis Bacon, Guston's complex, fertile psychology was the source of his work.
   
   The mainly critical essays bring in psychology and occasionally biography for a multidimensional understanding and fitting appreciation of the drawings and Guston as an artist. The collected 166 works on paper (76 color) covering Guston's career from the mid-1940s (earlier works were excluded) with the critical essays relate the significance of such works in the development of this artist's creativity.



2. This book illustrates a traveling exhibition (Germany, Denmark and the Morgan Library in NY) on a part of Guston's work that was already studied at the Moma, 18 years ago. From the early works to the last drawings of the late 1970's,including some of his beautiful oils on paper from the early 1970's, all the aspects of the artist as a draughtsman are tackled in an enlightening text, served by beautiful images. This is a high-quality publication, with many works still in private hands and never shown before . Strongly recommended.

5 comments about Journal Revolution: Rise Up & Create! Art Journals, Personal Manifestos and Other Artistic Insurrections.

1. I really liked this book. It is a little light on technique but big on ideas. If you are looking for a book on technique keep looking but if you are looking for inspiration you have come to the right place. This is a journal of sorts written by the authors. I liked it.



2. Journal Revolution should be on every creative person's book shelf. It's one of those books that you keep nearby and randomly flip open when you need a double shot of artistic espresso. It is a *great* follow up to their first book, Visual Chronicles.
   
   For me, the best parts about Journal Revolution are the good vibes and great writing. I get really, really jazzed by their concept of Rise Up and Create! Their words/art are empowering and supportive. They don't pretend to have a corner on the art journal market. Rather, the vibe you get from them is one of collaboration. It's like having your best girlfriends sitting next to you cheering you on with each rip and tear of paper. You gotta love that!
   
   The techniques are helpful and cheap because Linda's art supplies are mostly paint, paper and tape. Love their Fauxlaroids (faux polaroids) and faux photo booth strips ideas. What genuinely fun and personal projects to play with and create.
   
   Linda and Karen -- You Rock!



3. If you've ever wanted to push journal-keeping beyond the confines of words on paper, maybe an image clipped from a magazine, lists of complaints and what you had for breakfast--but you were just kind of stumped about how to start--this is the book for you. Filled with ideas and instructions for creating beyond-the-limitations pages, it not only gives you permission to play but also nudges you out the door. My favorite part was the glimpses into the lives of the sisters--now those are some women who know how to have a good time!



4. Great book, I have used it with my art therapy classes to inspire my clients to create art journals, have found it to be a great resource. Really enjoyed the graphics and ideas.



5. "Barbie" did not write this book, it is not a commercial for 1,000's of products, and it is GREAT!! Different techniques for showing who you are and how you feel through your art. There's no book like this, no book that makes art of a dead-beat dad, a Nordstrom bag, and monks, all in one book. This book changed how I scrapbook, journal and see my self.

5 comments about Mexicolor: The Spirit of Mexican Design.

1. A really beautiful book. One of the best I have seen. I live in Mexico and will be using many ideas.



2. While I was in the process of planning and building my next casa in Baja, this book provided mucho inspiration. The Spanish Colonial, and Hacienda designs, the avalanche of colors and gardens provided me the basis of making mi casa as Mexico as I could.
   Yes, the binding is weak, but the book remains as an Essential. I now have 2 copies, one very worn out copy.



3. If you love the bold, life-affirming colors of Mexican houses and interiors but not necessarily the traditional architecture and furnishings of the mexican tradition, this is the book for you! I ordered several books on Mexican interiors and details and this was the best. It gave me great ideas for using bold, bright color in my house without turning it into a hacienda. The book is beautifully designed and the color just blows off the pages. It has in it everything I love about Mexico that is bright, lively, joyous, and enlivening and nothing that is stodgy. As An artist, I found the book irresistable.



4. i've been to colonial mexico, and i've seen more exciting stuff than what's on this book. also, the pages come appart easily



5. I have always loved everything about Mexico, especially their use of color. When I bought my new house I wanted to bring that freedom and joy into my home.
   
   This book was a wonderful guide. Almost every page reminded me to let go and celebrate. There are so many visual feasts and ideas. If you are timid about colors this book will definitely give you a new lease on life.

5 comments about Drawing Dynamic Hands (Practical Art Books).

1. Hogarth has some of these sketches in other books but w/o the details about HOW to really draw hands. They have always been hard for me, especially in difficult positions. If you have the discipline to truly incorporate his techniques you CAN master hands. I think this is worth the $ ONLY if you are willing to put in the time to learn by doing the work in the stages he recommends. A good book, worth ordering if you draw a lot of hands, and are willing to retrain HOW you see hands and draw them. I enjoyed it and am still working in progression thru it!



2. I've used both Bridgeman's and Hogarth's books on drawing hands and I've got to say that both artists are top notch and one couldn't miss by studying both. Bridgeman in my mind is very strong in his construction of a drawing and his studies on form alone are very valuable to me. And Hogarth's beautiful linear approach is also very helpful. Hogarth's work is so easy to see and study that I found him very accessible when I was just starting out on my artistic journey. And yet, now after many many years, I still go back to him and find more in depth information and solid teaching that I can glean from him. It's neat to be able to grow alongside an artist and find him still teaching you when you are older.
   
   I'm not sure how other artists do it, but by combining this book with Bridgeman's and other anatomy books, I've really grown in my understanding... and having several artistic teachers has helped me develop my own style and interests instead of only copying theirs. I definitely recommend this book therefore. After studying art in college, I'm finding that my best teachers and best learning experiences have been through books and this book on hands is no exception.



3. This is a great reference for drawing hands. Most beginning artists, like myself, find that the hardest part of a person to draw is the hands. This breaks down the hand into its basic anatomy and details every single thing about the hand you might want to know. Very useful for in-depth detail work with deep shading, and can be easily adapted to other styles such as cartooning and painting.



4. Like other Hogarth works, the hand is represented as stylized, over muscled, and predominantly masculine. If you expect that from the beginning, then you will find no disappointment in this book. I loved this book, as the stylization helps with understanding the shape and movements, the anatomical structure of the hand. It gives you an idea of how to draw proportions, angles, forshortening, etc. without the use of a model. As I prefer to draw from memory, this book was just my style.



5. Dynamic Hands is the ideal book to learn how to draw hands and understand the structure of the hand and how it works in all positions. Well drawn hands and feet are extremely important for finished paintings and illustrations. I am a commercial artist and designer, but have worked for many years on non-figurative projects. I am focusing on figurative work again, primarily in the game, fantasy and science fiction field. My goal is to draw entirely from imagination without having to use reference material, and this book by Burne Hogarth and his Dynamic Anatomy is helping me to reach this goal. The illustrations are very well done with several important hand positions and range of motion diagrams. I highly recommend it.

5 comments about Collage Techniques: A Guide for Artists and Illustrators.

1. I was very disapointed in this book. I was under the impression that it would not only be instructive but that all of the work in it would be Gerald Brommer's. It was neither.



2. This is a good book for beginner and intermediate collage artists. It contains basic historical and theoretical information, as well as basic application techniques. You may also consider Nita Leland and Virginia Lee Williams' book CREATIVE COLLAGE TECHNIQUES. The techniques are challenging and open ended, so they truly encourage you to be creative.



3. This is the best reference available as at this date on collage. It is also one of the most inspiring art books I have read. I cannot recommend it more highly. The artworks provided as examples are of the highest quaility. Thank you, Gerald Brommer.



4. What I particularly liked was that all the illustrations were of first rate work.So many different approaches. An excellent text and motivational advice on materials and the object of collage as a genuine artistc outlet.



5. Brommer approaches collage from an fine art point of view. Most other books I have looked at tend more toward the scrapbook and/or kitchy altered art genre. He has an excellent section on art paper preparations and basic design.

5 comments about Design Literacy: Understanding Graphic Design.

1. the book was new as promised but i got it too late though it was 2nd day delivery via DHL.
   i was upset for the late delivery only but otherwise it was good



2. I use this book as a catch me up for everyone one of my students who are interested in graphic design, but don't know anything about it. This book and the sequel "Design Literacy Continued" are easy to read, wide in scope and plow through touchy subjects like Racist Websites and the garbage all over contemporary magazines.

   It's the best education I ever got sitting in the bathroom.




3. This book isn't quite a history book, nor is it a book on design theory. While it has aspects of both, it's more like a series of case studies, in which almost 100 designers, magazines, posters, advertisements, icons, types... are analyzed and discussed and placed in a historical context.

   So if you're expecting a comprehensive book on design history, this is not for you. In no way does it feel complete for a design education. What it does is provide thoughtful pieces to consider, and a perspective on the usage of design, originality, trends, etc. The authors do have a point of view, but it doesn't ruin the book. To the contrary, it makes it even more interesting. Design isn't just art and technique It's grounded in economics, history, culture, and politics. Heller and Pomeroy contribute a useful set of essays to help the reader become more aware of these relations.




4. Design Literacy and Design Literacy (continued) is an excellent introduction to graphic design under the surface. I use Phil Meggs' history book for facts and these books for inspiration.



5. Design Literacy and its sequel, Design Literacy (continued) explain the inner workings (and spirit) of graphic design and some of the best designers. Its been very valuable for my education as a graphic designer.

5 comments about Bridgman's Complete Guide to Drawing From Life: Over 1,000 Illustrations.

1. WOW! Just got this book and had no idea it was soooo good! If you're into the constructional way of drawing the human figure, this book is for you!
   The mechanics of the body are so clearly shown and with many illustrations - all pages in this book are filled with useful information.
   
   So far I have been using those books by Gottfried Bammes, especially "Die Gestalt des Menchen" and I've considered that book to be the best of all my artistic anatomy books. This book by Bridgman comes very close to actually changing that and that's saying something!
   
   If this constructional way of drawing seems confusing I'd suggest you start with "Figure drawing for all it's worth" by Andrew Loomis. That would give you the general idea. (I do believe there is an online version of that book somewhere)
   You could also start with "The drawing manual" by Glenn Vilppu
   I promise you that to construct a figure is the proper way to draw - at least that's how artists have been trained since the renaissance. Even when drawing from life you should still construct.



2. This book goes good with Hogarth's Dynamic Anatomy. I have gained better understanding from studying this book as well as Hogarth's. I would recommend this book for anyone who wants to know a little about human anatomy.



3. This is a very helpful and thorough book. It's a great book to draw from, great for structural help. Great price on amazon! It's worth it because buying the individual books is much more expensive!



4. I also own Contructive Anatomy and his books on HANDS. This is a must have. Not just for the content, but also for the style. Any serious artist should diligenly copy the sketches in this book, as a daily sketch exercise.



5. Mainly for intermediate-level artists- I *might* have to pick this as my #1 Bridgman book. It has a little bit of *everything* depicting figure construction from memory. It's also great for general improvement; a few tips & tricks- an indispensable reference for all working artists.
   
   And Bridgman appeals to a *very* wide-ranging audience: fine & commercial artists; illustrators; comicbook pencilers; animators; video-game designers; fashion artists; sculptors; computer graphics designers; students; intermediate-artists; experts; and professionals. This Complete Guide represents the best of 6 out of his 7 individual books. Drawing the Female Form is the book that gets left out. Designed by editor Howard Simon in 1952; Bridgman passed away in 1943, so it's not Bridgman's fault if anyone has issues with the layout(!).
   Here's a quick breakdown of his 6 individual books, from my very favorite to least...
   1. Book of a Hundred Hands- His *best* representation of hands; if hands are your main interest, skip all else & buy 100 hands.
   2. Constructive Anatomy- His *best* individual work on figure construction- especially with cubed-construction of the head.
   3. Heads, Features and Faces- Great for beginners; it isn't in-depth, and it isn't nearly overwhelming like this Complete Guide.
   4. Human Machine- Genius in concept- drawings exceedingly sketchy. These are the sketchiest drawings in this Complete Guide.
   5. Bridgman's Life Drawing- Like a mini Complete Guide. Treats the figure in its parts as well as with basic, full-figure movement.
   6. Drawing the Draped Figure- *Very* basic. Everything you need from this exceedingly thin book is included in this Complete Guide.
   
   In short: The basic *point* of Bridgman's Complete Guide is to help people to draw figures more convincingly, and even from memory. To a great degree, at least in my opinion, this book still succeeds in a very effective way...
   
   P.S. This book is definitely *not* for beginners! Only *Intermediate-level* artists need apply.

5 comments about Writing the Breakout Novel Workbook.

1. This book is not just its companion volume in workbook form. This was written four years after publishing Writing The Breakout Novel, and after extensive workshop tours. You get the addition of all the exercises from his workshops. If you liked Writing The Breakout Novel, or if you're considering buying it, go ahead and add this volume to your cart. It is well worth the purchase.
   
   The only dissapointment I had in this book was that after many steps in the exercises, he orders us emphatically, in italics, to "Write that down now. Write those down. Start writing now. Note them. Make notes. Note it now. Make notes, starting now."
   He insults his reader by assuming that we are procrastinators who can't finish what we



2. I have both workbook and book. I use this when I'm plotting or replotting a book. I find the exercises make me think hard about my stories and bring out my creativity. I'd definitely recommend it.



3. I finally bought this book after rechecking it from the library several times. I love the challanges presented and the advice given. This book has helped me dig deeper and develop my own novel.



4. Since he published Writing the Breakout Novel in 2001, Maass has taught a seminar of the same name at many writers conferences, and naturally learned from these experiences. The original book is here expanded by nearly three dozen exercises, which seem quite sensible, not hokey as are some by other teachers I've read.
   
   I own the Breakout book and just now am comparing the workbook that I checked out of the local library. They're not the same, not by a long shot, despite what one reviewer here says. Though many sections have identical headers (such as Inner Conflict), they are completely rewritten, using different examples. The original book is 259 pages of 6x9, the workbook is 230 pp. of 8-1/2x11 format, thus it is by no means a condensation as TheCafeWriter asserts, and the original book is not necessarily more "in-depth." Some sections are, some aren't. The structure is substantially rearranged. Yet the concepts and the really fundamental points -- keep your story charged with tension, and so on -- do remain identical. These are essentially two complementary treatments of the same material by the same author
   
   Maass asks his seminar participants to bring their in-process novels to perform exercises on, so the workbook is particularly useful if you are well into writing a novel already. With the discipline of the exercises, Maass teaches you to be your own draft doctor.
   
   For me, there appear to be easily enough new perspectives and ideas here to warrant buying the workbook even though I have read the original and have it on my bookshelf.



5. This book is most beneficial to writers who have already completed the first drafts of their manuscripts. The exercises made me review some of my characters' attributes and turn offs as well as making sure my secondary plots tied into my main plot. Mr. Maass' suggestions caused me to re-think my villians a little bit and show a side to them that could be somewhat empathetic. Also, adding tension on every page for me was tough, but I found creative ways to do it. I do believe my completed novel is better now after making suggested changes. I stuck to my own gut on some of the things he suggested I change, but overall I did use a lot of his advice. This is a good purchase but you must do the written exercises not just skim over them.