5 comments about Elements of Writing Fiction - Description (Elements of Fiction Writing).

1. The best writing book I ever read. This may sound strange, but I couldn't put this book down. It is filled with example after example on what bad descriptions vs. good and great descriptions look like and how to write them. I would highly recommend this book to any one who likes writing.



2. This is an excellent writing aid.
   
   Here's why: If you want to know how to make a watch, most writing aid's only give you the correct time or make testimonials about the quality of specific watches. You never learn how to make a watch. This book details how to make watches with excellent examples of the significant steps in the process. And it illustrates how the right steps work, with examples of how other things dont work as well. Plus it provides examples of how hybrids sometimes work better for what you want.
   
   The author is impressive because she knows what she professes, and knows how to make you competent too.
   
   This book will make you happy.



3. As a writer, I've always considered description to be my strong suit, so I read other books in this series before I picked up this one. I wish now that I'd read it first. Monica Wood clearly articulates the difference between strong description and weak description and provides so many examples that it is easy to see her point, and easy to make the leap in your mind and change your way of thinking about description. I realize now that although I've always been good with imagery, my images lacked purpose. I'm a photographer by nature. I've been busy presenting my readers with snapshots when I should have been painting art for them. My images were clear, vivid and real, but they told my reader little about the underlying structure of either my characters or my theme. My descriptions created texture, but didn't incite emotion or meaning. I looked at my manuscript and realized I've got 70,000 missed opportunities. So far, I've revised three scenes and already I know my characters better. The writing is tighter, the characters sharper. Those scenes pack so much punch now that I'm faced with the opposite problem I had before- how to let the story breathe for a bit between those scenes. Pacing is going to be a different challenge for me now.



4. This is an excellent source book for any new writers. I highly recommend this and the other books in the Writers Digest Elements of Fiction Writing series.



5. This is the worst of the Elements of Fiction book series that I've read. Instead of using examples from classic works of fiction, like the other books in the series, Wood comes up with her own examples, which are poorly written and often obscure the topics she's trying to cover. Check out Self-Editing for Fiction Writers by Browne & King instead, which has a much better chapter on Showing vs. Telling. Also check out How to Write a Damn Good Novel by James N. Frey, which has better descriptions on how to write scenes vs. narration.

5 comments about Capturing Radiant Light & Color in Oils and Pastels.

1. While I may never develop the "scanning for color" technique described in this book, my understanding of color and how it is manipulated by so many different factors in nature has increased substantially. Thanks for a great book.



2. While I had difficulty connecting with Painting the Impressionist Landscape by Lois Griffel I had no difficulties zooming through this book. It is easy to understand and the concept can easily be used with acrylic. I would like to see another book by her, demonstrating the technique perhaps in 10 paintings, step by step.



3. This book is excellent and very helpful. There are many tips and stages presented in a carefully thought out way. I have Susan Sarback's earlier book and this is a stellar update! She shares much of her immensely improved talent and knowledge. Although I am a beginner, I believe this to be helpful to artists of all experience. I highly recommend it.



4. In my opinion this book must be compared with "Painting the impressionist landscape", from Lois Griffel; the focus of both books is the same: explaining a simple step-by-step method to paint with full-spectrum color.
   
   In Sarback's:
   -The "block studies" (painting colored wood blocks) are not so well explained. Griffel gives a lot more insight in the selection of colors, and the cloudy day example is completely missing in Sarback's.
   -There are more step-by-step "real landscape" demonstrations, but they are not so well explained as in Griffel's. Just 4 pictures of preliminary states of the painting. Nevertheless the final pictures of these demonstrations are much better in Sarback's.
   -There is a comparison of different color approaches to painting that is interesting: expressionist, abstract, local, etc.
   -She does not explain how to select colors (which warm? which cool?) or how to compare their values. There is nothing similar to Griffel's idea of a chart for comparing values.
   -She gives tips about brushstrokes or using different types of edges. These subjects are not included in Griffel's.
   -Portrait and figure paintings are not covered at all. Griffel's at least shows some beautiful paintings of this kind.
   -The pages are almost full of text and beautiful paintings. There are no quasi-empty pages.
   -The soft pastels coverage is minimal, but oils coverage is also lacking. The book talks about general principles: do not expect low-level (paint layering, I mean) advice.
   
   A "must have" book? I am not sure, but I think that if you follow Sarback's tips, you will paint beautiful "masterpieces". If you are a beginner consider buying Sarback's DVD "The difference a day makes". The DVD is too short (30 min or so) and a bit dissapointing, but if you want to observe the way she paints wet-on-wet, may be it is cheaper than a trip to California to attend Sarback's workshops.



5. Detailed teachings from a master painter -- can it get better? This is the absolutely best how-to book on painting in the Hensche/Hawthorne tradition that is out there right now. It is a bit surprising that it is called a revised edition, as, IMHO, it is a new and even better book. The method is explained clearly and logically, easy to follow. Many step-by-step demonstrations with clear explanations teach how one can see and paint one's own still-life or landscape.
   
   Although, in honesty, a book can't beat studying with a master in person, I'm convinced that Sarback's new book is so clearly written that a beginner in this method can learn as much of it as is possible. For those who already paint with the light-and-colour method, it is invaluable, and can take you steps and leaps further on seeing and painting light.
   
   My impression is that master painter Sarback does gives it all, and does not "keep secrets". The very best teachers encourage students to become even better than they are, and does not hold back on advice and teaching. This book is a cornucopia of principles, method, and practical advice. I will wear it out, as I progress as a painter of light-and-colour.

4 comments about Design Essential Index (Kit).

1. The Design Essential Kit contains three books that look really great and have many, many examples to give you good ideas making (better) designs.



2. Both my daughter (a regional marketing analyst) and I (a high school graphics design teacher) share several of the Jim Krause texts, and we are very satisfied using them as think-tank references.



3. This is the second book set I bought from this author and I've enjoyed them both. This set contains the updated book of color along with two others. Great reference books and fun to flip through.



4. As a budding designer, this series of books is a jolt of stimulating air!
   No bewildering and incomplete tutorials, just inspiring visual stuff.
   Jim is such a brilliant communicator and artistic mind that one cannot help but be totally seduced and informed by his vivid passion.
   Simple and pure creative sparks here...

5 comments about Albinus on Anatomy.

1. This book is a wonderful visual aid to anyone who needs to see the particulars of bones, muscles and whatnot in the body. Whether it be an anatomy class or kinesiology this book is an excellent addition to add to your studies of the body.



2. Albinus on Anatomy is one of my favorite resources as a body worker and movement specialist. There are not many places where we have such wonderful pictures of the entire skeleton that are not in "anatomical position". The opening pages are not only works of art but give us visions of the inner workings of human anatomy as it lives and breaths and moves in everyday life. I highly recommend this book as a front line resource for anyone who teaches movement or coaches sports or works with the body in any healing art.



3. I've used Albinus' plates for years in teaching Artistic Anatomy, and this is the best resource. They are remarkable achievements, astonishingly accurate, but compared with the many and multiple views of the figure available today, they are a bit less complete than you might want. The best reason for buying this version is that Robert Beverly Hale's introduction is as full of wisdom for learning artistic anatomy as any paragraphs I've ever read.



4. I bought this book as a study guide for an anatomy class that I'm taking for a yoga training. I am usually put off by more scientific books, and was worried I would be bored, so I got his book, designed I think for humanties types rather than science types. He has these crazy backgrounds to keep you interested I guess. The human body against the backdrop of ... a rhinoceros. So I really had fun with the crazy pictures. But the anatomy drawings are beautiful, They're very clear, and the style is intriguing to an artsy type like myself. I liked the way they make a copy of each illustration on the facing page to list out the different body parts. It made studying very very easy. If you need to learn anatomy and don't require an in-depth study, this book is a great little guide, and is very interesting even if you don't have to study anatomy.



5. The illustration of bone and muscle that this artist provided the world is still the best! The one thing that I appreciate the most is the correct proportions and clear definition. It is limited in the actual use for artists beyond pure illustration but is a keeper to go along with all of the material it seems to take to put a complete reference together. The reason for this is ACCURACY and CORRECT PROPORTION!

5 comments about The Songwriters Idea Book: 40 Strategies to Excite Your Imagination, Help You Design Distinctive Songs, and Keep Your Creative Flow.

1. hi, you are looking at this book as you neeed to write songs, either for your self or band etc, what has to happen first is an inner change, not only in mental organization but development of skills.
   the good news is it is possible, the bad news it takes time and effort, so no book in the world will give you that.
   I have not finished this book but i must say i think it is great from my point of view, is it a style thing, most likely. i have shela davis books, and they are wonderful, intelligent but a little rigid and school teacher like.
   which is still good, and i recommend her books. but i like this book more as it is more me, maybe its a male thing, maybe, but its also an esoteric thing. let me explain. good songs to me are imagination tempered with reason, imagination is purely a spiritual thing, so in order you write good songs you must develope your mind, your chakras, your very being. other wise you are just coming from either a mundane point of view, or ego, boring,,,,, the first exersice he gives you is similar to one found in rudolf stieners most illustrious book 'how to know higher worlds' so it is a teaching given by a clarevoyant super-genius. and the smartest man i have ever come accross, stiener that is.
   I think this Author so far is a human, a romantic and some one who allowes his mind to play, to explore
   so yes i think it is a good book.



2. I hear this book is some kind of industry standard book for other musicians, and I enjoyed it.

   Like the other reviews said though, the 40 strategies are really 40 different types of songs you could write.

   i.e. "the childrens song" "breaking up" "the christmas song"

   The first couple of chapters describe what she calls "whole brain writing", and is actually very clever.

   This book helped me immensly, I just knocked a star off b/c of the bad title and I think it's too short.

   For the money though, you absolutely cannot go wrong!




3. Ever had writer's block? This book is the cure! Along with Davis' THE CRAFT OF LYRIC WRITING and SUCCESSFUL LYRIC WRITING, THE SONGWRITERS IDEA BOOK forms a brilliant trilogy that is essential for the person who wants to write lyrics. I'm rather surprised by reading some of the negative comments below. My guess is that those people merely leafed through the book without actually reading it. This book is NOT an easy read. It is not something that can be scanned. It must be read and studied very carefully. It is very important to understand part 2 of the book (pages 15 through 34) before moving ahead. This is the section wherein Davis analyzes the different types of the creative mind. In only a few short pages Davis introduces a lot of important concepts that need to be understood. The reader must take her tests and figure out which type he is. Then and only then is the book of value. I had to read part two several times before I really understood it. But once I had a firm grasp of those ideas, I found the book to be extremely valuable. Davis basically says that when one is blocked, that he needs to come at it from the other side of the brain. She then proceeds to give exercises that make it easy to access the unused part of the brain. While ostensibly for the lyricist, I think the principles can be adapted for any kind of writing. I think this is a great book and I am grateful to Sheila Davis for writing it.



4. Pro: Excellent catalog of types of lyrics. Also good coverage of different elements that make hit songs.
   Con: The title is misleading. The "40 strategies" is really no more than a catalog of 40 general types of lyrics, i.e. people get hit songs from: a holiday, a place, a town, a love lost, love gained, etc. Some useful ideas, but I was hoping for something more like writing or brainstorming exercise to open the imagination. This book was not at all useful for me.



5. I refer to this book weekly and have owned it for 4 years. I spoke the author in 1997 and thanked her for her contribution to this subject. Her 3 books are 3 volumes of my songwriting bible. It is her books that finally gave me the ability to be happy with my own songwriting for the first time in my timespan of over ten years of not liking my lyrics. In this book, the author helps you identify your style of work and how it affects your first drafts. This info also has helped me in other parts of my thinking process. No other author, so far, has been as complete and detailed in their presentation of the songwriting process as Sheila Davis. Brilliant.

5 comments about Watercolor: For the Artistically Undiscovered (Klutz).

1. I bought this for my niece as a Christmas gift. She really enjoyed it!



2. Watercolor for the Artistically Undiscovered has been a fun workbook for our whole family. My daughter received one for a gift and it was so entertaining we had to order two more so everyone could sit and do it together. The book's layout is in page by page exercises that might inspire further fun and thinking, as well as build on each other to create a more versatile way of looking at painting. In my opinion, the most fun part is being able to paint in a book and even cut out parts and glue them elsewhere. Kids have a chance to breakout from the usual parental mantra of "Be sure not to write in the book, watch out with the paint...". The pages are very sturdy and good quality and the author's sense of humour is wonderful. I have my very own copy to play in, which is sometimes just the thing to inspire me in my own work. And well, there is something about turning squiggles into bugs....



3. This is a great place to start. The paints and paper provided are 1st class quality allowing serious exploration, and the excerises are fun. Add a few more colors - dark green and light blue- and a extra, nicer brush, and there is no better way to start



4. I am extremely intimidated by painting, so I took baby steps and bought this book. It comes with some beautiful watercolors that are rich and color--and a brush as well.

   They start you off with painting some small pictures, even blobs if you are comfortable with it, and you will be amazed to see how much your lil paintings look like paintings instead of a piece of crap (which is what i expected---can i say crap?) anyway, they give you pages where you can "play" and you don't start color mixing and other frightening things until later.

   Later on, you do landscapes and play around with some light and shadow. Its like the fisher price version of learning to paint!! Sometimes, my pictures blended in with their little pictures along the way, which made me happy. They just turn something very scary, into something a lil more easy.

   If you run out of paints or brushes, or you want some more paper, there's a phone number in the back you can call to order some more!! I love klutz products, cause I am one!! Highly recommended!!




5. This fun, whimsical book takes the mystery and frustration out of painting with watercolors. Learn watercolor basics by following the book's simple instructions and then practicing alongside on its watercolor-paper pages. Witty sidebar commentator Thatcher Hurd adds humor to an otherwise indimidating process. Discover what makes you the best painter you know--paint this book and unmask your watercolor painting personality

1 comments about Color Studies.

1. There are lots of books about color, but few include information directly pertinent to stitchers as well as to painters.
   
   Needlepointers will be familiar with Feisner as the author of Needlepoint and Beyond, an incredibly creative book from the late 70's. She is also the founder of the EGA Master Craftsman in Color program.
   
   The book is divided into four parts: Color Foundations, Dimensions of Color, Color in Compositions and The Influence of Color. Color Foundations cover the basics of color perception, color theorists, color mixing, and the different color wheels. Dimensions of Color covers the different aspects of color (hue, value, intensity, etc.). The section on color in composition discussed color in relation to different elements in designing a piece. Two wonderful chapters cover color interactions and the effects of illumination on color. The final section looks at the influence of color in two different ways. The first chapter covers color symbolism (religious and otherwise) and the second chapter looks at the use of color in fine and applied arts.
   
   Each chapter is lavishly illustrated with great works of art as well as color studies done by students in Feisner's classes at Montclair State University. There are also diagrams illustrating many of the principles discussed in the test. Several of the diagrams take the same composition and color them in slightly different ways, so it is immediately apparent what a particular technique (like adding a shadow) can do for a piece.
   
   There are also tables in the book which highlight particular techniques of use to artists of all kinds. One in the this section, lets you know how to make "metallic" shades without using metallic colors. Technical concepts are explained clearly and simply, but it's easy to move to other books which cover these concepts in more depth.
   
   Each chapter ends with a number of exercises covering the topics of the chapter. I really liked that the exercises don't assume that you will be mixing colors in paint, but leave the choice of media up to the student.
   
   The appendices of the book are a wealth of information. Appendix 4 is the most useful for stitchers. It matches various art media colors to Color-Aid papers, the standard color tool for most artists. Not only does she list several different types and brands of paints, she also lists the matches for seven kinds of thread (DMC and Anchor floss, Paternayan, Appleton and Medici wool, DMC Rayon floss and Au Ver a Soie silk. This listing is so useful that I ran out and bought the range of colors in Anchor floss and will be using them for all my exercises for the book.
   
   Have you ever had the problem where you really wanted something to show up against a background, but it doesn't? A final appendix, lists color legibility rankings, listing background and lettering colors. By looking for your background color, say blue, you can find that the most legible (distinct) color for lettering (or in our case the foreground) is white, the least legible of the choices is orange with yellow in the middle.
   
   In the past I have often been frustrated with commercially available books on color. They have often been written poorly, emphasized mixing paints, and gotten too technical too quickly. If you combined this book with Mary Shipp's Color for Needlework, you would have enough information to make you a color expert.

5 comments about Design Basics.

1. The book is generally well written and profusely illustrated. It is not a coffee table book, or one you read to find out whodunit. It is meant to be a college level text that explains some of the technical details about composition in artwork. As such, it gives the reader a better appreciation when looking at artwork, and some ideas to incorporate in any compositional tasks planned.
   My only criticism is the additional study material described as available at the Thompson/Wadsworth Webpage noted in the inner front cover. The access code/password does not work, and when queried, the Thompson people replied once with a 'that does not conform to our usual password format, and so must be invalid'. Whe provided with a scanned image of the information on the cover, they did not deign to reply. Based on their attitude, I would (and will) request that my course instructor seek another text if at all possible.



2. Design Basics covers every topic concerned with the design foundations of art with clear explanations and great examples.



3. I'm a designer and read this book because it is highly praised in design circles. Firstly, it's not a book on design but on art, though there is some graphic design but not nearly enough to satisfy someone learning about design. The book is relevant to design however, and the subjects covered definitely deserve study by designers.
   
   The text is for the most part clear and each principle is explained and illustrated fairly well. But... you'd better enjoy (or at least be able to tolerate) modern non-art. The examples used are hideous and far outweigh the genuine art of masters such as Michelangelo, Canaletto, or even Degas. This is the critical flaw in this book. All of the points could have been far better illustrated with real art, and the book would thereby be enjoyable. Instead, the reader is subjected to the pseudo profundity of scribbles, smears and conglomerations of junk, accompanied by an enunciation of the one [!] principle the so-called artist did implement. And this was probably an oversight on the part of the "artist".
   
   Related to this is that the periodic discussions regarding representational and modern art is, in my opinion, very disingenuous. The authors are quick to raise (what they see as) objections to representational art but give the perpetrators of modern nonobjective "stuff" a free pass, never questioning its merits or validity.
   
   I did learn something from this book, it's hard not to because it covers a lot of material, but it was an exceptionally unpleasant task and the learning didn't come from the junk "art" but from the text. There is nothing unique in this book that you won't find covered elsewhere. I recommend elsewhere.



4. If you're tempted to buy this hugely expensive book (for an over-sized, unwieldy paperback printed on medium-quality paper), think again.
   
   Let me complement the book description for you: Each concept is VERY superficially presented in a full two- or four-page spread illustrated with pictures of works of art that are NOT examined in an enlightening way. The book is basically a long list of design principles so shallowly presented that it's just that: a list.
   
   If a competent teacher were to transform this book into a slide show and orally explore each principle, it would probably make good material for three or four classes.



5. We used this as a textbook in an "interdisciplinary approach" course at a photography school. The organization of the book and the illustrations are excellent. Much of the information seemed familiar to us all, but we found the book to be an excellent reminder and good focus for discussion. It helped us with our critiquing of each others' work in a variety of media (sculpture, drawing, painting, collage, photography and writing).

3 comments about Plants and Their Application to Ornament: A Nineteenth-Century Design Primer.

1. This is absolutely beautiful. The illustrations are on a creamy base paper, and it's just like looking through a volume of original art nouveaux designs painted in gouache.
   
   It's a fabulous resource for designers and design students of all kinds, as it explores how to stretch out a theme (in this case each variety of plant) into a range of different pattern and motif ideas and applications. There are lots of motifs and inspirations for new work to be found within!
   
   Beautiful, beautiful, beautiful book....love it.



2. The use of natural elements in art and design probably reached it's zenith during the Arts and Crafts movement. This reproduction of an original 1897 guide to the use of plants in ornamental design is a wonderful example of that time! Although not nearly as extensive as Owen Jones' famous ornamental tome. This release focuses on just the natural aspects of design in reference to plants. However, like Jones' book, this focuses lightly on text and is heavy on letting the graphics speak for themselves. (as they should!)
   Beautifully reproduced images in a fine binding make this a wonderful addition to any collection.



3. Although this book is beautiful (the cover is better than what is inside) it is not of the print quality I'd hoped. It looks as though it was slapped together rather hastily with little regard for creating a quality book. However, it looks good on the table in the living room of my 1929 bungalow.

No comments about Sticker Bomb.