No comments about House Proud: Nineteenth Century Watercolor Interiors from the Thaw Collection.

5 comments about How To Draw Manga Volume 1: Compiling Characters (How to Draw Manga (Graphic-Sha Numbered)).

1. I bought this and h How to Draw Manga Volume 2 Compiling Techniques (How to Draw Manga). But i used This book way more than the other one.
   Its got a very nice Creating Characters section and a Expressions one. And creating a Story.



2. I remember this book well because it was the very first "How To Draw Manga" book that I purchased. IMO I think some things might be a bit confusing because some of the translating wasn't the best. I also wouldn't reccomend this book for kids because some of it was a bit innapropriate. As far as learning goes...it was okay. I'd still reccommend another book to someone that is a total beginner in drawing manga. I know I was able to learn more when I purchased a book that was more strait to the point and had very clear directions.



3. Most people will just think that this book will teach you how to draw, in essence it goes further explaining the work putting together the whole Manga. It had my attention from the first moment that I picked it up. This'll let you get a good feel for every section without all the fluff. All that I found out I have to apply it but I'm having a hard time a dedicated manga supply store...... I wish that HTDM would include individual supplies on their website.



4. Looking for help? Want to go beyond the beginner stage but not ready for tones and the like? Well then this book is perfect! I would reccomend this book for those who are past the beginner stage since the book doesnt go too indepth in certain areas, so it Isnt perfect for nooobs.this book will teach youhow to express emotions, ages, the facial differences between genders and more. it is devided into:
   Chap. 1: drawing the face, this chapter is self-explanatory, yet I wish it delved more deeply into its subject, so this was the runt of the chapters when it comes to Quality.
   Chap.2 : drawing the body, Quite handy, it goes into Drawing the body as blocks (though personally I like the way I draw my blocks, but to each his/her own), deformation, proportions (shouldnt proportions have been at the front of thr Chapter?), hand and feet (brilliant!!) and more.
   Chap. 3: drawing characters, The best section in the book, it shows you how eyes ,clothing and surroundings add to 1st impresssions and the step to creating characters and storys. i can find a few minor complaints, thought the worst was the translation, it could have been better (they mistranslated right to left!)But it is still comprehendable.happy reading



5. I bought this book from here on Amazon about a year ago. Since then I have rarely used it except for a few times for refrences if Im not able to get online at the time. It has some helpful information but for the price it isnt really worth it since you can find EVERYTHING in that book online for free. The first half of the book just goes through the types of pens and ink you should use and the life of a manga artist etc. Then it finally gets to the good stuff but it barely touches anything before moving to the next subject. And the part I was mostly upset with was the hair section. It shows you how to draw hair flowing and such but thats it. Does not give tips how to draw hair at all. So basically, the only reason you should by this book is if you want to waist money for something you will probably only end up using for quick reffrinces. There are better books out there for that... like an actual Manga comic or something. Or a gallery book from your favorite anime show.
   
   If you want to learn the basics of drawing manga, this book is useless and I can save you money right now. Just visit BakaNeko, PolyKarbon, MangaTutorials websites or Julie Dillons tutorial located on the [...] website. Everything you need is on those sites and all contain more info than this book.
   
   There are some other good How to Draw Manga books out there when you wanna start honing on a certain area but this isnt one of them. Save some money and visit one of the above manga sites or go purchase on of the other How to Draw Manga books that are spicificly for what you wish to get better in.

3 comments about Perspective as Symbolic Form.

1. Panofsky's book on perspective, Perspective as Symbolic Form, is a short book about the development of perspective from ancient perspective to the full, abstract space of an Alberti. This is interesting for a number of reasons, which are:

   a) ancient perspective is the perspective of angles, not of distances. This is hard to explain without a diagram, but basically an object at a 45 degree angle is 3/4 as large as an object at a 60 degree angle. This is in contrast to modern perspective, where size is in inverse proportion to distance, not angle. The idea that the ancients did not have perspective is simply false. Modern perspective as a third antiquity.

   b) the grid of perspective preceded the abstract space of the cartesian grid. The equivalence of extension and object or mass is already present in kpainting before it was ever devised by Descartes.

   c) the "vanishing point" is the "actual infinite," the infinite in this world. A theological point.

   d) modern perspective is actually a falsification of the "psychophysical" perception of the world, which is really curved. We live in a curved world. Comets tails, for instance, look curved even though they are straight. Buildings look curved likewise. See Vitruvius for the ancient discussion of this phenomenon.




2. One of the most interesting problems we had in our drawing class was regarding linear perspective and I picked up this book hoping that it would go in detail about perspective in historical and cultural context and it did!

   This book is written by and for educated man. The translation is great and I finished the book in one reading because it was so compelling. It is above and beyond the mere mechanics of horizon lines and vanishing points.

   The end notes are great too.

   A must read for all art lovers.




3. A comprehensive review of the thought behind mathematical perspective and how it differs from our empirical experience. Explains how the concept of the infinate has forever altered the way in which we represent space in pictures. Short essay with extensive end notes.

5 comments about Flowers A to Z with Donna Dewberry.

1. Good solid book, but nothing really stellar. It has some good techniques, but not the Wow factor in many of the other books



2. The product was in excellent condition when I received. I will buy more books from this seller. Very pleased



3. I enjoyed the instructions in this book. First, a detailed explanation of how to complete each type of stroke is given. Then, the book has detailed information on how to paint many different types of flowers and arrangements. And finally,(this is the best part) it goes on to explain how to create original arrangements depending on the surface space the painter has to work with. This book was well written and easy to follow



4. This book is awesome! I have many of Donna's books but this is my favorite. I've been painting using the One Stroke method for about 5 months and I'm HOOKED! I've taken 13 classes with my local OSCI since then, which is the best way to improve your OS painting skills, but this book is a great compliment to those classes. Donna uses about 15 pages in the beginning of the book to go over materials, techniques and colors. Then she covers 50 flowers/blooms using 2 pages for each. The picture of her finished piece is a full page and of course very colorful. Then on the opposite page it lists the brushes and paints you'll need and a step by step guide on how to paint the flower(s). But it doesn't stop there. She uses 14 pages at the end to cover filler flowers and floral composition. Finally the last 2 pages are a gallery of floral project ideas. This is an invaluable resource! Enjoy!



5. I checked out all her books and this one is the most complete. It shows most of what she paints on TV. Her other books cover mostly one type, this is packed.
   
   I can't give you any more details because I didn't purchase this to learn her technique; I am a watercolorist and was looking to see if she had any interesting movements of the brush that I haven't seen yet.

No comments about Winsor & Newton Colour Mixing Guide: Oils: A Visual Reference to Mixing Oil Colour (Winsor & Newton Color Mixing Guides).

No comments about Carr, O'Keeffe, Kahlo: Places of Their Own.

2 comments about On Painting (Penguin Classics).

1. Book I is a leisurely introduction to the basic geometrical principles of painting. "I usually give my friends the following rule: the more rays are employed in seeing, the greater the quantity seen will appear. ... Furthermore, the extrinsic rays, which hold on like teeth to the whole of the outline, form an enclosure around the entire surface like a cage. This is why they say that vision takes place by means of a pyramid of rays. ... We must now speak of the median rays. These are the mass of rays which is contained within the pyramid and enclosed by the extrinsic rays ... from their contact with the surface to the vertex of the pyramid they are so tinged with the varied colours and lights they find there, that at whatever point they were interrupted, they would show the same light they had absorbed and the same colour. We know for a fact about these median rays that over a long distance they weaken and loose they sharpness. The reason why this occurs has been discovered: as they pass through the air, these and all other visual rays are laden and imbued with lights and colors; but the air too is also endowed with a certain density, and in consequence the rays get tired and lose a good part of their burden as they penetrate the atmosphere. So it is rightly said that the greater the distance, the more obscure and dimmed the surface appears. ... We call the centric ray the one which alone strikes the quantity in such a way that the adjacent angles on all sides are equal. As for the properties of the centric ray, it is of all the rays undoubtedly the most keen and vigourous. It is also true that a quantity will never appear larger than when the centric ray rests upon it. ... [A]s it is only a single surface of a panel or a wall, on which the painter strives to represent many surfaces contained within a single pyramid, it will be necessary for his visual pyramid to be cut at some point, so that the painter by drawing and colouring can express whatever outlines and colour that intersection represents. Consequently the viewers of a painted surface appear to be looking at a particular intersection of the pyramid. ... Painters prove this when they move away from what they are painting and stand further back, seeking to find by the light of nature the vertex of the pyramid from which they know everything can be more correctly viewed." Now the principles of perspective and the costruzione legittima. "Let me tell you what I do when I am painting. ... I decide how large I wish the human figures in the painting to be. I divide the height of this man into three parts. ... With this measure I divide the bottom line ... into as many parts as it will hold. Then I establish a point ... wherever I wish; and as it occupied the place where the centric ray strikes, I shall call this the centric point. The suitable position for this centric point is no higher from the base line than the height of the man ... for in this way both the viewers and the objects in the painting will seem to be on the same plane. Having placed the centric point, I draw lines from it to each of the divisions on the base line. ... [A]s regards the successive [parallels of a tiled floor] I observe the following method. I have a drawing surface [on the canvas margin] on which I describe a single straight line, and this i divide in parts like those into which the base line of the rectangle is divided. Then I place a point above this line, directly over one end of it, at the same height as the centric point ... and from this point I draw lines to each of the divisions of the line. Then I determine the distance I want between the eye of the spectator and the painting, and, having established the position of the intersection at this distance, I effect the intersection with ... a perpendicular. ... This perpendicular will give me, at the places it cuts the other lines, the measure of what the distance should be in each case between the transverse equidistant lines of the pavement. ... A proof of whether they are correctly drawn will be if a single straight line forms the diagonal of connected quadrangles in the pavement. ... When I have carefully done these things, I draw a line across, ... which ... passes through the centric point. This line is for me a limit or boundary, which no quantity exceeds that is not higher than the eye of the spectator ... This is why men depicted standing in the parallel [to the horizon] furthest away are a great deal smaller than those in the nearer ones---a phenomenon which is clearly demonstrated by nature herself, for in churches we see the heads of men walking about, moving at more or less the same height, while the feet of those further away may correspond to the knee-level of those in front." Book II also has some concrete tricks in it, most notably the veil. "Circumscription is the process of delineating the external outlines on the painting. ... [T]o do this well, I believe nothing more convenient can be found than the veil ... whose usage I was the first to discover. It is like this: a veil loosely woven of fine thread ... divided up by thicker threads into as many parallel square sections as you like, and stretched on a frame. I set this up between the eye and the object to be represented, so that the visual pyramid passes through the loose weave of the veil." But most of all Book II discusses aesthetic principles, most of which are amusing but quite trivial, e.g. "if you painted centaurs in an uproar at dinner, it would be absurd amid this violent commotion for one of them to be lying asleep from drinking wine", and some of which are more interesting, e.g. "those painters who use white immoderately and black carelessly, should be strongly condemned. It would be a good thing if white and black were made from those pearls Cleopatra dissolved in vinegar, so that painters would become as mean as possible with them, for their works would then be both more agreeable and nearer the truth." There is a short Book III with more mundane advice along these lines: "It so happens that, as rich men are often moved by kindness more than by expert knowledge of art, they will give money to one man who is especially modest and good, and spurn another who is more skilled but perhaps intemperate. For this reason it behoves the artist to be particularly attentive to his morals, especially to good manners and amiability, whereby he may obtain the good-will of others, which is a firm protection against poverty, and money, which is an excellent aid to the perfection of his art."



2. Alberti is one of the more readable of the 'classic' authors on Art, much less prone to gossip than Vasari and less convoluted than Cennini. That said, some of the text on geometry in book one can be a bit difficult to follow. Alberti also loves to name-drop, continually referring to antique painters, but this was expected at the time - the ancients lending authority and historical context. 'On Painting' gives the reader an insight into the tastes and philosophies that inform the arts.
   
   Most interesting to me, as a teacher of drawing, were the insights on the fundamentals of life drawing - such as positioning of the head relative to the feet, and the shifting of values becuase of the limitations of white paper (or paint) being the brightest 'light' available to the artist. the saying 'there is nothing new under the sun' comes often to mind - you will read many of Alberti's observations in any contemporary text.
   
   Much of this may seem irrelevant to the modern painter - for example, his comments on consistency in portrayal of the figure may have been more relevant in an age when lay figures were used and painting took hours, but nonetheless bring up key points for the thoughtful artist to consider, especially for those interested in traditional painting. Use this book in conjunction with a good pictorial survey of art history (or the internet), so that you can readily refer to the pictures he mentions.
   
   For more of my reviews and links on Old Master Drawings, visit http://drawsketch.about.com/od/oldmasterdrawing/

3 comments about Hands in Clay : An Introduction to Ceramics.

1. Anyone getting into ceramic art must read this book. I really wish I had it when I began my venture into slipcasting. I knew nothing and used other sources for information when I could have saved time and frustration by reading this book. The part of the book on moldmaking was worth the price alone. The other moldmaking books I've read left a lot of blank spaces for the beginner. As a visual learner, this book is rich with pics and illustrations.It is comprehensive and something I will be using for many years to come.



2. This became one of those costly book purchases students have come to resent: required for an introductory level class in ceramics, part of the core requirements towards a studio degree, expensively imposed on a class the bulk of whom will never continue on in ceramics, therefore ultimately destined to become a neglected text sitting on a dusty shelf or returned during university book buy-back for a pittance. This is a shame, as the book is one of the more comprehensive and beautifully put together texts of its kind, and had it been required of students whose clear intention was to go on in ceramics, its obligatory purchase would have been more valued and appreciated.

   Containing information well beyond the scope of an introductory survey of ceramic processes, this book is densely packed with information, providing a historical and cultural overview of the use and development of one of the most ancient of the arts, as well as detailed discussions of its various forms and construction, the mixing of clays, the necessary chemistry, kilns, and clay's many glazings and firings. Appendixes and charts containing quite a number of recipes for both mixing clay and creating slips, colorants and glazes are provided at the back, encouraging experimentation, as well as a basic description of the chemical constituents encountered in ceramics. In terms of the latter, both within the text and the appendixes, concerns of potential toxicity are highlighted, providing valuable and essential information often overlooked when working with the potentially hazardous components present in most clays and colorants. Additionally, the authors provide encouragement as to how to easily recycle the environmentally unfriendly waste by-products associated with ceramics, along with helpful tips as to how to set up one's studio in a way that is at once utilitarian and environmentally sound, offering a list of governmental agencies and associations that can assist the ceramicist in addressing these concerns. In addition to providing through the appendixes further avenues for exploration on the part of those working with clay, the authors must be applauded for not ignoring or obfuscating the obvious safety and environmental concerns involved in working with ceramics.

   Well organized and detailed, the text is also liberally endowed with photographs and drawings, providing clear visual examples of both the equipment and techniques the ceramicist may encounter, as well as beautiful color plates showing contemporary examples of noted artists' work using a variety of forms and processes. These plates exemplify the diverse and often stunning manner of expression that can be captured in clay, ranging from the sculptural and painterly to installation and multimedia. Their inclusion, along with the depth and breadth of information presented here, certainly justify the price asked for this text, and this book should grace the library or studio of any serious student or practitioner of ceramics. And, I suspect, there is enough information provided here to allow the student that has access to a studio and equipment to begin learning ceramics without the necessity of a classroom.




3. My college ceramics class had to buy this book. It's really good, the section on how to mix glazes using all of the different frits and stains is very informative. The pictures are inspiring, and the book also gives many techniques for throwing and handbuilding.

5 comments about The Practical Guide To Patternmaking For Fashion Designers: Menswear.

1. In the very first chapters a lot of useful information is presented, and a the reader is given a good insight on the fashion industry and the role of patternmaking. Then you're given a list of tools you'll need to begin your own patternmaking and from there on out you should be set with this book as your guide. I've also purchased the women's book and it looks like it will be just as helpful, but one thing at a time...



2. I have been trying to find a decent book that deals solely with menswear pattern design and I found it with this book. Many others I have from before were very difficult to use as the instructions were very minimal if any at all at times. This manual has excellent illustrations & instructions to make someone who may have never taken a course a good understanding in how to manipulate a men's pattern or create one with an easier understanding.



3. A serious text book type for aspiring designers. I bought this book simply to make clothes for myself as there is not much out there for men. 99.9% commercial patterns are for women and the 0.1% patterns for men are 80's redux with batwing sleeves and over sized shoulders. So far, I have used the book to make a block pattern for my own body. It's quite easy if you put your mind to it and reread the instructions. I must admit that this book is not suitable for amateurs. Having learned to sew from my mother since I was a preschooler must've helped me understand the term and techniques better as I did not go to fashion school. I am hoping to be the next Ennio Capasa (Costume National) someday, who knows?



4. I bought this book by virtue it was for menswear. I am a theatrical tailor and normally drape suits, and use commercial patterns as slopers. At university, I had trouble with flat patterning.
   This book has altered my opinion of flatpattern work. I love it. I recommend it. The instructions are pretty clear; there were only one or two places that I really had to reread, and look more closely at the illustrations. Great, great book.



5. I am so glad I bought this book. I do patternmaking for a living and this book answers questions I have had for a long time and never seen answered anywhere else. It contains standard body measurements for men's sizes from 34 and up for short, regular and tall. Most patternmaking books only deal in drafting misses patterns. This gives the measurements for mens pants, shirt, and jackets. It was worth every cent! I would recommend it for the experienced patternmaker as well as a beginner. A reference book you will want to keep forever.

5 comments about Big Art, Small Canvas: Paint Easier, Faster and Better with Small Oils.

1. This book was just OK for me. I was expecting more detail and refinement in the paintings which I strive for in my work. The small paintings make a nice price point when you are doing various sizes.



2. I found this book to be very inspirational. I wish I had thought of it!



3. This book is not only instructional, but a complete course in painting miniatures -- and fills a vast void in that area. The author not only provides excellent reasons for painting on a small canvas, but gives practical advice on setting up space and equipment, preparing the panel (canvas), and staging & lighting the props for a still life. She goes on to review elements of color theory, and presents her favorite complementary palettes. She discusses methods of 'seeing' in order to get the underlying drawing right, and outlines the most important elements of design: composition, perspective, balance, focal point, and texture. Additionally, several methods of creating depth in a painting are covered. Thereafter, Washor presents a series of step-by-step still-life and landscape demonstrations, each of which illustrates yet other enigmatic features of art. She even discusses framing! This book is packed with practical, useful, and instructive advice, and is filled with gorgeous, painterly examples of the author's work to inspire us. What a find!



4. Overall, the book was good. I liked the intro and the chapter on equipment. I would have liked more step by step pictures to show the development of the painting. Also, some better descriptions of painting techniques would have been helpful. The book does inspire me to experiment on my own but it doesn't give enough insight to avoid common mistakes.



5. Disregard the size of the paintings if you like, and just look at the gorgeous colors and brushwork!!!!! So sensuous. The author is very generous with her information. Her color palette is unusual, and the color schemes she uses are really, really lovely. This is one of the top oil painting books around. I highly recommend it.