5 comments about Charles Reids Watercolor Secrets.

1. This book, Charles Reid, author, entitled "Watercolor Secrets" was picked by an instructor at Washburn University for a class on watercolor. I am taking the class and find the book weak on instructions, but good in presenting the
   variety of work this artist has done. It certainly could be written in a more instructional style.



2. Charles Reid is a wonderful artist. I enjoyed reading the book but it falls short as an instruction manual as it is very difficult to understand from the text and illustrations how Charles actually achieves his very loose wet in wet effects.



3. This book is not intented to deliver technical help. It's a book full of tips
   & tricks about general aspect of Mr. Reid approach to painting, with
   differents conditions and subject. It's a great bed time reading.



4. The title of this book is rather misleading. I had thought I was going to get some real expert tips on watercolor painting but instead this book is just a reprinting of the artist's watercolor "NOTEBOOKS" with VERY little in the way of useable and tangible tips about painting in watercolor. The book is slender, sparsely laid-out and over-priced at that. It struck me as just an excuse for a book with a cleverly disguised title to market and sell it (everyone wants the "secrets", right?) . Save your money!



5. Put 'Watercolor painting techniques' into Amazon Advance Search and you'll come up with well over a thousand titles. I'm sure most of these are worthy books but I'll stick with anything by Charles Reid. I have five of his books and 'Watercolor Secrets' together with Painting Flowers in Watercolour are probably the ones I look through most often.
   
   All of the books, of course, show what a stunning artist he is though I much prefer his watercolor work rather than oils. It's his studied casualness that I love, colors define shapes, they merge into each other, large areas are just left blank and look unfinished yet the overall effect is controlled precision. His work is totally convincing and rather unique.
   
   The five chapters in this book throw up lots of interesting techniques for the established painter*. I particularly liked the Demonstration pages in each of the five chapters. Each shows a step-by-step series of paintings from the original drawing to the finish with comprehensive captions to each picture. There's something for everyone in the book: figures, landscape and seascapes, flowers, buildings and more.
   
   Another reason I like this book is because it's so good to look at. Visually it is based on a landscape sketchbook and nicely each spread has part of a used sketchbook printed in the spine. The layout and typography are first class (a tip of the hat to Wendy Dunning) and how refreshing to find a publisher that is prepared to go that little bit extra for the reader.
   
   If you like Charles Reid get this book for some excellent examples of his work and positive thoughts on watercolor techniques.
   
   *Just starting out? Have a look at Reid's Painting What You Want to See (Practical Art Books) which has some very basic instructions, especially on drawing.
   
   
   ***FOR AN INSIDE LOOK click 'customer images' under the cover.

2 comments about Animals in Motion.

1. The images of the dray horses pulling heavy loads is worth the price of admission for me. This is a great reference for artists who want to create realistic images of animals in motion. It's a fabulous settler of bar room bets. It's a source of animated gifs for web designers (I have the running cat image that's been going around.)

   For people who want to understand animals in general, this is a good reference. I never thought that all the ways an animal can go from point A to point B each had a name to it and that a quadruped can have so many ways to move.

   Its an interesting historical piece, too. People do not see horses doing useful work any more and it's a reminder that we all had a life before internal combustion. Its an interesting chapter in the history of photography and the history of art, too. (Painting was never the same after people figured out how animals really moved.)




2. Muybridges momumental work photographing animals in all different gates and poses and tests of ability. Using sometimes up to 100 cameras for a single set up to gain what is now the definitive guide for animators in understanding the motion of animals. It all started with a $25,000 bet: Eadweard Muybridge and a friend argued whether all four of the horses hooves leave the ground completely at any point during a gallop. Being funded for the project, Muybridge proved to be the winner in saying that horses do in fact leave the ground for a momentary second in their strides. The book begins with an anlaysis of locomotion, going over the walk, the amble, the trot, the rack (or pace), the canter, the transverse-gallop, the rotary-gallop, and the richochet, along with the leap and buck and kick. There are roughly 4,000 photos in this collection which claims to be the largest collection of animals in motion. It features not only horses but lions, deers, oxen, elephants, birds and kangaroos. From this development, Muybridge not only discovered that horses gallop with no feet touching the ground, but his discovery led to motion pictures, in which his photos is a very crude version of cinema today. Later he designed a viewer called a Zoogyroscope (or Zoopraxiscope) which, similar to a Zoetrope, was a carousel with slits which you look through while it is spinning to give the illusion of motion (or persistence of vision). Today these pictures are looked at for a couple of reasons, mostly as nastolgia for one to have wonder and excitement of this simple cinema, but it also is a great reference for modern animators. In fact, for those looking at animation, I can tell you that if you ask for an application to Walt Disney Animation Studios, they will give you their requirements and texts, this will be on the list. Highly reccomended for the artist, graphic, fine arts or animation or anything else you can dream of.

5 comments about Art Nouveau Floral Patterns and Stencil Designs in Full Color (Dover Pictorial Archive Series).

1. This book has great designs and some very pretty artwork, however I would not really call it a stencil book. There are only a few stencils in the back of the book and they are all in full color with printing on both sides of the page so there would be no way to use the stencils out of the book. You could photocopy them for use but there are only about 10 pages of real stencil designs the rest are front and back fairly intricate artwork that would be not good for stenciling, but they make great little pictures for frames, etc.



2. I have about two dozen books specifically purporting to be Art Nouveau 'collections', and NOT ONE, or even THREE COMBINED, come close to capturing what THIS book offers, albeit in the "floral" patterns category... To artists looking for a definitive 'starter' source, in the art of the period, for repurposing in art, crafts and decor (ie: wallpaper, fabric, pottery, woodcarving, etc.), pick up a copy of this book and forget the rest! I was able to find not only what I needed for several initial projects, but was inspired to START more new projects based on the sparkling ideas inspired by this plethora of lush color images. Only wished a CD-ROM was available to accompany this book with hi-res digital images, as it would have made importing images to my computer (for re-sizing, tiling, color changes, etc.) much easier than hand-scanning... Only my collection of (specifically) Alphonse Mucha art books surpasses the value of "Art Nouveau Floral Patterns & Stencil Designs", and that is only because I have not YET found a like compilation of M. P. Verneuil 'figure' designs.



3. This book exceeded my hopes. It had many more images in full color than I expected for such a cheap book. I have seen other books by Verneuil and they were half as nice and mostly black and white. I think anyone into decorating, drawing, and painting will like this book. It will inspire you to create art nouveau lines and flowers on your own work.



4. If you are into art nouveau, you will enjoy this Dover book. Again many variations on floral themes.



5. I thought the artwork in this book was stunning, and the reproduction quality and colors were lovely. I did have one major problem with the book, two of the main designs on the cover (topmost horizontal design and the center horizontal design) are NOT IN THE BOOK! These are two of the main patterns I planned to use from the book, and now if I want to, I need to get them from the cover, where they are covered by text. I found this to be unacceptable! Please keep this fact in mind if the cover is what won you over.

5 comments about Graphic Design Cookbook: Mix & Match Recipes for Faster, Better Layouts.

1. I'm a soon-to-be designer who has no academic training whatsoever and one day I had to to a project to finish my english course and I thought: "Ummm I'm making a magazine!" But as you probably know it's easier to think than to do and when I finally sat at my chair and started thinking about how I was gonna do that I completely blocked. And this is the part that Design Cookbook comes and saves me. I know that some people don't like this book because there almost nothing written on it but I think this is quite freeing. You can just grab the book flip to the pages and combine several elements found on the book to better suit your needs. With no text to clutter or influence your line of thought. It's just brilliant! A must have for starting designers.



2. I bought this book with hopes that the design ideas inside would help with a brochure I was creating. My patterns were getting predictable and droll. I found a couple patterns I liked and put them to use. Interestingly enough, they look less-interesting in application than they look in the book. To make matters worse, my employer REALLY didn't like the aspects that I did use from the book and had me remove them.
   
   But, again, if you find yourself needing inspiration, this is a good book to look at.



3. This book is filled with nothing more than frivolous and useless fluff (I simply will not refer to them as "ideas"). For example, putting a detective hat atop an "R" and turning its serif into a pipe is downright childish. Seriously, any good designer or anyone with common sense would steer clear of this visually-horrifying garbage. If you are at all serious about design, pick up any/all of the Jim Krause books. This one's going to the next library book sale.



4. I bought this book for my daughter, a graphic design student. She had borrowed it from a local library and said it was a "must have" that contained a wealth of knowledge and ideas. The service from Amazon was simply outstanding and my daughter was thrilled with her surprise!



5. This is a book that I will use over and over again!

1 comments about Assessing Learning: Librarians and Teachers as Partners (Genreflecting Advisory Series).

1. This concise practical book on assessment is a must have resource for every teacher, and especially the teacher/librarian. The purpose, essential elements, and all of the methods of assessment are discussed with a plethora of examples. This valuable book should be used in all credentialing programs. Well worth the money - and I can't say that about many "teacher" books.

5 comments about Adobe Details.

1. I collect design books of all types and this was a great book for a great price. I only buy these books in the book stores when they are on the clearance table. On Amazon I find great deals on great books to add to my collection. Love it.



2. This is a great primer for anyone decorating in a traditional Southwestern style. It is beautifully photographed. It's a small book but you will browse it over and over again !!!



3. This book is EXACTLY what I was looking for. Perfect condition and rapid delivery. Excellent service.



4. Adobe Details is a small but powerful book. It is well written and beautifully photographed by Karen Witynski and Joe Carr. This book satisfies the reader's appetite for Mexican and New Mexican decor while challenging him or her to venture out to one of the several locations featured. Ideas abound for the novice decorator. If landscape design is more your style, this book will also energize your outdoor spirits!! The vivid color and simple elegance make the book a "must have" for any library, especially those chocked full of information on the southwest.



5. Adobe Details by award winning Mexican design specialists Karen Witynski and Joe P. Carr is an impressive survey at the culture, furnishings, and especially the architecture prevalent in the American Southwest and the mountains of Mexico. The majority of Adobe Details is devoted to breathtaking, full-color photography of grand living spaces; brief text captions and essays provide rich detail on the history, functionality, and symbolism of these inspirational edifices. Adobe Details is especially for architecture buffs and a welcome addition to academic and community library interior design reference collections.

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...

3 comments about The Art of Portrait Drawing: Learn the Essential Techniques of the Masters.

1. The "Art of Portrait Drawing", a hard cover beautifully printed book, is a fine addition to any beginning or intermediate artists library. Joy Thomas is a highly skilled artist and the book is filled with "hands on" demonstrations and practical tips on approaching this subject. Personally
   I find portrait drawing/painting to be an extremely challenging and intimidating task. Indeed there are many "celebrity" artists in the top galleries who couldn't paint a good portrait if their life depended on it.
   While this book may not be the definative work on Portrait Drawing, it is very well done and well worth the investment.



2. The author works from life and covers most the kinds of things you'd want to know about successful portraiture. The step-by-step was most interesting to read as she takes you through a process and how to resolve some issues you may run into. It doesn't offer a lot to beginners because she assumes you know how to see and do basic drawing and toning. I'd say this is a book for the intermediate artist who needs to reenforce existing knowledge with some very useful tips you probably never thought of, particularly for drawing from life.
   
   I only have a few small critical things to say here. Although she reviews some basics on composition such as the golden ratio, she doesn't actually seem to practice them much in her examples. For example, she shows you how to "center" the head and says the "full face" portrait is the most common. Well I've heard alot of arguments against centering and full face views so it seems a contradiction to talk composition then not practice it in reality. I believe the 3 quarter view is most common, and you do not want to center the head for reasons I can't give here because it is too detailed. But perhaps she didn't want to overload the reader with composition theory since that's a much more complex issue.
   
   But this is very worthwhile to read and she seems to have done a great job with the structure and language of the book.



3. I just watched the video that comes with this book. I would higly recommended both. As a beginner it was inspiring to watch an artist actually doing the technique described in the book. I can only imagine that if someone has more experience, it would be very usefull to see someone highly skilled perform their technique. I have read many books on this subject and find this to be the best.

5 comments about Design for Communication: Conceptual Graphic Design Basics.

1. I am just starting out in graphic design and this book, though interesting, is very hard for me to grasp at this time. I think I will really enjoy doing the instructionals as I learn more about design though. I tried a few of the exercises and (for me) they are hard to do right now.



2. This review was sent to me by a colleague.
   
   "I am particularly impressed with the strength of the sections and introductory texts for each section. It is very cleverly planned and well written. More importantly, the strength of the book for me lies on the fact that the assignments do not illustrate but on the contrary, strengthens your observations, aims/objectives, methodology, structure and propositions for the design education.
   
   The book is also in excellent record of what goes on in design colleges in terms of methods of working (to record students statements and instructors evaluations is, on its own right, a great contribution to knowledge within the design education). The interaction between students statements and instructors evaluations are very important for me. The two different texts create a dialogue within the book.
   
   The book brings theory and practice together for the students and educators which is very rare in design publication and education and even more so at the BA/ undergraduate level.
   
   Thank you for your great work!"



3. Professor Resnick's new text, Graphic Design for Communication offers a fresh, innovative approach to teaching visual communication in general and graphic design in particular. She presents many conceptual design principles in a format that is easy-to-understand, practical, and clear in its organizational hierarchy. The book provides intelligent, pragmatic lessons about design that will be of use to both students and teachers alike.

   The book's most notable strength lies in its author's unique approach to the subject matter. In the past, most authors have tackled the task of writing an instructional text on design by focusing on a few basic principles of the craft and supplementing these with exercises designed to impart specific skills and techniques to the reader. In contrast, Resnick has employed a far more inclusive, conceptually focused approach. Like her peers, as an educator she does offer text that presents her perspective on various basic design principles. Yet unlike many others her focus is clearly on the reason we design-namely to effectively express and communicate ideas. And again unlike some other texts, ideas about BOTH form and content are give their due here. The different principles explored each section are illuminated with appropriate exercises. This is where Resnick's book shines as a unique accomplishment. For her illustrative exercises, Resnick invited a remarkable group of international educators to work with her as collaborators. All were invited to submit their best assignments along with student work for inclusion. In this respect, Graphic Design for Communication is unlike most other texts because it offers an inclusive diversity of approaches to design and will certainly be a great tool for educators. As a text for use at all levels of instruction, it offers the best, "road-tested", assignments for lecturers to draw upon as inspiration when explaining the principles of design to students. The numerous exercises impart information in a manner that is at once both practical and conceptually expressive.

   Graphic Design for Communication features a structure that is pragmatic and clear. Each section opens with a well-written, articulate introduction to a different design principle (e.g., basic elements of design; typography as both image and semiotic message; word and image relationships; the grid and visual hierarchy; and visual advocacy). This text is followed by a series of design assignments (from basic to advanced) that teach students how to effectively integrate ideas with various techniques and processes. The design exercises are amply illustrated with examples of real student work completed in response to the assignments. In addition, most of the student samples include a brief process statement from the student as well as a critical instructor evaluation. As another reviewer pointed out, students will certainly appreciate the many illustrations (some in color) and the opportunity to examine both the process and critical evaluation of peer work outside the classroom. By using student work for examples (as opposed to those created by master designers), Resnick succeeds in bringing both the assignments and the creative design process to life.

   Because of the great range of exercises included, this text will serve both students and educators as a useful handbook. For anyone who has either audited a class or wished they could have, the book is a joy. It is a little like auditing the "best of" graphic design education-all the more rewarding because the author was enlightened enough to collect some assignments and visual examples from cultures outside the U.S.

   Professor Resnick deserves special credit for her concise editing and clean layout. I suspect one of the challenges in a compilation of this sort had to be the careful editing of her collaborator's assignments. It would appear that she did not just leave them to their own devices in this regard. Rather, as an educator herself she has thoughtfully and carefully applied her writing skills to the task. The result is a well-considered, consistent survey of the principles that guide modern graphic design. In addition, I must add that her bibliography is outstanding. It should be adopted as a standard reading list for anyone interested in the field.

   As with the very best cookbooks (I am thinking of the classics here, such as Rombauer and Becker's Joy of Cooking or Julia Child's Mastering the Art of French Cooking) this book will find a place in the libraries of both novices and experienced students of design. Like those texts, it effectively explains the important principles that guide all design work. Her decision to present contemporary master "recipes" (those proven to work in the classroom) introduces students to design as a thoughtful "process" without forfeiting any artistry or pleasure along the way. It is clear that Professor Resnick is passionate about her work as BOTH a designer and educator and in this book she she shares that pleasure with us, the reader.




4. This new book, like Elizabeth Resnick's earlier one (Graphic Design: A Problem-Solving Approach to Visual Communication), that was published in the early '80s, has a generous amount of student work on its pages, providing the reader with some wonderful and useful examples of solutions to the problems presented. There's even a section with some of these shown in full color!

   When Ms. Resnick wrote her first book, no graphic design was being done on a computer. This current text, published now that we're fully into the digital age, also very wisely steers clear of a "how to" approach. It's all too easy for students starting out in graphic design now to think that it's about "how to use QuarkXPress" or some other software package, but Resnick's book stresses concepts, communication, and the art of creating fresh and thoughtful solutions to design problems. It will help students to learn the importance of research, and how to develop the analytical and conceptual skills they will need as professional designers later on.

   The idea of using quality student work as a teaching tool is a very good one. It results in a book that is much more appealing to the student. Each solution has a statement by its creator as well as the instructor's feedback. I think students will find the author's approach to the subject fresh, direct, and very accessible. The presentation of each problem consists of: the Assignment Brief, Objectives, Specifications, Process, and Critiques. This results in a very clear, useful, and well-structured text. I highly recommend this book!




5. There are so many books out there on graphic design that are merely pretty picture books, and focus only on what a piece LOOKS like. What students need is something with depth, something that addresses the conceptual aspects that can be so difficult to grasp.
   Resnick's book really targets this need, by presenting an integration of formal and conceptual issues and respecting the students' intelligence in the process. It shows them how FORM influences and strengthens CONCEPT, which I haven't seen in any other text. This is one of the most important (and elusive) issues in graphic design education.

   The book is illustrated entirely with student work, all high quality. Students will love this approach; they are used to being shown only the work of experienced professionals.

   The book is also going to be really useful for instructors
   who want to improve the rigor and depth of their assignments but aren't sure how to go about it.

1 comments about Why Our Schools Need the Arts: 0.

1. It is wonderful to have some current documentation of the importance of the arts in people's lives. During this
   time of high pressure testing, it is comforting to be aware that there is a view to what has really made our country progressive. The creative minds of Edison, Ford, Kamen, Gates, Jobs, etc. could never be summed up with rote test scores. Here's a good test question, "What other country has been the home of as many creative
   minds as the U.S.?"