4 comments about Side By Side: The Journal of a Smalltown Boy.

1. Oh my, if you like gay comics this is a must buy. Its not as exaggerated as those drawn by Patrick Fillion, but equally arousing.
   
   Its a simple tale of 2 boys from the same small town who grow up and move to the city and fall in love with each other. Excellent artwork, and I hope Mioki does a 2nd and 3rd and more books.



2. This is a lusciously drawn graphic novel about two friends and lovers. The story is interesting enough, but I find that, in the end, the author is more interested in deopicting sex scenes than in developing the story.Not that I'm complaining: the sex scenes are hot!



3. Side by Side by Mioki is a very sweet story with all the zeal of young love. Mioki's comic style allows him to explore every side of the passionate love story of title characters, Rick and Evan. The artwork is bright and clean, with exceptional attention on the backgrounds as well as the men who's lives inhabit this story. The detail really drives home how much the two main characters love, need, and want each other. It's an intense passion that we all want in our own lives. Like a feel good movie or a great novel, Mioki draws you in, so you can experience all the rapture that this simple, yet amazing story has to tell.



4. Mioki. "Side By Side: The Journal of a Small Town Boy", Bruno Gmunder, 2008.
   
   Evan and Rick
   
   Amos Lassen
   
   Mioki has been drawing comics for a long time and in "Side By Side" he gives us a new kind of graphic novel--one that is very gay and very, very bold.
   "Side by Side" is the story of Evan and Rick who have been best friends since kindergarten days. They live in a small town and one rarely sees one without the other. Rick is gay and lusts after Evan who thinks he is straight. Evan moves to an unnamed big city and shortly afterwards Rick follows him there and they boys realize that they deeply love another. Evan and Rick meet Billie and Charlie and the four become the closest of friends who party and sleep together.
   "Side by Side" is a look at gay life with the ups and downs, the sadnesses and the joys. But this is a book that is all visual and leaves nothing to the imagination. I am sure that some may consider it porn but it is more than that. The drawings are very graphic and Mioki shows many sex scenes but the book never loses its charm and heart.

5 comments about Painting Pets on Rocks.

1. It has beautiful painted rocks in it and shows just how easy it is to paint rocks. I am not a real good painter but, I do plan to give it a try. Instructions and ideas in this book are great even for a beginner like me.



2. I couldn't help it, it sounded so fascinating when I was invited to a "rock party". A friend held it, and all of us got together at her place. She had a bunch of field rock, (though I've heard smooth river rock is good also) and she had cleaned them all up and they sat, waiting on her front step. We took turns choosing the rock that "spoke to us" and brought it into the house for some good old fashioned gossip and a fun project with friends. Oh, yes, we had doubts! Halfway through those rocks were UGLY, and we took a few chip and salsa breaks so we could look at them from a distance (they looked better that way- Laugh!). But- amazingly enough- when we finished the last step, perfectly outlined in the book- our rocks looked GREAT!! I actually DISPLAY mine in my little rock garden, and get so many comments on their "uniqueness". What a fun idea! And takes almost no $ to get started, if you're like me, you already have the simple materials lying around from previous projects!! Great book, simple instructions, great tips and pointers- even for the novice.



3. Painting Pets on Rocks is a fabulous step by step instructional book. My students (1st through 7th grade) created fabulous rock paintings following these easy-to-follow instructions.



4. Super, these books by Ms. Wellford are illustrated so beautifully that ANYONE could paint animals and such on rocks. Her directions are not only the written word, but also demonstrated by showing the drawing from the stones to use, preparing the stones, sketching from "square one" on thru the completed reproduction. These books are a MUST for any rock painter enthusiast.



5. A new meaning to the words "Pet Rock":

   Lin Wellford has out-done herself again! I just can't get enough of her books! For those of you who have not read any of Lin Wellford's books, let me tell you, IT'S TIME TO START! In "Painting Pets on Rocks" you learn how to paint your dog, cat, fish, and even your pet bird! The book doesn't just show you one type of dog, or only one cat. Lin gives you instructions on how to create many different rock pets. From Dalmations to bulldogs, tabby cat to siamese...this book has it all.

   Even if you have never painted before, you can do these projects. The book has full color, nearly step by step photos with the step by step instructions. As with all Lin Wellford books, her instructions are written for the beginner and it is amazing how well your pet rocks come out.

5 comments about Essential X-Men, Vol. 3 (Marvel Essentials).

1. I honestly don't get the appeal of these books. Why bother making (or reading) black & white reprints of classic four-color comics...? I mean, yeah, the stories are still great and the original comics are hard to find, but a huge part of what made these comics great was the eye-popping artwork, including the bright primary colors: reading them in dull B&W is just plain wrong. Sure, the printing costs are lower, so you can get more pages for your money, but it's more pages of boring, not more pages of fun. It's really a travesty.
   
   On the other hand, it recently occurred to me that these could be used as coloring books... Maybe you could buy a box of crayons to go along with all the artwork that the publishers ruined in this format. (Axton)



2. Arcade and Murderworld, Starjammers, Dracula, Arkon and more great X-Men. Arcade is one of those crazy nut supervillains you love, with his weird sense of honor and gamesmanship. The Starjammers are fab, as Cyclops learns about his past. Storm encounters some more personal issues, are various men want to be involved with her. Ok, Dracula is an undead vampire, but he still fancies her in the same way Arkon does.



3. Ok, ok, I should say comic book junkie, because that's what they were called when I first started reading them some decades ago. This whole series of Essential X-men books are a fun read unless you get bogged down in details. I never did, I just enjoyed reading them. This is a great book. Enjoy



4. These stories are amazing. Pure and simple. After I read the Dark Phoenix Saga-well, of course, no X-Men story will ever equal the depth, perception, and feeling of those nine issues, but this volume comes close enough to be hailed. From the opening arc concerning Doctor Doom and Murderworld to the spellbinding cliffhanger on the final page, it's a great thrill form beginning to end.
   You get to see some X-characters that don't get a lot of steam these days like Polaris and Banshee really work it, and it's a treat to witness the short-lived (and never formally ended) romance of Scott Summers and Lee Forrester. Thier entire subplot to 150 has just the right amount of emotion and serves as a great "breather" during those early issues. Kitty Pryde fully takes her place as an X-Man, yet Dave Cockrum's art doesn't do her justice (I always felt he made her look nerdy.) For everything else, Cockrum's art excels, and it's sad to think that he recently died. The events with Magneto in issue 150 are amazing, particularly the last pages. The Storm and White Queen Saga is very unusual, and Kitty's fairytale is a joke, but the good kind of joke. Then you get the whole complicated Brood and Shi'ar saga, which is always a blast (even if it takes up a thrid of the book)and two great issues illustrated by guest pencilers that, in my opinion, are the jewels of this collection. First you get X-Men 159 guest-starring Dracula and suprisingly astounding on levels of art, stories, and personality. Then next issue is where the mutants are transported to Limbo to save Illyana Rasputin and encounter evil and dead versions of themselves and eventually rescue Colossus' sister, but at the price of her aging seven to thirteen in the moment the X-Men exit Limbo without her. And, c'mon, when it features the Starjammers, Garrok (yeah, he's back!), Dazzler, and Spider-Woman, plus Arcade's revenge, it's impossible not to love these stories.
   The one bad thing about this book is that it's gotten behind the times. All the other X-Men essentials have been reprinted with new covers, a better-looking continutiy shuffle, and more content. I think they're not doing it for this one because if they do they'll have to remove the X-Men Annuals 3-4 since they were replaced in thier rightful positon in Essential X-Men #2, leaving this book with one (albiet properly placed) annual and making the book significantly thinner. Maybe they'd find a place to put Annual 6 or something, since it seemed to get lost in the transistion for Essential X-Men Vol. 4 from first printing to second printing. Ah well, the clever mind can easily deduce the chronological placement of X-Men Annual #5.



5. Bottom line definitive classic X-Men from the writer who
   helped to define them in the first place, Chris Claremont.
   The 'Essential' Volumes are just what the the title says.
   A must if you want to get a handle on these longtime claw
   slicing, mind reading, stormbrewing, metal manipulating
   band of superheroes and villains.
   Recommended for ages 6 - 60.
   The only downside would be the black and white art,
   but for the amount of material you get for the money,
   it's certainly worth putting up with.
   If you've enjoyed the films, and are a new fan as a result,
   or if you just want to go back and relive the fun, these'Essential' titles
   will leave you more than satisfied,
   they'll make you hunger for more..enjoy!

5 comments about Mastering the Watercolor Wash.

1. Good guide for begins only but it is a pretty book to have.



2. This book is one of the best of its type. Instructions clear and detailed. By going through the exercises, you will be a better painter. This is a winner!! J. Drummond



3. Comprehensive guide to watercolor washes which includes an excellent range of examples, mostly of landscape subjects. Garcia is a very accurate detailed draftsman and some of the exercises can be challenging because of the detail rather than the actual technique. The book is well produced and a useful reference for the beginner and intermediate student.



4. A really good book for beginners with some good tips for more advanced watercolorists. A valuable additon to any watercolor library.



5. There are many books on watercolor techniques so why should you buy this one? You should buy this book because it an excellent reference book to help you learn the "nuts & bolts" of painting watercolors.As an example I refer to pages 44&45, "The Gradated Wash".Here artist Joe Garcia gives you a clear definition of the technique followed by very direct instructions and clear photos on how to proceed.He then gives you a tip at the end to get the best results.While this book seems at first glance to be more of an introduction to basic techniques more advanced artists will find this book to be very useful as a reference resource.The book like all North Light books is well designed with many photos and illustrations.When I first saw this book I figured do I really need this one? The answer is yes for the reasons I have mentioned.The author also explains his preference for materials and using watercolor boards which he makes himself. Now that it is available in a paperback edition there is no reason not to consider buying it.

5 comments about The Pastelist's Year: Painting the Four Seasons in Pastel.

1. When I became interested in pastels, I took a dozen books out from the library including Mowry's THE PASTELIST'S YEAR, all of Paul Taggert's books, THE PASTEL BOOK, etc.
   I found Mowry's books helpful regarding her use of color in this book to change the season of a scene - it's amazing. I learned a lot looking at her different views of the same scene painted to represent the different seasons. Very illuminating to say the least.
   I thought thee pictures were small and could have been made larger for the serious student to see the illustrations better.



2. There doesn't appear to be any print quality issues with the photos in the book. There are several step-by-step photos that don't have some of the colors added yet because they are showing how the pastel sketches were made! See pg 81 for an example. There are also some extreme close ups which show the natural grain of the strokes to show how the larger image was created. These type of photos are exactly what any reader (beginner or expert) wants in an art technique book. The previous reviewers that didn't bother to read the captions of the photos should be a little ashamed if this is what they were describing. The book also has photos of the finished pastels. In general, the book and is filled with quality photos of pastel landscapes and appears to have good instruction throughout.



3. Elizabeth Mowry has taken the time to establish a palate for the colors appearing in the four seasons; however, they were difficult to study since they were on different colored backgrounds. I especially liked the way she heightened the color temperature on some of her paintings. I wish she had used a greater variety of strokes. I recall that she favors the feather stroke, which was effective. She seemed to work more saliently with contrast, composition, color temperature, texture using traditional landscape themes. It would have been helpful to have a couple of paintings actual size so that I could have seen the "actual" painting. The cover has two flaps which could be used as bookmarks, which is a thought!



4. I have read this book twice and some portions three times. I find Elizabeth Mowry to be very sharing and knowledgeable and willing to show you how she achieves certain passages in her paintings. I had been going through a dry period, and this book opened up new worlds for me. I especially liked that she tells you to make small sketches, color sketches and use photographs. All these things were beneficial to me and I wish I could thank her personally for her very inspirational book. I have also given her book to friends and they all love it.



5. I bought this book and ws really disappointed when I leafed through more thoroughly and found MANY of the illustrations were out of focus, and one had a HUGH printer error where the image was blocked on one of the printer's colors.

   I returned this book and have repeatedly looked at it at the book stores to see if a re-issued copy comes out that corrects these problems. My estimate is that there are 7-8 plates that are defective.

5 comments about The DC Comics Guide to Pencilling Comics.

1. This is an outline book about drawing with a tilt towards comics art.
   
   None of what is presented is outstanding from a student's perspective. this seems more like a showcase of the author, with a stiff 'cast in stone' tone.
   
   Covers pretty standard stuff such as material, construction, anatomy, perspective, composition and so on.
   
   Beats me why its called pencillig, unless you mean to say all art work begins with a pencil sketch. hardly any pencil sketch in the book.
   
   There was once a fantastic correspondence course called the Famous Artists School course. Just a couple of pages on pencilling from that course is denser and more informative.
   
   If we are looking at learning how to draw in general, and a bit focussed on comics art, 'How to draw comics the marvel way', is the book that sticks out in this category. Ofcourse there are some wonderful books to learn how to draw from .. Vilppu, Burne Hogarth, Kimon Nicholaides, Andrew Loomis to name a few.
   
   In comics book production 'pencilling' has special meaning, it is not sketching or drawing. it is a process which takes you to just one teeny step away from what's called 'Inking'. It would contain all details such as action, form, light and shadow, minute details such as folds in clothes etc. It is in fact 'rendering' in pencil. not just thumbnailing, or story boarding, or conceptualizing, which one might be able to do with the help of this book.
   
   Its so unusual to see such a technical subject being treated with indifference from an artist of repute and with an institution called DC's name in the title!.



2. This was a good book but it lacked the step by step workings of the title. It had alot of information but most it was what I was not looking for. This is a good book on the process of the comic book but not on how to go about doing it.



3. This is good for beginner and intermediate level artist. It will show you in a very simple way all the how-to's of pencilling. Good price also. It's part of three book set, Penciling, IOnking And Coloring comics - from DC comics



4. I was hoping that this book would be a more detailed guide to penciling. Most of the illustrations were inked, though. It also has a LOT of text, which makes it not so easy to sit and read while trying to actually draw. I would recommend the "How to Draw Comics the Marvel Way" over this book.



5. I just received this book and immediately went to chapter fourteen. After reading chapter fourteen first I have to say that it was worth the price of the book.

3 comments about Collagraphs: And Mixed Media Printmaking (Printmaking Handbooks (PH)).

1. There are some useful ideas in this book, but you have to dig them out. The authors have given us a hodge-podge of techniques, often without the detail one needs to use them confidently. There isn't much literature around about making collagraphs, so any information at all is welcome. Buy it if you're interested in this subject, but be prepared to live with trial-and-error printmaking till you get the hang of it.



2. If you're looking for a how-to guide, this is definitely not it. It lists possible materials, but that's about it. It shows a wide range of artists and pictures of their work, which is nice, if that's what you're looking for.



3. This is a great book showing the work of many artists and discussing the history and placement of the colloraph. I enjoyed it thoroughly and bought one for a friend of mine who does this type of work. Since I am a printmaker I think one cannot have too many good books on the subject.

5 comments about Why Art Cannot Be Taught: A HANDBOOK FOR ART STUDENTS.

1. As a recovering survivor of an MFA program I can wholly relate to Elkins' criticisms about the failure of critiques to shape art and artists. It is poignant that Elkins is unable to offer up a solution.



2. this book is not for current art students, or graduates (it's simply too late for you to read this)
   
   considering the expensive and time consuming path of art training at the University level ? then i recommend reading (or even just skimming) "Why Art Cannot Be Taught : A HANDBOOK FOR ART STUDENTS" not only because it gives a clear overview of the evolution of the methods of passing craftsmanship in the fine arts through (European) history, but because you'll see that picking a few art classes is probably going to serve you far better than undertaking a full course of study (and the stories of "classroom psychodrama", and students having to explain and defend their work was easily worth the price of the book, IMHO)



3. As a critique of how studio art has traditionally been taught at the university level, Elkins is dead on (pun intended). His portrayal of B.F.A./M.F.A. programs is vividly familiar to anyone who has gone that route. The book is also hilarious and a great read. But since we (studio folk) are the chief audience, we already know all of this, right?
   
   The critique of Elkins' book is not that he misrepresents anything, but that he misses things: namely the field that addresses teaching art, known as "art education." He does not pretend to consider it, but that doesn't excuse the neglect. If that sounds funny to you, meaning you assume Art Education is a joke-field, I urge you to delve into the research published in its premier journal, "Studies in Art Education," and, then, compare this research to that which has recently emerged from Art History and Art--that is, if "Art" (studio professors) produces any research at all. Well, it does here and there, and Art History produces some interesting research, as does Art Education, whose primary agenda is to address issues of critical theory, postmodernism, and visual/material culture. In fact, I understand that the Art department at Elkins' institution is in the process of making this pedagogical shift as well as some other leading Art schools here and abroad, like Yale.
   
   The point I'm making is that Elkin's portrait--that postmodern art is at odds with the outdated mode that exists in art schools--is partly untrue. Cutting-edge Art programs, and certainly Art Education, are exploring interesting post-disciplinary projects that resonate nicely with the sublime mantra of the postmodernist discourse that informs them. In a general sense, the schools that Elkins describes are those whose tenured faculty have rested on their boring Modernist laurels, which died quicker than their 4th-tier universities could pass them through the nominal tenure process, a tragedy that I think is slowly but surely evaporating.
   
   Understanding that Elkins is probably aware of all of this and expecting academic readers to draw this out of the book, it's not so bad. But for those who do not know the inner workings of academic art programs, the book could do a better job of explaining where the pedagogical answer lies. I like to think that for some reason, Elkins had those answers and kept them reserved for another book, rather than that he, like the oldie-moldy prof's he ribs, is a living anachronism.



4. The answer: I think so. The author changed my way of thinking about the subject of what is plausible in arts education in our time. The apprearance of total artistic freedom from judgement as formulated by postmodernists, yet the intrinsic nature of how the academy/school affects an artist, is seriously examined by Elkins.

   This book is amongst the first to pragmatically question some of our common misunderstandings about the methodology involved in teaching the visual arts. The reason for this maybe due in part to modernist and postmodernist intellectualizing of art (e.g.-the endless pages of ink spilled in history books about content free Minimalist paintings and Conceptual Art). Elkins really does an marvelous job at collecting the evidence that studio art teaching and learning is fundamentally different in goals from more conventional subjects such as the sciences, languages and even music...yet, artists should have a somewhat rounded education.

   To the authors credit, the book avoids the idealistic view of the arts, dispenses with the RomanticEra cliches of " the gifted talent" or "starving artist" or "outsider art" and deals with THE pragmatic reality of art instruction. Elkins' surveys are about the historical roots of art instruction: the Medieval workshops, the Renaissance guilds,the Baroque academies, and the 20th c. Bauhaus School are compared and contrasted with one another.

   THIS comparison of instruction models is EXCELLENT!

   The assumed historical 'reality' of the types of artists each system was capable of producing serves as a spring board for discussions on how philosophical discourse influences the instruction model. The book addresses the question of "what body of knowledge is central to the education of an artist?" Is it life drawing, technical and mechanical skills or is it a selected reading and immersion in the liberal arts(i.e.- should an artist have a classical education w/ emphasis on Greek literature -or- postmodernist and shifting in emphasis related to an artist's native culture?_)

   Elkin's book fully illustrates the very real world dilemna that students interested in the visual arts face when choosing between "art schools" and small "Liberal arts colleges." "Art schools" tend to only be interested in art, with a myriad of opportunities to be exposed to the art world, with little if any exposure to core general education courses. Paradoxically, the art schools are also places where one is likely to find the latest art theory in deployment despite an 'art school'student populace that MAY NOT have the educational background to engage in meaningful discussion with instructors. The situation is the exact inverse with students at "liberal arts colleges" (and the university in general) where the student is academically armed, yet, is enrolled in significantly less demanding studio courses. "Liberal Arts colleges" and art departments of universities,while providing excellant general education for an art student -most barely engage in the issues of making Studio Art much beyond the dilettante level. Elkins makes a very fine point of emphasis on what is either impractical or too obscure to teach about art in the general curriculum of both classroom enviroments-i.e.-such things as art that uses obscure techniques, extremely radical and/or conservative methods. He deals with that rarely mentioned art class phenomenon- "the critque"- where the student presents thier work to the class to be analyized. Elkins illuminates 'The critque' of art schools (and studio art departments) in a manner that should deal with every sort of postive and negative experience that could be siphoned from such an ordeal.

   Essentially the heart of "Why Art Cannot be Taught" is to illuminate what works and what makes 'sense' to teach in the pedantic school environment about art. Elkin's thesis ("that art cannot be taught") is a descriptive interpretation of the reality that art education like 'true art', the 100%creative stuff, is something unique and irrational that can't be easily duplicated at the whim of educators. A must for anyone that has interest in the peculiarities of being a student of the visual arts!




5. The author details art instruction through the ages and discusses the question asked in the title. Art and artists would be so much better thought of by society, and art istself would improve, if the ideas in this book were taken seriously. It is a DEEP book, not for casual reading.

4 comments about Tudor and Elizabethan Fashions (History of Fashion).

1. This is a useful reference work, not for creating the actual costumes (unlike how-to books)but to get a sense of the wardrobe of the period.



2. This is a coloring book of Tudor Fashions. I like the fact that I can copy and color in the way I want a costume to look. Fairly historically accurate.



3. I just purchased these Dover COloring Books for my mother and she loves them. The detail is out of this world and the variety of colors you can use are only limited by your inagination. HIGHLY RECOMMENDED!



4. If you're an adult and you still love to color - the coloring books by Tom Tierney are WONDERFUL! I especially love the fashions in the Tudor and Elizabethan fashions. His descriptions of the fashions and clothing of the times make the books unique and fascinating. Make sure you have plenty of color pencils on hand, though, because the books are too detailed for crayons. I would not recommend this book for impatient people or children because the coloring of the drawings can be tedious (up to 1-2 hours for one drawing depending on the book and the outfit, but then again, I'm a perfectionist).

5 comments about Lifelike Drawing with Lee Hammond.

1. This is a very good book to help one learn how to draw. I have found it immensely helpful and recommend it to anyone that wants to learn more about drawing and sketching.



2. i would recomend this book for those who want hints and tips on realistic drawing. it gives practice and techniques to help learn and you will learn if you are willing



3. I found a book at the library by this authur and then knew I had to have one of her books for keeps. I have always enjoyed drawing and checked out many books as a teenager on "how to draw" but this book was revolutionary for me. I learned what tools I needed and how to use them and my drawing improved drastically. I have made over $250.00 selling 8x10 photo's of my sketches ($25 each)people tell me I should charge way more, which I may someday, but I am just getting started. I used to only be comfortable drawing protraits, I am now confident that I can draw most anything I have a photo of (I did an eagle, some dogs, and a cat.) My advise: If you want to learn how to draw--buy this book!



4. This book starts out with some good basic principles of drawing - basic shapes in 3 dimensions; lighting and understanding value correlations on objects.
   Ms. Hammond's techniques and exercises are horrible. If you would like to develop bad drawing habits - this IS the book for you.
   Hammond's technique (using a 2B mechanical pencil) is to build up value (4 levels), then smudge and smear your way to success. Any artist - in regards to beginning drawing/ technique - knows that 'smudge/smear' is a drawing anathema. This technique deprives the striving student the opportunities to develop skills in building value; understanding contour of objects as revealed by the play of light and shadow; cross hatching to develop drawings with greater depth, etc. .
   Additionally, Ms. Hammond has absolutely no understanding of how to establish and use vanishing point/s in a drawing - a shortcoming she illustrates clearly.
   This technique renders drawings that are flat, 'dirty looking' (due to the smudge technique), and lacking in depth, contrast, and appeal.



5. This was my first Lee Hammond book and not likely to be the last. I have found that this book is very easy to follow, and a must have for any aspiring artist who loves to draw! It has helped me greatly in understanding how to use drawing tools and whenever I draw from it, I have loved ones peering over my shoulder to see what I'm drawing and the ohhhs' and awwws really put a smile on my face. Not to mention the finished product of my drawing. I didn't even know that I had that much talent but this book helps to bring it out of me and onto paper!