1 comments about The Sculpture of Ruth Asawa: Contours in the Air.

1. It's a book that really deserves a place in whatever room you sit in to relax and spend your quiet time. I see many art mediums - including wire - in a whole new way, and that is just what I look for in a book of art. Definitely on of my best book purchases in the past year.

4 comments about Realizing the Impossible: Art Against Authority.

1. Realizing the Impossible is a wonderful, passionately and intelligently compiled collection of art and writing with strong political messages. An anti-authoritarian, anti-capitalist persuasion carries from cover to cover and is expressed throughout. Through their work, the featured artists reveal messages and statements and resistance to globalization, state authority and oppression. Interwoven into their social critiques is a common belief that a new world is necessary.
   
   The collection contains three sections: "In Print," "Moving Images and Interventions" and "Theories." Within each of these sections are essays, interviews and art that focus on specific events and people ranging from the Haymarket Riot, radical puppetry, queer art and the politics of space and land reclamation.
   
   The reader is taken all over the world and to generations past as Realizing the Impossible brilliantly educates about global resistance to the rise of corporate power. After reading this book, it's obvious that movements of resistance cross boundaries, cultures, time, and are expressed in many ingenious ways. Prints, photographs, street art, paintings and more go hand in the hand with the text and together they provide powerful statements. The art is beautiful, the writings are poignant and the reader is left with a perfect opportunity to reconsider and evaluate the world context in which we live, and the history behind the radical movements against traditionally dominant world powers.



2. Beautifully illustrated, "Realizing the Impossible" is a fascinating collection of interviews, essays, and artwork celebrating the politics and aesthetics of anti-authoritarian visual arts. From stencil art in Argentina to The Bread and Puppet Theater in Vermont to radical video collectives in the US and Mexico, "Realizing the Impossible" documents the creative genius of a broad range of cultural workers utilizing art as an instrument of social change. Among the numerous interviews, I especially enjoyed the ones with the illustrator Clifford Harper and the painter Gee Vaucher, a member of the legendary British anarcho-punk band Crass. Reading this incredible anthology is truly inspirational. It will challenge the way you perceive public space and encourage you to incorporate beauty into your everyday activism. It will also remind you of the enormous power of art to transform human consciousness in a way that political slogans seldom can. By liberating our imaginations and providing visions of a better world, anti-authoritarian artists play a vital role in our movements for peace and social justice. Thank you AK Press for what might easily be your best book yet!



3. Compiled, organized, and co-edited by artist, writer, curator, and activist Josh MacPhee in cooperation with Erik Reuland (sometime editor of the radical political and art zine 'Trouble in Mind'), "Realizing The Impossible: Art Against Authority" is an anthology of commentaries on the relationship of aesthetics and politics in anti-authoritarian social movements which today are principle focused on opposing corporate globalization and its authoritarian governmental enablers. Profusely illustrated throughout with black-and-white images, "Realizing The Impossible" is arranged into the major sectional themes of 'Print'; 'Moving Images and Interventions'; and 'Theories'. This compendium of articles, essays, and writings is especially recommended reading for anarchists, political activists, political science students, and counter-culture enthusiasts. Indeed, "Realizing The Impossible" is a particularly important and timely addition to academic and community library Political Science reference collections.



4. On receiving Realizing the Impossible, I was immediately reminded of Walter Benjamin's 'The Author as Producer'. Taking consideration of art, literature and print newspaper, Benjamin contends that a revolution occurs in such mediums only when there is a reformulation in both form and content. This reformulation Realizing the Impossible accomplishes to an outstanding degree. The eye looking over its pages is confronted not only with a distinctly anarchist analysis of art-something not achieved in a systematic way since Herbert Read's work on poetry and children's drawings-but also with a wholly 'anarchic' design. Text and image merge and collide with the promise of insurrectionary potentialities. Footnotes jut from left and right; things are not where they are 'expected' to be. Chapters blur and speak to each other. Headings slope, text moves vertically. Realizing the Impossible is indeed a wonderfully designed book, fully practicing the ideals of anarchy.
   Apart from an excellent design, Realizing the Impossible undoubtedly provides a challenging, inspiring, and well-needed account of art's relationship to anarchism. The long history of this relationship is one of the most interesting aspects of the book. This is so, for much of this history is unknown or even forgotten. For those who seek an understanding of the history of anarchist art, Realizing the Impossible provides an excellent overview, with more specific discussions of indivdual artists: Clifford Harper, Flavio Constantini.
   Contemporary anarchist art movements are a feature of the second section of the book, covering topics such as anarchist film interventions in Scandinavia, print art in Indonesia, and puppet-making across Europe and North America. These sections prove illuminating because of the countless interviews with people actually involved in these art movements. Indeed, all of the books published by AK Press demonstrate a willingness to let actual people speak, as opposed to academics cloistered away in the realm of 'pure' theory.
   Theory is though not lacking from Realising the Impossible, but it is accessible without being condescending. David Graeber's article on the 'twilight of Vanguardism' is a definite highlight. These chapters do indeed proffer the lineaments of new theories of anarchist art.
   In all, Realizing the Impossible is a marvellous work that opens up the possibility of conceiving of an art that both opposes authority but also the elitist authority of art as a distinct sphere. This text contributes to realizing the potential that had always been contained, but is so often repressed, within art: the perception of a different world opened onto the promise of a total revaluation of existence.

No comments about Beginner's Guide to the Humanities, A (2nd Edition).

1 comments about Random Order: Robert Rauschenberg and the Neo-Avant-Garde (October Books).

1. This study of Rauschenberg will doubtless make itself pretty much indispensable in the literature on the artist. It's a brilliant study- Joseph is in command of the literature on the topic, demonstrates a great deal of theoretical sophistication, as well as showing a lot of sensitivity to the works and their context.
   
   Joseph's contention is to explore Rauschenberg's work in relation to the Neo-avant-garde, seeking to show that his work (along with his colleague John Cage) was neither a farcical repetition of 1920s Dada (ie jaded attempts to "shock" the viewer), nor was it an ironic casting-off of the avant-garde project in favour of a capitulation to commodity capitalism (ie through his pop culture references and so on). Instead, Joseph argues- convincingly- that Rauschenberg (and Cage) sought to escape the tyranny of the self- the "ego" of Absract Expressionism, in order to open up perception to differentiation and multiplicity- an attempt to open up a space beyond the totalised structures of late capitalism. (Joseph's concerns give away his being an ex-student of Benjamin Buchloh- hence these particularly Frankfurt School concerns). So for Joseph, Rauschenberg's White Paintings, or his Tire Print with John Cage, were not simply juvenile pranks, nor farcical, worn-out shock tactics, but serious attempts to disclocate habitual modes of perception and cognition- in this way, Rauschenberg both differs from, and continues the avant-garde project of political change.
   
   Joseph makes a good case- in particular, his first chapter, on Rauschenberg and Cage, where he examines their interest in temporality and flux in relation to the ideas of Bergson, is quite brilliant. But the level of discussion is sustained throughout- it's a compelling and fascinating read which will doubtless provoke a great deal of thought.
   
   As you would expect from the MIT Press, its not a study for the lay reader- the usual phalanx of thinkers are brought to bear- Foucault, Deleuze, Bataille and the like- although Joseph draws on them judiciously, without detracting from the focus of his study. In fact its very readable indeed- Joseph hasn't succumbed (yet) to the puffed-up rhetorical excesses of some of his October colleagues.

2 comments about Edible Art: Tricks And Tools for Master Centerpieces.

1. I really enjoyed this carving book. Author is very thoughful in step-by-step instructions. Easy to follow. Great information for the hungry creative minds.



2. Sculpture created from fruit and vegetables sounds too challenging for most home cooks; but not if you have a copy of EDIBLE ART: TRICKS & TOOLS FOR MASTER CENTERPIECES FORM CARVED VEGETABLES. Here are all the hints needed - given in a series of step-by-step color photos with pairs a large-sized photo of the finished product with smaller 1-4 step photos accompanied by text. The approach makes it a snap to produce works of art with a minimum of tools and no knowledge, making it a top pick for culinary libraries at all levels. EDIBLE ART is especially recommended for the cookbook collections of dedicated gourmets!
   
   Diane C. Donovan
   California Bookwatch

3 comments about The Best of LCD: The Art and Writing of WFMU-FM 91.1 FM.

1. I moved from NJ 6 years ago after spending my entire life 20 miles in the shadow of NYC. I discovered WFMU as a spotty little suburban brat and also discovered the station was along the bus line that ran through my town. They were in East Orange and I used to go down and hang. Pat Duncan had the best show, but I liked it all really. I used to wake up to JM in the AM because nothing got me out of bed faster than that.
   I am lucky, I have EVERY issue that is picked a part in the Best of LCD, but I could not resist buying this book. First, it's a book without a glossy cover and I really like the way it feels. It is sort of like a 250 page issue of LCD. I also really like just about everything in it, so no complaints in the department of picking.
   I really can't say anything bad about this book because WFMU is like a relative of mine that I have no issues with. It is like an old friend that you always kind of miss not hanging out with. This book really reminds me of that.



2. The Best of LCD: The Art and Writing of WFMU This excellent compilation of the WFMU magazine, provides the reader with well written articles, delightful drawings, an insight into this "last of its breed" radio station and a history lesson going back to the mid 19th century.



3. I heard people talking about this and it sounds pretty interesting. I would say that if you buy this, you might like it. There's a way to look at this book without reading it too. So, you can do that too.

5 comments about The Art of Figure Drawing.

1. If one read the introduction to Clem Robin's book you'd notice who he studied under, and why his concepts are "borrowed" However, explanations can't exactly be plagiarized, so the same concepts would be repeated in not only his book but many other books. There are rules to figure drawing that has been repeated over and over.
   
   So saying this, I enjoyed the book because Robin's explanations were UNDERSTANDABLE. If you're simply looking at the illustrations like Hogarth, you can learn, but sometimes it takes a better understanding when the author tells you the ideas behind the concepts. Many of the books I have such as Bridgman's and Hogarths, are great concepts in their illustrative approach, but rather hard to read. Some of the language is dated and in such a cold mechanical approach, it's harder to grasp what is being said.
   
   His notes on lighting and showing how to work with shading was EXTREMELY helpful. I also like the fact he had some illustrations on overweight people as well.
   
   There won't be that one anatomy book that solves all, but I really do enjoy life drawing books so it is interesting to see each author's take and how well they can explain the concepts. I'm sure there are people that will look for more beautiful illustrations, which is fine, but sometimes ti's great to read what it takes to make said art instead of simply copying it. That helps develop your own style.



2. As an amateur who loves to draw, I've read quite a few books on the subject, and spent numerous hours in life drawing (i.e. from a live model) sessions. Clem Robins' book is by far one of the best out there.
   
   First of all, Mr. Robins' example drawings are some of the best I've seen in this kind of book, each of them expressing the model's unique gesture and personality with a surprising economy of means. That kind of skill level is not easy to come by. I find myself going back to the examples just to remind myself of how compelling an image of the human figure can be crafted with just a few simple drawing tools.
   
   The explanatory text is easy to follow and full of gems of information, and gives clear examples of how to approach a live drawing in several different mediums. The nuts and bolts, as wells as the subtleties, of producing a convincing figure drawing are difficult to convey in any format, and I feel that Clem Robins book meets the challenge admirably.



3. Figure drawing is an art that is, in my humble view, almost as complex and multifaceted as the subject which it expresses -- the human form. I use to read books on the subject looking for a definitive guide that teaches THE way to render a figure faithfully from life. Much like any subject, the more one learns, the less, he realizes, he actually knows. The Bible teaches that we become wise when we make ourselves fools. Likewise, the oracle, claimed Socrates, declared him the wisest man alive because he acknowledged he did not know anything. One would be wise not expecting to know everything after reading any one book; even after 1,000 books. There is more than a lifetime of learning if one desires to truly master figure drawing--both technically and expressively. One would do well to read as much as he can on drawing, so long as the knowledge is practically applied.
   
   If you are a beginner, this book will give you a great education on the basics. It is not intimidating and it gives you a big chunk to chew on as you get started and, indeed, continue with figure drawing. It's elegantly designed and it's printed on high quality paper. Also, buy "Keys to Drawing." It would make a good companion to this book.
   
   There are many books that give advise on the basics of figure drawing--perhaps few great ones. If you have read many of these books, and are looking for commentary on the finer points of art and drawing, then this book might not be for you. (I would reccomend reading some older writers like Da Vinci, Rex Vicat Cole, Bridgeman, Howard Pyle and especially Harold Speed.) However, Robins' book is still a profitable read for the seasoned student, as any author will offer a slightly unique perspective. I, personally, found several gems that were well worth the read. Mr. Robins is sincere and his writing has depth behind it. This book is a fine addition to any student's book shelf. It's even nice just to go through the book, periodically, to enjoy Robins' work.



4. I cannot completely agree with Mr. Bain assessment. Complete is a relative term. Upon reading this book, it was my interpretation that the author expected the student/reader to have a certain familiarity to anatomy. This book successfully ties together the constructive aspects of Bridgeman, and the gestural nature of Nicolades to create a more refined drawing.
   
   Certainly, there was more I had hoped to see in the text. Myself enjoying Mr. Robins work, I truely desired for a more intimate view over his shoulder, so to speak. But for a guide to tying up loose ends in figure drawing techniques this book is a success.



5. Bruce Bain's excellent review of my book makes very valid points. My book is certainly NOT a complete guide to figure drawing, whether classical or otherwise. I wish I could contact him personally, and tell him so; judging from the quality of his review, it would be a very good conversation.
   
   The only point worth addressing is how little control an author has over any North Light publication. I did not title the book, let alone subtitle it "a complete guide to classical figure drawing". My own title was "The Language of Figure Drawing".
   
   I was given 144 pages in which to make what points I could. This does not excuse any incompleteness here; no one forced me to sign the contract. But that contract is not unique, and Mr. Bain would be well advised to bear these things in mind. There are plenty of things in the book that are my own fault, and that I wish I could redo. (There will be a second edition, in which some of these are indeed addressed.)
   
   There are a lot of ways to teach drawing. I make no apologies for the methodology I used in my book. I have been teaching figure drawing for years, and the methods employed in the book have helped a lot of people. The book makes what I consider to be some excellent points, some of which have never been addressed elsewhere, to my knowledge. (The chapter on The Rule of Tipped Cylinders is a good example.)
   
   I hope someday to do a really complete book, but this would require some more space. In the meantime, I do recommend the book, as well as quite a few others. (North Light left out a reading list which contained quite a few of these.)
   
   It has been a great pleasure to have my book read, and commented on, by people of Mr. Bain's calibre.
   
   I think the book's well worth the price, incomplete as it may be.
   
   If you can only afford one book, try "George Bridgman's Complete Guide to Drawing From Life". Shortly before his death, the great comic book illustrator Gil Kane told me he was just beginning to grasp Bridgman. It's a book you'll live with, and feed upon for the rest of your life.

3 comments about Needlepoint Trade Secrets: Great Tips about Organizing, Stitching, Threads, and Materials.

1. Perry is a gifted teacher and designer and writes an entertaining and educational on-line column, but this book is a waste of money unless you're a beginning needlepointer.
   
   Anyone who has been needlepointing for more than a few months can pick up these tips from fellow stitchers, from their local needlepoint shop and in classes.
   
   And anyone with an ounce of sense can figure out an organizing system that is more efficient and less expensive.
   
   Perry should stick to what she does best!



2. I have been waiting for months for this second edition to come out, having missed out on the first printing. If you are a needlepointer you will love reading this book! It is fun and easy to read and packed full of great ideas. Keep your highlighter handy!



3. In her introduction to Needlepoint Trade Secrets, Janet Perry states, "...even though I've been stitching for over 30 years, I still discover ways to make my stitching better, learn a new stitch, or rediscover something from times past." On her website, www.napaneedlepoint.com, Janet bills herself first and foremost as a teacher. She wrote the original edition of Needlepoint Trade Secrets in the interest of sharing her discoveries.
   
   And does she ever! She offers fantastic tips on everything from where to find design ideas (your favorite lifestyle magazine is a great place to start!), to color choices (a good color wheel is invaluable), to how to finish your completed canvas easily and inexpensively.
   
   As a 30-plus-year stitcher myself, I must admit that the most daunting question I face with a completed canvas is, "OK, now what do I do with this?" Most stitchers will tell you that their UFO pile is as large as it is, due to the expense of finishing. Janet's terrific suggestions include everything from how to beat the high cost of custom framing, to innovative uses for those gorgeous belt canvases.
   
   Although there is a lot in Needlepoint Trade Secrets, her breezy style makes this 119-page book an easy read. Its short, bullet-filled chapters make this a fast read. The revised edition's small size (the original book was 8-1/2 by 11) makes it ideal to keep in your stitching bag.
   
   Do those ever-changing airline rules make you unsure whether or not you'll be able to stitch on a plane? No problem! With Needlepoint Trade Secrets at hand, you can read about our favorite obsession when you're 50,000 feet up. Be sure to have a pen and plenty of Post-Its handy! You'll need them to mark your favorite tips for easy future reference.
   
   Michelle Hufford, Owner
   Come to the Point!
   [...]

4 comments about The Blood of Kings: Dynasty and Ritual in Maya Art.

1. When I went through school the Maya were peace loving agriculturists that invented a lot of neat stuff, especially in astronomy and calendars. We even looked at some of the writing. To bad we did not look a little closer.
   
   Look at the cover of the book ad you will see a Mayan pulling a rope with knots in it through his tongue. The also had plenty of blood thirsty rituals and rivalries with neighboring Mayans. Their underworld is a place full of farts.
   
   I bought this book as part of an exhibit at Kimball Art Museum in Fort Worth. I am still a member.
   
   The book its self is oversized and has lots of glossy pictures. There are a lot of good references to other books and articles on the Myna.
   
   After reading this book and getting a good overview of what Maya really is, you may want to find some of their writing "Popol Vuh : The Definitive Edition Of The Mayan Book Of The Dawn Of Life And The Glories Of" by Dennis Tedlock.



2. It is nearly twenty years since this book was published in 1986 as part of an exhibition at the Kimball Art Museum in Fort Worth, Texas during the Texas Sesquicentennial. This book was and remains a triumph. We still mourn the loss of Linda Schele and are grateful the Mary Ellen Miller continues her work and teaching at Yale.

   The book makes clear the Mayan Kings were not Emperors. They were rulers of city-states that competed with one another. They also had a spiritual role in the life of those they ruled. This book discusses how one became a Mayan King, life in the court, the role of bloodletting and visions (hallucinations?), warfare and human sacrifice, the all-important ballgame, the Mayan concept of afterlife and Xibalba, and the Mayan view of the cosmos. All fascinating topics and the articles are written quite well. I find them to be a captivating read.

   The selection of images for the book is fabulous. This book can make a wonderful coffee table book, they are that beautiful. However, the articles are far superior to most books you find on coffee tables. I remember seeing Maya Blue (the shade that the Mayans painted on a great many of the monuments and sculptures) for the first time in this book. Having seen it in person since then I can tell you the shade is captured very faithfully in the photographs in this book.

   Much has been written since 1986 and new discoveries and new examinations of existing discoveries deepen our understanding of the Maya. But this book still stands strong and valuable. It is not too technical for the general reader and still has value for the student. I am glad to have my copy on a shelf of favorite books.




3. Mary Ellen Miller and the late Linda Schele put this book together in 1986. The field of Mayan studies is a fast-moving arena, and Mayanists already know a lot more now than they did when this book came out, but in my opinion this book is still the place to start if you want to begin learning about the Maya.

   For one thing, the photography of the artwork is fantastic - the book is worth acquiring for that alone. Secondly, the commentary is by the greatest names in the field, including an introduction by Michael Coe. Thirdly, the book never strays from academic discipline, unlike a great deal of New Agey-type material written about the Maya. In fact, the book studiously avoids making any observations that cannot be substantiated - perhaps a reaction in the field of Mayan studies against the sometimes too pat assumptions that Eric Thompson made when he dominated the subject. Fourthly, it covers all the major cultural features of the Maya, providing abundant commentary on each piece of art portrayed. Last but not least, it tackles the thorny subject of Maya iconography. This is a field about which we already know a great deal more about now than we knew in 1986, but in fact if the book were written today there is probably very little that would actually be changed.

   The book was printed in Japan, for some reason. No harm in that - the Japanese have a tradition, and a reputation, of producing quality bindings and excellent photographic reproductions, both of which are evident in this edition and which add to the quality of the book. I can't recommend it too highly to anyone interested in the Maya.




4. The Blood of Kings by Linda Schele and MAry Ellen Miller was written on the occasion of the Kimbell Art Mesuem's exhibition of Maya Art in 1986. The hope was to draw attention to the rich legacy of Maya art along with a book that would give texture to these artistic recordings of the singificant ritual events in the lives of the Maya. What better way, since art has been our keyhole to understanding the magnificance of there thought, language, science and culture? Schele and Miller do an incredble job of focusing on these artifacts to bring us inside the current understanding of what th experts perceive the maya ritual and life to be about-- including the deciperment of the syllables of the maya language.

   The book begins with a history of the road to understanding the Maya culture, complete with its meadering and diversions. This "age" delights in knowing that the Maya are filled with blood, both their own in bloodletting and those of captives that they sacrifice, unlike previous interpretations of a more peaceful existence. Blood, the ooze of life, was offered to eh gods in hopres that they would continue to give their ooze of sap, rain and other life-sustaining things. The book is based on 8 sections of art and interpretation: person, accession rites, courtly life, bloodletting, captives, the ballgame, and death, and the kingship of the Maya Cosmos. Of note as weel is the colors on p.158 where one can get an interpration of what the colors might have been in the Classic period.

   In this book Coe prefaces the book commenting on the profound understandng that the world of the Maya is filled with notions of death. But the myth of the Mayas is that the hero twins went to the underworld and by trickery defeated death and those rose to take their place in the Mayan night sky. Perhaps these indiscernible Maya have continued to trick us as well in our attempts to traverse the road of their culture-- and their greatest preoccupation, enscribed on their ceramics and reliefs ---is not death, but life, in all its oozing forms.

5 comments about The Graphic Designer's Guide to Portfolio Design.

1. I was very happy with this book! I took a Portfolio class in college and it did little to help me build a
   digital portfolio. This book covered a number of questions that I had about the various computer
   design programs. It also offered ways to create navigations once the digital port is created and some
   of the things that can go wrong.
   
   The book is well structured. It is logical and clear. There were tons of examples. In addition to the
   chapters on creating a digital, there are some great chapters on how to create a traditional portfolio as
   well. I also learned the best ways to create resumes, how to take interviews and what to do when
   asked difficult or illegal questions.
   
   This book has plenty of useful information interspersed with just enough technical info to keep you
   feeling informed but not overwhelmed. If you are trying to create any kind of portfolio, buy this book!



2. This book is incredibly irritating to read. It made my brain hurt. Another review described her style as "ebullient." I would describe it as "unfocused and unedited."
   
   As I randomly flip open the book, I find typos and simple grammatical mistakes that should have been caught by a decent editor.
   
   Page 14: "Write down answers to the following questions. Don't be modest, but be realistic. Put yourself inside the head of the potential employer as you consider how you will come across during an interview?"
   
   Empty phrases:
   Page 23: "A good rule of thumb for establishing the length of the resume is to balance economy with appropriate depth and detail."
   How exactly is that a rule of thumb?
   
   Page 49: "Any discussion of electronic design begins with the question, which format should I use to create my portfolio? Should I create a Web site? Or produce a CD-ROM? The answer is, it depends. In fact, there is not much difference between the two formats."
   Gah! Really, the answer depends?
   There's not much difference between CD-ROM design and web design? That's news to me.
   
   Irritating parenthetical trivia:
   Page 49: "For all intents and purposes, a CD-ROM (remember, this acronym stands for compact disc read-only memory) can be considered, simply, a storage device for your designs and resume."
   
   In a word, the book takes a rambling shotgun approach, it's littered with irritating mistakes, and there's not much insight into the subject matter.



3. I must say I had high hopes for this book, but it didn not deliver. Everything in it was obvious and I didn't feel like I learned anything at all. For instance, Myers goes on for a while about file formats and the different softwares and what they do. If you were a graphic design student and you were reading this book, wouldn't you already know all this stuff about what software like Adobe Illustrator does?
   
   Her design samples are boring, they lack creativity, and they just plain drag the book down. I do not reccommend this book, though unfortunately, there aren't many if any good portfolio books out there... Maybe next time, Debbie.



4. During my stint as a librarian in a university art school several years ago, I encountered many young graphic design students who were creative and talented; however, they seemed at times a tad clueless about the real world that crouched in the darkness ahead, waiting to pounce. Back then, there was no shortage of materials on the theory and technique of graphic design, but there was not exactly a glut of practical information on how one successfully breaks into the graphic design field after graduation. To accomplish this goal in today's competitive job market, the graphic designer needs an effective portfolio as well as the skills to market it to perspective employers and clients. Debbie Rose Myers gives aspiring graphic designers the vital information necessary to succeed at this daunting yet crucial endeavor.
   
   With an ebullient style, Myers describes the process of planning and implementing all facets of the portfolio. Different portfolio types are explored, from the traditional to the digital. The text examines every facet of the process, including professional resumes, job interview skills, the fundamentals of elegant Web site design and the importance of being prepared for computer malfunctions. Included are portfolio examples, pertinent glossaries and a bibliography. Myers's choice of success stories are sure to inspire the creative personality, such as the artist whose portfolio included herself clad as a 1950s waitress and achieved five job offers.
   
   Though the title implies a small audience, this spirited book will aid job-seekers in a broad spectrum of fields, not just in the arts but in business and the sciences as well. At the very least, The Graphic Designer's Guide to Portfolio Design should be a permanent resident of not only academic art libraries but the designer's personal library too, for this is a work that will be consulted again and again. There is always a place in the world for artists; they merely need to know how to find it. Myers illuminates the path.



5. I was very disappointed by this book. The design examples, with an occasional exception, are very weak; and the content is so generic and obvious that it yields virtually no valuable insight at all.