4 comments about Fairchild's Dictionary of Textiles.

1. I highly recommend this dictionary if you work in the fashion or textile industry. I refer to it very regularly and often use it as back-up when writing fabric descriptions in marketing material. The references are up to date and include many branded yarns, manufacturing techniques and fabric finishing terms.
   
   5 ***** Worth buying



2. We work in the fashion industry, and this dictionary is very useful w/ lots of words. A great help anytime! Great price, too, @ Amazon!



3. This book is great. I don't think I've ever gone to it and not found the word I was looking for. I wish it had a bit more pictures of some of the fabrics and such. But still, it is very good and there isn't one week that goes by that I don't reference it for one reason or another. I especially like that it offers origins of some textile words which is always interesting and helpful to know.



4. This is a great unique book for all textile related persons, it gives in details the perfect meaning of all the words used in todays textile field. I think this book is must for all textile related persons.

No comments about Chagall and the Artists of the Russian Jewish Theater (Jewish Museum).

5 comments about How to Identify Prints, Second Edition.

1. Bamber Gascoigne's "How to Identify Prints" is a comprehensive, yet detailed analysis of the various types of works on paper. As other reviews indicate below, it covers the entire field of works on paper. For appraisers, dealers and collectors, it is a "must have" for your reference library. As an appraiser, I agree with another review on the book that indicates that the book is a little light on woodblock prints. However, woodblock printing is complex enough to support its own books, especially when discussing Japanese Woodblock prints.
   
   Even with the brevity of the woodblock section, this book is still the best overall print reference book I have seen. It uses a logical approach to educating the reader, and allows him or her to progressively expand his or her knowledge as they work through the book; it builds a foundation, and then adds to that foundation. I only wish I had discovered the book years ago when I was just beginning to learn about prints! For beginners to connoisseurs, this is a fabulous reference book.



2. This book is found in the printrooms of most galleries and print collectors as it is a precise and concisely written text which explains the complex processes of printmaking. It clarifies the sometimes baffling differences between printing families and the creative techniques involved in making a print such as the subtle visual difference between an etching and an engraving. The book is illustrated throughout to assist the reader to identify printing techniques, characteristics and attribution marks used in Old Master prints through to those made in contemporary times. This reference text would appeal to anyone fascinated by prints and provides a new vocabulary for those who want to know more about the interesting visual variations possible in the world of the print.



3. I almost said "for the beginning print lover," but even the pros might want occasional reminders about obscure processes.
   
   This book displays an incredible number of processes and variations. Even within etching, there is standard intaglio process, relief etching, intaglio so deep it's amost relief, spit-biting or open-biting - well, a very long list. This gives an exacting look at the marks specific to each process, and gives good diagnostic descriptions. A special strength in this book is the differential diagnoses, the questions to ask that help distinguish two very similar kinds of marks. Every point made in the text is illustrated real samples, and that makes for a heck of a lot of illustrations.
   
   I have almost no quibbles with this text. There are just a few minor points that Gascoigne could have brought out more clearly. First is that Japanese woodcuts are under-represented. It's a rich tradition with a number of distinguishing features: gradations of ink hand-placed on a block, occasional use of mica for luster, and occasional use of un-inked "blind" impressions to impress texture into the paper. Second is a mark that I think is unique to drypoint: the line is often asymmetric, crisp on one side and blurred on the other, capturing the asymmetry of the drypoint burr. The split drypoint line is more famous but, in my experience, less common. I've seen it only in the most aggressively worked drypoints, such as some by Picasso. Third is a feature of some dust-ground aquatints: that the white marks can sometimes form a connected mesh around the black dots, where a spirit ground always has a black ocean dotted with white islands. I know these are minor points, and I hope you see how few there are.
   
   I'm a process nut. It's not the only way I enjoy prints, and not the way everyone enjoys them. For me, though, it really adds something to know how the maker's hand created each mark that I see. This isn't strictly a process book, and only accidentally a book of process history. It's a book about how a print looks, and seeing even more in the finest part of its looks. In the end, that's really the best reason to love a print.
   
   //wiredweird
   
   PS: A little while ago, I was given a very nice color print. It was done in mezzotint style, using burnishers to work from dark to light. Instead of a rocker-made ground, though, it had an aquatint ground. Color came from inking au poupee, dabbed on the plate. The giver was quite surprised that I read its story so precisely. Read this book, and you'll know just what I saw.



4. Back in print and updated in a new paperback edition is Bambar Gascoigne's classic How To Identify Prints, first published in 1986 and enjoying ongoing acclaim as an essential resource for any involved in identifying prints, whether they be woodcuts, lithos, or etchings. Some ninety techniques - manual and mechanical alike - are described to round out an accompanying history of prints. A lasting, classic work essential to any art library and many a general library reference collection.



5. Now in an updated and expanded second edition, How To Identify Prints: A Complete Guide To Manual And Mechanical Processes From Woodcut To Inkjet is a superb reference and self-teaching tool for discerning between manual prints, process prints, and screenprints/non-prints, whether the print in question is monochrome or color, and whether it is relief, intaglio, or planographic. 272 illustrations, 40 of which are in color, highlight the meticulous attention to detail in this excellent manual, which also covers essential aspects of printing history and the craft of printmaking. This new addition is revised with insights concerning how increasingly sophisticated yet inexpensive cheap printing processes such as quality inkjet and laser prints affect the process of identifying and evaluating printed images. A "must-read" for anyone collecting authentic prints or pursuing a career involving the identification of prints.

1 comments about Cave Art: A Guide to the Decorated Ice Age Caves of Europe.

1. Thank you, Paul Bahn, for making this book! I am planning a trip to Europe exclusively to visit cave art sites. I have been trying to find information about caves that are still open to the public, but was having a really hard time on my own finding anything helpful. My search has come to an end! This book has a wealth of information which will undoubtedly be invaluable for planning and during my trip. It covers more than 50 caves and relevant museums/centers throughout England, France, Spain, Portugal, and Italy that are open to the public.
   
   Each cave is arranged by country. It has a description of the site and what there is to see as well as the histories and interesting facts about them. Coupled with the description is a list of practical information about the site which includes:
   
   - The site's address, telephone, fax, website, and e-mail address
   - Nearest city/town
   - Nearest airport
   - Nearest car rental
   - Nearest train station
   - Nearest bus route
   - Nearest taxi or private car hire
   - Restaurants in the vicinity
   - Hotels in the vicinity
   
   Then it has a list of questions which are each answered with as much detail as possible for each site. The questions are:
   
   - When is the cave open?
   - Admission prices?
   - Storage facilities?
   - Do you have to make a group?
   - Can you reserve a place in a group?
   - Languages of the guides?
   - Length of tour?
   - Is the cave privately owned?
   - Is there a gift shop?
   - Are there WC facilities?
   - Handicapped access?
   - Is there any climbing necessary?
   - Distance to walk?
   - Level of fitness required?
   - Equipment required?
   - What are the conditions inside the cave?
   - Is it lit?
   - Is it slippery?
   - Is photography allowed?
   
   There are maps and an informative introduction to the book that explains a lot about what to expect when you visit these sites. There is also some interesting information about cave art itself. There are many full color photos of the art you can expect to see. It is apparent that great care went into creating this guide. It far surpassed my expectations. It is clear, easy to read, and up to date. I can't wait to use it to help me plan my trip to Europe!

5 comments about Underground Buildings: More Than Meets the Eye.

1. I have no training whatever in architecture or engineering, but I've always been interested, often fascinated, by unique and unusual buildings. Hall, a technical writer with a slightly groan-producing sense of humor, has put together a survey of below-ground-level structures in the United States, including private homes (whether bunkered and bermed or converted from old missile silos), schools, libraries (such as the Bradley Wing of the Los Angeles Public Library, which I was familiar with), museums, government emergency shelters (Mt. Weather and Cheyenne Mountain are both here), and corporate facilities (Kansas City is full of them). The information provided is just technical enough to make the author's point about the utility and efficiency of building below ground, and there are loads of color photos and architectural drawings. I only wish the book had been several times as thick so it could include non-U.S. structures. Maybe she'll do another volume.



2. This book is "THE BOOK" if you are looking for non-technical aspects of underground buildings. Great photos, excellent commentary!



3. This is not your typical Underground House book. The author gives examples of building underground businesses, schools, offices, storage, stores, museums, theatres, sports complexes, military facilities and residences. And explains their history and why they do or do not work.
   
   The photos are quite good and there are also some blueprints of a few underground structures. There are also two chapters on the theory and ins and outs of building underground.
   
   I think the author should have made this book more global, because it could have been titled Underground Buildings of the United States.
   
   I'll still give it 5 stars though, because I think she did a good job in accomplishing what she set out to do. I do hope she comes out with a sequel that is more global in its coverage.
   
   This book should be a must read for any architect.



4. At $29 or less, this book is being given away. This is a museum-quality book in terms of the paper, the photographs, the lay-out, and the cover.
   
   I bought this book in part because land is becoming extremely scarce around the great universities and the central business districts, and I was looking for something to help me think through how to persuade a university to let me put a building into a hill or under a playing field.
   
   This book does that. It is a very fast read, the photographs are priceless--worth 10,000 words each as the Chinese would say--and the only thing I did not find in this book were architectural specifics and photos of underlying infrastructure (pump rooms, air cleaning rooms, etc.)
   
   If you are contemplating the need for squeezing a building into an area that is down to the "do not disturb" green space, or if you are contemplating how to exploit existing mines, caverns, or other underground options, this exquisite book is not only useful as a tool for reflection, it will help you "make the sale" to skeptical others you have to get on board.
   
   The author provides a list of 50 places to visit with addresses, telephone numbers, and web sites, a fine resource section for more reading, and an excellent index.
   
   This is an all-around world-class book that is easily worth $49 or more.



5. This book has many short, easy-to-read sections about general topics relevant to building underground, and about many specific examples in the United States. Unfortunately, there is not room to go into much detail about all the examples, but this book is definitely a good starting point. Well illustrated with color photographs.

5 comments about The Art of World of Warcraft.

1. I personally am a HUGE fan of video game art books. This book has over 200 pages of wonderful artwork. It exceeded all of my expectations. It has everything from in-game graphics, to rough sketches of weapons. Some images even have some amusing notes from the artists. Again, a most for any collection. Makes a great coffee table book.



2. This book is a fantastic display of artwork. Anyone who enjoys conceptual artwork will enjoy this book. The hardback cover makes it a nice collectors item. The book itself has sketch work, as well as full color renderings, and everything in between. The amount of detail is amazing. The artists at Blizzard definately know their stuff, and it clearly shows in this book. A great gift for any fan of Warcraft or conceptual artwork in general.



3. The book I got was in excellent condition, and when I looked through it. Wow! I was blown away. It's extraordinary. Such and incredible piece of art! There is so much to learn from the artists in it, and it'll be such a great inspiration. One of the best books I have ever bought!



4. Actually I had bought the first concept book from blizzard and loved it. And when I found that it was available through amazon I was relieved becuase it was part of limited edition package. But anyhow the delievery was quick and I am pleased with the art. Alot to look at and get inspired from.



5. I've always been impressed with the artwork with Warcraft, so books like these are always a treat. Although this one didn't have as much artwork as the first artbook the released "the Art of Warcraft", it still made an impact.

No comments about Creating Meaning Through Literature and the Arts: An Integrated Resource for Classroom Teachers (3rd Edition).

4 comments about Print, Pattern & Colour.

1. Excellent overview of various print methods as well as visual stimulus
   to create your own designs.



2. Ruth's enthusiasism for color and textiles comes through on every page. Her specific advice and instructions make one get into the workroom right away and start experimenting.



3. Print, Pattern & Colour
   
   I have quite a few books on surface design, dyeing and so on, but found this book well worth buying, unlike the previous reviewer. After all, how many NEW techniques are there? The photos are sumptuous and eyecatching, techniques are well-summarised, and there were ideas in there that I haven't tried before. A good buy as far as I'm concerned.



4. Disappointing - no real eye candy or new approaches. Processes have been around for a while and their application, as demonstrated by the images in the book, are pretty ordinary. I liked previous books by this author but think this one is a waste of my funds.

3 comments about Street Sketchbook: Inside the Journals of International Street and Graffiti Artists.

1. Highly recommended to anyone who wants to see the sketchbook roots of some of the most robustly energetic public art around. If you've ever been excited by any artist's sketchbook - from Leonardo to R. Crumb -- this belongs in your collection. The format is nice too: The book's blunted page corners and cover invites browsing and leaving it laying around for friends, like a children's book for adults. (As an aside, I really wish the guy who didn't get his copy delivered hadn't given the book such a low rating. It has unfairly skewed the rating of this gem down, and it's a solid five if there ever was one.)
   
   An all-good look at art worthy of your attention.



2. There are dozens of interesting and brilliant artists in this book and the author does a terrific job of picking out shots that illustrate their processes and style. I'd recommend this book strongly because of the rarity of the pictures taken directly from artist's most personal and raw medium.



3. DIDNT ARRIVE>>>> ordered it on the 1st of November...and i've paid for it already. killer

4 comments about Leonora Carrington: Surrealism, Alchemy And Art.

1. Very nice book. Probably the best book I've seen concerning Leonora Carrington and her work.



2. This first book in English on the English surrealist, Leonora Carrington is wildly overdue. Her mate, Max Ernst, now the subject of a major retrospective at the Metropolitan Museum in New York, chose well. Carrington's sensibility is exquisite, and this new work reveals in a finely balanced and deligthfully readable way the deep nature of her contribution to one of the most undervalued of all art movements in the 20th century. Leonora is now in her 90s and still carries her laundry up many flights of stairs in Mexico City--this monograph is a welcome addition to our understanding of her energy and her accomplishment as a painter of the first water.



3. Who would have known such a wonderful artist existed if not for the work of this extremely gifted writer and art historian. In all my years in the art world, I had never even heard of Leonora Carrington. Thanks to Ms. Aberth, the magical brilliance of this artist has been brought to our attention. Gorgeous pictures and prose. Well worth it and sure to bring more collectors out of the woodwork to buy her art.



4. Anyone interested in the Art and the life of Leonora Carrington will welcome this beautiful book. Surprisingly there is next to nothing available about Carrington, and the few books that are out of print only give very little information about her and not enough illustrations of her work. Hence this book was long awaited and is certainly the most extensive book yet published about this original, mysterious and fascinating artist.
   
   In the foreword the author explains that the object of the book is two fold, to outline the artist's life and to provide an overview: "of the full scope of her work
   in painting, sculpture, drawing, printmaking, and theatrical set and costume design" (p.9). If both of these objects would have been realized this would have been an extensive work and valuable work.
   
   The biographical portion of the book attempts to give a biographical sketch of Carrington. The first chapter covers her life from her birth in 1917 in Lancashire, England, to a wealthy Catholic family, as a rebellious adolescent, to her insistence against her family's wishes to attend art school. The second chapter describes her relationship with Max Ernst, their life in France and her "induction" at the age of nineteen to the Surrealist movement. Thee third chapter tells of her war time experiences which included being separated from Ernst who was imprisoned as an enemy alien in France, being put in a Spanish Insane Asylum, breaking with her family and marrying a Mexican Diplomat so that she could get out of war torn Europe. The fourth chapter begins with her move to Mexico in 1943, her marriage to Emerico "Chiki" Weisz, about whom we learn next to nothing, and her emergence as a mature artist, which coincides with her friendship with fellow surrealist painter Remedios Varo. Aberth explains that Carrington and Varo were inseparable and saw each other almost daily for decades. They shared interests in bizarre cooking, the esoteric, alchemy, witchcraft, cats, and of course painting. A look at the painting of the two artists from this time shows a remarkable similarity in subject matter, style and colors, yet both remain distinct. It seems obvious that they deeply influenced one another in many areas. These four chapters are the most interesting of the book and read as a most improbable life story. It is also in the first four chapters were the problems of the book start to show. First of all, there is a heavy reliance on the books by Whitney Chadwick who has written several books on Carrington and on Janet Kaplan, the biographer of Remedios Varo. We are given less and less facts about Carrington's life and it becomes increasingly obvious that very little primary research, if any at all went into this book. This becomes most evident in the last chapter of the book that describes the last fifty years of Carrington's life in barely five pages. The readers can also ask themselves what happened in this period when she became recognized internationally as an artist. Did she remain married? Did she continue having mental problems? What did she do after Varo died? Why did she move to the US? Why did she return to Mexico? How did she deal with success? Was she re-united with her family?
   
   The book reproduces about ninety of Carrington's works. Almost all of these are paintings. There are a few sculptures and one photograph of set design and costumes. Only a few paintings are described in any detail, so the readers have to fend for themselves to try decipher the symbolism and meaning. Most of the illustrations are of fairly high quality, but some are too small. The last photograph of Carrington dates from ca. 1960, so we have no idea what she looks like today.
   
   The book fails to deliver on both of its "objects" to provide an overview of both life and work, and in that respect it is disappointing. Very little is said about Carrington's numerous published books, which could have been used as source material to a much better effect.
   
   Still this book is valuable as it is the only book about Carrington and her art currently in print and it will hopefully attract many readers and new admirers. I can only hope that a Catalogue Raisonais similar to the Remdios Varo Catalogue published a few years ago will be forthcoming with more critical information about Carrington's work. A detailed biography would also be welcome. Despite all of my reservations, I still recommend the book highly, because of Carrington's bizarre life and interests and her exceptional original talent as an artist.
   
   Review by Walter O. Koenig