2 comments about The Breakthrough Portfolio.

1. It is wonderful to have such a practical guide available to us. Trying to look professional and show off your work can be a real challenge when we are first getting started. My daughter who graduated from art college recently got this book and it has been a huge help to her. It is nice to have the hands of experience involved in this important aspect of both applying to schools and getting work. Thanks!



2. I had no idea how to present myself, or how to put together a proper portfolio. When I was applying for schools and now, when applying for jobs, I was having difficulty getting noticed. The tools in this book helped me land an awesome creative job... yeah no more restaurants. The book comes packed with photos... great for me since I'm not a big reader. And comes with a handy CD, for the computer savvy. I wish I had this book when applying for colleges, and then I might have gotten into the college of my choice.

1 comments about Painting Missouri: The Counties En Plein Air.

1. This book is a treat for any Missourian. It not only has great information it also has beautiful art. If you love Missouri or the midwest you will love this book. If you are an artist you will be inspired to get out ant paint.

3 comments about River of Destiny: The Life and Work of Binh Pho.

1. I may be biased being a woodturner but this is one stunning book. Of course Binh's woodturnings are beautifully photographed. But it's the story that will stick with you. Hard to put this one down. I've always been a fan of Kevin Wallace's writings and again he doesn't disappoint. Great story woven in with all the photographs. This would make a wonderful gift for any woodworker or artist.



2. This book sat on my living room table for a month after I bought it. I then picked it up one evening at 9.30pm to browse it. It was three hours later, without a break, at 30 minutes past midnight, that I put it down at the last page. What an incredible story.
   
   I am not given to superlatives, but this is a truly exceptional book, and Binh Pho's story is extraordinary. Everyone, but everyone, should have the pleasure of reading it.
   
   The book is exceptional in that it combines visual images which are absolutely stunning with a gripping narrative which would do justice to the best of any of the world's great novels. All laid out in such a well-integrated way that the images and text flow together seamlessly. It was the quality of Wallace's writing which kept me glued to the page for three straight hours, and it was the scarcely-believable story of Binh Pho's life which led me to immediately lend the book to a friend, saying "you have to read this".
   
   As stated above, the visual images are stunning. Binh Pho's art is unique, and is ground-breaking in that no-one has done this kind of thing before. He has essentially created a new art form. His use of colour is brilliant, as is the way he couples it with form and metaphor.
   
   This is not just a book for wood artists to salivate over. It will be enjoyed and appreciated by readers from any background, and will serve as an inspiration to all.
   
   And it has a happy ending.



3. The book is an incredibly beautiful book. Not only is the work magnificient but the story is such an amazing story! I just placed an order for 5 more to give as gifts to family and friends. I recommend this book to all. It brought tears to my eyes, just incredible!!

2 comments about On Not Being Able to Paint.

1. This is one of my all-time favorite books. Reading it slowly, I learned to see the interplay of relationships in which no firm line is drawn between objects, and so to see beauty. I learned that wrapping my imaginative body around my experience is essential to loving and knowing reality. The author sees her struggle to paint symbolized in her key painting of a parrot, that part of us taught in schools to regurgitate, as it angrily fights to protect the treasure of imagination which lives within us.... She compares the eagle-eye view--wide and expansive-- with the narrow focused view emphasized in our schooling.



2. On Not Being Able To Paint would perhaps be better title, Why One Should Paint. Trained as Freudian psychologist, Joanna Field all too painstakingly analyzes her rudimentary drawing and painting efforts in an attempt uncover what ultimately transpires in the process. An ancient quest for sure but depending upon one's knowledge in either the art, education or psychological fields, the road thus traveled is relatively interesting. As a professional artist, I found her all too subjective diatribes tiring, boring, even stretching the limits of believability in the sense that she was able to draw such cataclysmic conclusions from the bad visuals she produced. Her analytical training was obviously taking the upper hand as she "read" so much into own work. However, at the end of each segment, she manages to pull her rantings together for some thoughtful and genuine insights as to what took place throughout her process. Midway through, she departs from her dependence upon the sketches, begins to analyze in a broader, more universal context and salvages the book. She then rather clearly and poetically takes us through dreams, visions, both disillusion and illusion, realizing that, "the inner subjective and outer objective aspects of reality are in a continual state of change and development" and feels that a painter beautifully solves the problem of navigating these (constructed) worlds by inventing a "half-way house between the dream receiver and the external one". She then offers rather keen insight as to how the artist has to "pay" in communicability for this navigational privilege for with others able to share his/her dream, s/he is more "absolved from the guilt or defiance of common sense reality". Of course then, there is the psycho-analytic relation of visual symbols to our sexual development but here her training shines and I found myself thinking of parts of my visual practice in a new light. A colleague, well versed in the history of psychoanalytic development made the astute comment that considering the limited scope of the practice at the time, (she comments on just finishing a drawing at the precipice of WWI), the relationships she manifests are insightful and progressive. Her final strength is her exploration of how this new found knowledge should be boldly carried forth into the classrooms as it would all but revolutionize not only our thought process on the role of visual creation, but our perception of our reality as well. One is deeply saddened however as we realize how we have seemed to regressed rather than progressed in that area in our society's educational role. One absolutely maddening fact however, is the that this current edition omits the a crucial drawing to which she constantly refers on its cover; something the publisher should be taken to task for sure. She ends on a phenomenological note, finding it a pity that the word `reverie' is no longer a part of the language of psycho-pathology for painting, like analysis, provides a safe setting where one can be indulged in its grace and produce the same subsequent and ultimate effect for the person who looks at it. Great for an educator interested in the arts, probably a bit stale for the professional analysts of today and a bit too naive for those in the professional arts.

1 comments about Art and Architecture in Italy 1600-1750, Vol. 1: Early Baroque (Yale University Press Pelican History of Art).

1. This is one of the most intelligent book I've ever read about art. It's simple, complete, full of original point-of-views. In asingle word: you can't miss it if you like the Art History!

2 comments about The Visual Arts: A History (6th Edition).

1. For anyone remotely interested in art & art history, this is the book to buy. This was the textbook for an art history course I took in college and since that course, I have been through the whole book twice now and referred back to it many more times. Wonderfully illustrated, cogently organized and extremely comprehensive in it's scope, this book is a tour de force in the history of the visual arts. The way in which the authors interweave and elaborate upon the social history of a particular political, religious, military, and/or economic clime's impact upon the art produced at that time is extremely valuable and effective. I highly recommend this book for anyone interested in art history or even if you're looking for a great coffee table book to put out for discussion or for a guest's delectation. Five stars was an easy choice to make when rating his text!



2. This book is a marvelously wide-ranging foray into art as practiced from prehistoric to modern times. What sets it apart from other surveys is the care the authors have taken to place art and artists in their cultural, political, and religious context. (For instance, the economics and theology of medieval Christendom are discussed as a background that focuses more sharply the true significance and accomplishment of the Gothic cathedral.) The book also provides time charts for each chapter, and sidebars quoting primary sources and contemporary responses to art. Over 1,300 illustrations, maps, and diagrams are included. In elegant and readable prose, the authors explore the creation of art not only through time but also across continents. Art from the Americas, Africa, and the East (Near and Far) are discussed in addition to the more familiar Western European masterpieces. I consider The Visual Arts: A History to be a lucid, thorough, and wonderfully written account of the impulse toward and creation of art as it has developed throughout history and within different cultures.

No comments about Modern Masters Volume 16: Mike Allred (Modern Masters) (Modern Masters).

5 comments about Krazy & Ignatz, The Dailies. Vol 1. 1918 -1919.

1. Once again Bill Blackbeard earns the gratitude of comic strip fans for rescuing old strips from extinction. So we forgive him his erudite stretch introduction (just the facts next time)but at least he doesn't go into the nonsense of Herriman's racial background as others have done.
   The strip's size is a bit of a problem as I recall the actual newspaper size was a bit larger. Here is early Krazy Kat not yet in full flight but giving inklings of what was to come in the 20's and 30's. The gags are vaudevillian and the brick brings to mind the vaudeville hook.All in all, a vital addition for K.K. addicts and less so as an intro. to K.K.



2. The sunday Krazy Kat comics are wonderful (thank you Fantagraphics) but you can't get a real appreciation for the strip unless you read the dallies. This is a great book but frustrating that the promised follow-ups never came forth.
   
   In the meantime, I recommend finding the few books that have a collection of Krazy Kat dallies especially the "Tiger Tea" episode.



3. For those who are only familiar with the comic strips of today, something like Krazy Kat is, to say the least, bizarre. There's nothing like it today, but in this era of generally watered down comics, true originality is hard to find. This makes Krazy Kat all the more special.
   
   The hero of this strip is the title character, a cat (or kat) who lives in the desert of Coconino (or Kokonino) county in the southwestern United States. Krazy loves Ignatz Mouse, who in turn wants little to do with the feline; for Ignatz, there is no greater pleasure than beaning Krazy in the head with a brick. Rather than objecting to such behavior, Krazy enjoys it, thinking it is a sign of affection (well, he is crazy!). Rounding out this romantic triangle is Offisa Pup, who is enamored of Krazy and constantly running Ignatz into jail for his assaults.
   
   Around this rather simple idea - mouse tries to hit cat with brick while evading dog - a vast canvas is painted. This is best observed in the Sunday strips, but even in this collection of daily strips, the magic can be seen. This book features relatively early strips from 1918 and 1919. For the most part it's just Krazy and Ignatz; Krazy makes some strange observation (usually involving some wordplay) and Ignatz reacts by pelting his companion with a brick.
   
   The humor is only part of what makes Krazy Kat fun. There is also the absurd desert landscape, constantly changing even in the midst of the daily strip. Although this is also more notable in the more elaborate Sunday strips, we do get a lot of the strange scenery in this book as well. In particular, the backgrounds in the later strips in this book feature the Krazy Klothesline which takes on a life of its own and sometimes steals the show from Krazy and Ignatz's interaction in the foreground.
   
   You have to experience this comic yourself to understand it; I cannot effectively describe what goes on without really diminishing it. The Sunday strips are the best, but even the dailies are great. If your idea of great comic strip humor is Marmaduke or Heathcliff, this is probably not for you; on the other hand, if you like material that is unique and unlike anything out there today, pick this up.



4. James Kochalka has Ignatz Award bricks just lying around the house (he uses them to soak cat puke out of the carpet). For the rest of us, a few new bricks are a welcome addition. The more of Krazy Kat that gets reprinted the better. The world needs more Kat and Mouse stories, and they are here. This collection goes back to daily strips with a traditional gag line format; the drawings are more expressive than the words. But it's all good, it's Krazy Kat. And Ignatz. In a pinch you could even use it to clean the carpet.



5. Krazy Kat often gets hailed as the best comic strip of all time. The strip never gained huge popularity in its run, and by the 1940s it only ran in a few newspapers. So what accounts for its massive reputation? The best advice one can give is to simply read the strip to find out. It doesn't take too long.
   
   Numerous publishing companies have attempted to reprint the strip. Unfortunately, the undertaking seems somewhat cursed (much akin to the "Don Quixote" legend in the world of film). Eclipse attempted to reprint all of the Krazy Kat Sunday pages. They made it to 1924 and then aborted the series. Some time after Fantagraphics picked up where Eclipse dropped off. Recently, news of financial difficulties within that company have spread. But they haven't closed shop yet (the series currently extends to 1932). Now, a company called "Stinging Monkey" announces their intent to reprint Krazy Kat dailies. So far they have published this single volume (in large and small formats). As of this writing, the website "www.stingingmonkey.com", printed on the book itself, cannot be found. Has the Krazy Kat reprint curse returned? Let's hope not.
   
   Stinging Monkey's attempt represents the best attempt so far to reprint the rarely seen Krazy Kat dailies. Pacific Comics Club tried (starting with 1921, and they're up to 1923), but the miniscule size of their books (especially the 1921 issue) makes reading a headache. Though the effort remains appreciated. The initial Stinging Monkey release came out in an incredible large format which made for easy reading and great detailed drawings. Later the small format was released which remained very readable but lost some of the detail of the large format. Get the large format if possible.
   
   As for the strips themselves, this book covers the very early years, 1918 - 1919, of Krazy Kat as its own strip. The jokes spew puns, misunderstandings, and bizarreness that speak both of their time and of Herriman's skills as a cartoonist. Think of the Sunday pages presented in brief snippets. Most are gag cartoons. Some contain verbal jokes, while others remain purely visual. The strips really begin to hit their stride towards the end of the book. Here Herriman's surrealism and charming absurdism starts to seep in. All Krazy Kat fans will not want to miss these.
   
   Hopefully Stinging Monkey has not gone the way of the Eclipse series. A complete run of Krazy Kat dailies would present a boon to fans and the comic community in general. Seeing that this volume dates to 2003, though, it doesn't look incredibly promising.

5 comments about How To Draw Manga Volume 18: Super-Deformed Characters Volume 1: Humans (How to Draw Manga).

1. I have read a number of books on chibis/super deformed characters and This book is the without a doubt the absolute best. Sato gives you the history and mental atmosphere that goes into creating a real chibi. I recommend this book to young and old.



2. This book goes over the basic stuff like how to do the head,the basics of the body,expressions, the difference between a regular manga charater and a chibi(nother word for Super Deformed charater)ect. Then it goes over the details like making fat people, skinny people, how and when to use chibis in comics,so on. It was a great book besides the fact there were a few naked chibis here and there (thats why I gave it four stars) but still worth buying!
   
   ~*~Purin~*~



3. There were many different things that they talked about in this book, all regarding the drawing of 'deformed characters'. I found all that I needed to in this book, although there were some things (like some little 'in the nude' drawings) that made me lose some focus...



4. Many people think chibi (or SD) characters are a kind of an art (i.e. gag) itself or that it’s so easy to draw, there is no such need for a book on this topic. It is, but chibi characters doesn’t necessary have to be used in gag or parody works; real life mangaka do sometimes use chibi characters in their works to liven up the atmosphere, especially when funny or comical parts are involved. Also, there’re many “secrets” which makes for a highly successful (cute or funny) chibi character. It can therefore be said that chibi characters can be considered an essential part of Manga, unless of course, you plan to do an entirely “serious” manga that doesn’t involve any humor or chibi characters.
   
   This is where this book comes in. Wonderfully organized with many details, hints and tips to drawing a successful and lively chibi character, the book is both engaging and enriching from the beginning to the end. The book first explains the characteristics of chibi characters, before moving on to how to draw chibi characters’ eyes, noses, mouths and even ears. The book also touches on the actions, poses and expressions of chibi characters, and also offers you advices on how to make your character even more Q! (or cute!). Apart from the characters, there’re also tips on deforming other things and props such as background, robots, trees, and even cars! Whew!
   
   Not to forget, there is a special bonus at the back of the book where you can mix and match everything in the face to get your own chibi character’s look and at the same time, hone your skill.
   
   Although it’s mentioned here that the reading level is for ages 9-12, I would like to emphasize again, chibi or super deformed characters doesn’t just mean kids’ drawings or drawings for kids, if you ARE serious about manga drawing, chibi characters is one area you’ll need to work on as well. A highly valuable, constructive and entertaining book; I recommend this book to anyone serious in manga drawing! ^^



5. Many typical Anime character designs feature heads that are just somewhat larger than would be proprotionally correct. is known as Super-deformed characters, SD for short or Chibi in japanese exagerate this deformation in the goal of appearing cute and funny.Artists often Super Deform characters in order to show an extreme change in the characters' mood. the goal of the animators is always comedic cuteness. Often done at the punchline of a joke for an extra comedic oomph.In this book its cover all the basics you need to know about this japanese style what covers in manga.I give it five stars because there no other book i know cover such a area

No comments about Postmodern Currents: Art and Artists in the Age of Electronic Media.