5 comments about The New Scratchboard.

1. Should this book be titled The New Scratchboard? It really is'nt what I would say scratchboard is about, although it has plenty of nice color artwork done on claybord it only has 20 pages on scratchbord and thats using the authors technique of value scratching not high contract scratchboard that I like. (personally I dont think his stuff is that great) If you looking for a book on scratchboard dont get this. Buy Mastering the Art of Scratchboard. If your looking for a book on claybord then be my guest and buy it.



2. I must admit that, after I recived my book,I thumbed through and was amazed at the artistic renditions that I saw on the pages. I was excited to delve into The New Scrathcboard and learn the techniques and practices that helped to produce such fine work.
   
   When I actually started to digest the content, I soon realized that this book was not really about my favorite method(scratchboard), but more about the medium Clayboard. I have always thougth of scratchboard as a type of art or technique rather than a medium on which different artistic styles can be practiced.

   There is actually very little emphasis on scratching in this book, other than the acknowledgement that scratching brings out the light details on various pieces. While impressive, the content does not instruct to the level that I was hoping.

   The message of the book can be summarized very simply..
   "If you paint in oils, try this on Clayboard. If you paint with watercolor, try it on Clayboard.If you use pastels, try it on Clayboard. If you use most any medium, try it on Clayboard, which by the way, can be coated or uncoated with India inked and scratched away to reveal highlights."

   Overall, the book is very colorful and inspiring. It may get the juices flowing to try new methods on Clayboard, but it does not live up to it's title. I would rename the book "The Versatility of Clayboard".




3. This is a wonderful book for experienced painters with that want to expand their horizons or for anyone who wants background information on clay-surface techniques. It shows how a wide range of painting and drawing techniques can be used in conjunction with scratchboard techniques to create a stunning array of results on these very versatile surfaces.

   The book starts out with background information on clay-coated surfaces including history, and the types of surfaces and their characteristics. It then covers application and scratching tools. A basic vocabulary and an overview of various mediums that can be used on them are also here.

   Several sections highlighting different surfaces and mediums follow. These include ink-coated clay surface, India ink on white clay, color medium on white clay and printmaking with the clay surface. Each section includes at least one demonstration of a work in progress from start to finish. The printmaking chapter is the largest and includes eight demos. These demonstrations are meant to showcase a general technique rather than create an identical copy of the work.

   My favorite part of the book is the beautiful artwork throughout. I may even buy a second copy to cut out and frame some of this vast array of gorgeous art. Captions for each piece include artist, title, size and a basic description of techniques used. My favorite is "Madame Butterfly", a whimsical piece that combines acrylic airbrush with scratching techniques. I also loved the many black and white wildlife images.

   There is a great material resource directory and a helpful index in the back. I admit I have not really tried any of the techniques shown here. I think they are a bit above me as a beginning artist. I would definitely buy the book again though just for the example images and the inspiration they provide to encourage me to develop my own skills.




4. I bought this book online, without having physically seen it before. For this reason my first impression was not the best. In fact, at first glance it didn't appear to contain any scratchboard work at all. Scratchboard, to me, is high-contrast black ink and white clay, with the possibility of color after the black and white has been rendered. You won't find this book geared to my definition. Chapters 3 and 4 contain the majority of the "black and white" pieces. Chapter 3 is small and deals pre-inked clay surfaces (like Clayboard Black). It has a few examples of the traditional scratchboard look, but most of them have color added. Chapter 4 is larger and deals with applying india ink to the white clay surface. I have to admit, there are some really nice pieces in this chapter, but rather than looking like scratchboard, they tend to look more like ink and wash. My favorite is the one mentioned in the main review, with four ravens dancing on a fallen totem pole. Very nice.

   A careful look does reveal some nice "traditional" scratchboard pieces done on Essdee Scraperboard, but they are few. This book is not about working with Essdee Scraperboard, it is about working with Claybord. Strangely enough, there are pieces that have no scratching at all, including some excellent contributions by Stephen Quiller. I think the book is poorly titled. It should be called Claybord: Clay-Surface Techniques and Materials for Today's Artist. It was written by the inventor of Claybord, and is essentially an instruction manual on how to work with a variety of media on Claybord. I don't have a problem with a book on Claybord. Some might even argue that Claybord IS the new scratchboard. Fine, why not put Claybord in the title? I just think the title should be descriptive of the book's contents.

   Since the overview of the contents is explained in the main review I won't go into too much depth. Charles Ewing explains his own development as an artist, his discovery of scratchboard, and the needs that drove him to create a new product (Claybord). He never claims to be a traditional "scratchboarder" and in fact, he says "By traditional scratchboard standards, I was far from being labeled a purist then, and I'm afraid the little purity I had has further degenerated in the intervening years". This book is about very untraditional methods. He does go through a history of using scratches for making art, the development of scratchboard, and an explanation of clay as a surface for making art. He goes on to demonstrate at least some of what is possible with a clay surface. The techniques are well explained and the writing flows well. This is a "picture" book so I have to admit I haven't read it word for word.

   Basically, if you lose the expectation that you are going to learn about traditional scratchboard this is a pretty nice book. If enjoy experimentation and the exploration of media and surfaces, you will be happy with what you find. On the other hand, if you are looking for traditional scratchboard instruction you would be much happier with Ruth Lozner's excellent book, Scratchboard for Illustration. It's now out of print so good luck finding it.




5. This book is awesome in not only covering the little known subject of scratchboard art; but in the quality of artwork, and the highly informative and lovely presentation. A must for anybody who loves to draw and is curious to try the new changes in scratchboard as a professional art panel. Enough info & inspiration for a long time. Good for both beginner and advanced artists.

1 comments about African Art in American Collections.

1. This is not a coffee table book in that there are no pretty full page colour pictures - everything is in black and white and generally quite small. However, for anyone familiar with African art who wants an exhaustive catalogue of the range of works available, this is an invaluable book - luckily, I had seen it in a book shop, so I knew what I was getting. Moreover, many of the pieces are major works or at least of significant aesthetic quality, which cannot be said of most published groupings of African art. Just make sure this is what you are looking for. Now, a full color version of this in two volumes with full page reproductions, that would be worth waiting for.

2 comments about Video Game Art.

1. The trouble starts early. There is an apologetic preamble which states that the author(s) would not dedicate precious space to titles that which are well known and well documented beyond the gaming community. This is an enormous assumption about the general public's knowledge - both of video games and more-so it's history of design. Many people that have heard of these games or have seen their children watch the TV-spinoffs, most likely would not be able to identify what the games actually look(ed) like.
   
   Even though Mario, Zelda, Pokemon, Donkey Kong, Defender, Asteroids, Missile Command, Frogger, etc. are mentioned briefly there are no images of these classic games for us to (a) review and recognize, and (b) learn from. If this is supposed to be a sort of retrospective of the graphic art of game design (this is not about studies of techniques for rendering) then why not show some of these all-time classics as well as the 'new-time' classics? The latter are better represented but some of the choices and omissions are rather questionable. The brief smattering of 'classics' that are shown tend to represent more human and figurative character styles in games rather than 'iconic' which to me lacks in breadth of representation.
   
   Beyond this, much of the work - but not all - feels and looks rather 'same-y' to me. Lots of brooding dark scenes and characters inspired by countless horror/goth/fantasy masters. When there is mention of games that are actually considered contemporary-art on display at world-famous museums, such as "Rez," -- we are not shown ANY images of these because space was taken up by two nearly identical renderings of Lara Croft in the same spread. At this point one has to ask oneself: what was the author/picture editor thinking?
   
   For all the long-winded talk in the intro there is little to show us where the industry came from versus where we are now. And from what I can tell, there is absolutely no mention of the explosion of games and unique designs being done in FLASH - arguably one of the largest and least expensive environments for making accessible games and game 'art'. Furthermore, all the games covered and discussed (that I can tell) are from large corporations and studios. What of independent developers?
   
   My biggest problem with this book was the editing - particularly with regard to choices of art. Far too many examples if things that look similar versus examples of unique design concepts and forms. Very nice printing, some nice layouts, and even some interesting topics are raised with relation to character concept, versus form, versus environment - but I would not recommend this for critical graphic design, "art" analysis, or a balanced representation.



2. A very nice book. It goes a long way in demonstrating both the depth and breadth of this newest of visual mediums; treating it with the respect it deserves. There is a lot of work that goes into creating the dazzling visuals many gamers may take for granted, or worse, criticize in ignorance of the technological limits game artists work with.
   
   I must confess I am biased as I am one of those artists toiling in the game development business. One of my images and a substantial quote of mine is used in the text of the book. Sadly however, credit is not given to me or any of the nameless, faceless artists whose work is so lovingly showcased. As a game artist, I would love to know who created this work both for my personal edification as well as for reference for future hiring potential. Obviously, some images represent the work of many artists and programmers, however, a large amount of the work included in this book was created by individuals who deserve credit. What crediting there is, is given only to the marketing executives and companies who delivered the work to the author. For all of its effort to showcase the artistic merit of video games, this book fails to recognize those who create the art, only crediting the corporate entities who paid for it.
   
   Still, a worth while buy.

1 comments about Prado - New Edition.

1. Every picture is in color and many have a few words about the painter and the work of art. Covers both the "Spanish Collection" and the "Foreign Collections". I was particularly interested in the works of Bosch in the "Early Netherlandish and Flemish Painting" collection. The reader learns about the the history of the times as well as the things to notice in the paintings. The book is too heavy to carry while traveling, but it's just right for preparing to visit the Prado which is what I'm doing. I have the edition from Scala Publications Limited, reprinted in 1998. Every page is European art lover's delight.

1 comments about Fresh Techniques for Rubber Stamped Cards.

1. This book is my go to book for inspiration when I'm needing a fresh idea. It's easy to look at their cards and apply them to your style. I have 30 books on card making just for that reason, fresh ideas, and none compare to the variety and ease of translating to your style as found in this book. Nothing in it is weird that you wouldn't want to try either.
   
   I still have a few more ideas to try, in my colors and patterns and pictures, of course. For instance, I haven't tried bleaching yet and their examples look nice.
   
   Although it is titled for rubber stamped cards, I haven't used my rubber stamps yet to make one of these cards. It's very easy to make similar background papers and focal point pictures on the computer and maybe use a big paper punch for the focal shapes. I sometimes put clear embossing liquid over the focal points to make my own shiny glassy like sticker. I even started taking pictures of all my cards before sending them to start a collection of my own favorites.
   
   The pages in the book are similar to what you see on the cover, two or three examples of the same technique. This makes it very easy to apply your own imagination to their samples. I have to say this book is better than they describe. This is a very good book for the beginner or seasoned card maker and would make a much appreciated gift for either. A must buy for your own library or a perfect first book to get you started.

4 comments about Tiffany Silver Flatware 1845-1905.

1. This is the Bible for Tiffany collectors but it also has a history of the purpose of each piece of flatware.



2. For all silver lovers, not just Tiffany lovers. Beautiful book, beautifully produced. Pictures could not be better.



3. This is a terrific book! It covers the complete spectrum of Tiffany silver flatware from 1845 to 1905. It's lavishly illustrated with photographs, diagrams, and original pattern drawings. It covers the full-line patterns, the not-full-line patterns, and the custom patterns made for the likes of the Vanderbilts and the Hearsts.

   The book breaks the patterns down by designer: early pieces by retailers Polhamus, Hebbard, Gorham, Moore and others; the major designers Edward Moore, Charles Grosjean, and Paulding Parnham. It shows the various place pieces in standard patterns, as well as covering the extensive amount of fabulous and rare serving and other odd pieces (how many of you own a scallop serving fork?) There are also several useful appendices, including: Flatware Terminology; Glossary of Technical Terms; Tiffany Flatware Markings; and a Tiffany Chronology. As well, a thorough index makes it easy to find patterns or pieces you are looking for.

   All in all this is the perfect book for the collector of this wonderful silver. It does not contain pricing information, which is a good thing in this day and age of online auctions, as such pricing info is often outdated by the time the book reaches the press. The only problem I had after reading it was that I wanted to own everything in the book! Don't hesitate, buy it!




4. This book is a superb work. The authors have filled a major void in the literature concerning the history of American decorative arts. The quality of the research and textual insights make this book essential reading for anyone interested in Tiffany silverware or the latter 19th century of American craftsmanship. The photography is so magnificent that I repeatedly find myself leafing through this book to admire the beauty of this flatware of a bygone era. A great read...a beautiful coffee table book...a classic in every respect.

2 comments about Ballet Stars of the Romantic Era Paper Dolls in Full Color.

1. This is one of Tom Tierney's prettiest and most feminine books. The plates are worthy of being framed, and I'm sure that most aspiring ballet dancers would love to have them on the wall in their rooms.
   Until I bought this book, I'd only heard of Lola Montez, but more for her exploits than her dancing. Reading the notes accompanying the dolls was a fascinating introduction to the ballet world of the nineteenth century.



2. I can't imagine a more painless way of learning about 19th century ballet than Tom Tierney's Ballet Stars of the Romantic Era. True to history, the four ballerinas have the matching costumes they wore for their famous Pas de Quatre -- when all four shared a single stage. Careful details include Marie Taglioni's trademark pearl necklace: she thought her neck was too long, and always wore a pearl choker to disguise it. The four ballerinas share a partner, dancer/choreographer Jules Perrot, so there are five dolls in all. My dancer daughter has had these paper dolls for years, and still treasures them.

1 comments about Modern Chinese Scholars' Rocks: A Guide for Collectors.

1. Kemin Hu is truly one of the experts in this field with a real passion for sharing her knowledge and experience in appreciating scholar's rocks, both traditional and "modern".
   
   Her new book provides many practical insights into rock types in an easy to read style, with a light touch on the broader cultural context of scholar's rocks. For deeper insight into the history, philosophy and aesthetics, I recommend her other books.

No comments about At Memory's Edge: After-Images of the Holocaust in Contemporary Art and Architecture.

No comments about Design Dimensions: An Introduction to the Visual Surface.