No comments about Themes in Contemporary Art (Art of the Twentieth Century).

2 comments about Primer of Visual Literacy.

1. This book is extraordinarily frustrating. Dondis has so much good information--but it's obscured by what I find to be very poor writing. I found her sentence structure difficult to apprehend, and she's way wordy. Add to that the type face used--all sans serif! There's a reason that almost all books are printed in serif typefaces--and it's not tradition, it's ease of use. How bizarre that a book that is meant to clarify and explicate the use of visual media would employ a user unfriendly font.
   
   I've tried to read this book twice, and even have used ideas that I found in that space while teaching a class on art appreciation. I SOOO wish that someone would take the info, rewrite it with sentences that actually flow, and lay it out in a readable font. Anyone up for that? In unleashing some really wonderfully illuminating information, you'd be doing the world much good.



2. This is a wonderful book that brings understanding to visual/cognitive procedures that are usually assumed to be more instinctive than evident.

   It would be nice to have this classic updated to include form and media from the 20-odd years that have passed since it was published

3 comments about Stylepedia: A Guide to Graphic Design Mannerisms, Quirks, and Conceits.

1. I recomend style pedia for simple views. If you need to study inside the design moviments, this book help you in view styles, but not to know lot about styles.
   
   I recomend to everyone. =)



2. this book gives uncommon histories of graphic elements such as "screaming type" and "show-card". very helpful in terms of usage and idea generation. I highly recommend this book.



3. The two authors have scoured the rural routes of the graphic landscape to come up with 113 interesting entries for their book, from Agit retro to Zanol. If you haven't heard of Zanol, join the queue. It turns out this thirties founded company was an early style setter in having a corporate identity for its consumer product packaging and judging from the illustrations shown with the entry they probably worked, too.
   
   The entries, as the authors rightly point out in the introduction, are their own choice for what they consider worthwhile graphic styles from the last hundred years or so. I thought the selection, at times, seems rather esoteric. What styles can be derived from the entries on Mini mannequins (seen on shop counters) Chinese calendar girls or Ripley's Believe it or not? Here they are though and it's certainly worth reading about them. No doubt readers will have their own worthwhile contributions to graphic styles missing from the book. Mine would be: Champion Papers 'Imagination' paper sample books, Twen magazine (the very influential German title) Blue Note record covers, Pentagram, Photolettering Inc and the USA Today weather maps.
   
   The book is nicely designed but rather text heavy. I would have preferred more illustrations in a book dealing with essentially visual themes and I wish the authors had gone to the trouble of including, where practical, a suggested book at the end of each entry. There is a bibliography in the back with titles that have a generalised overview of the subject. The word conceit in the title blurb is very apposite because the book has its own conceit: finger tabs in a book of 336 pages. With so few pages the tabs have to be in three stages making it needlessly difficult to flip over the pages while using the cross references, so it gets four stars.
   
   I found Stylepedia an interesting read for revealing lots of historical background to graphic styles that are taken for granted today. A book that complements it could be The Dictionary of Graphic Images by Philip Thompson and Philip Davenport. A reference guide with over 1500 commercial graphic items mostly designed in the forties to the seventies. Like Stylepedia it is arranged alphabetically with captions and designer credits.
   
   ***FOR AN INSIDE LOOK click 'customer images' under the cover.

5 comments about Photography (7th Edition).

1. This book was really resourseful when i was looking through it. It has alot of pictures, and tells a few things about the picture, and what kind of camera that they used.



2. I've received and read the book, and enjoy the content. However, compared to many other books in the marketplace, I'm having a hard time comprehending where there is over $100 worth of value. It seems that everytime something is written by an academic and presented as a textbook, regardless of the content or quality, that the price is jacked up by 3 to 4 times what it is really worth. I'd suggest looking for a used version of this book unless you really want a pristine copy to show off to others.



3. This book is pretty comprehensive. I am using it for a basic photography class. It covers a lot of subjects, but none in great detail. The newer versions actually covers a bit of digital photography as well.



4. This was a required text for my Photography 101 class and well worth the price ($20 less here than at the college book store). This book covers all the basics of photography tog et you started and the information is clearly illustrated by accompanying photos. This will be one I'll definitely be keeping as a reference.



5. This is the book! If you are studying for the CPP test this is the one. It is comprehensive to a fault. The explanations of photo concepts are complete and easy to understand. The only problem is that the book is so big that it is falling apart. Wish me luck on the test!

5 comments about The Geometry of Art and Life.

1. The Geometry Of Art And Life by Matila Ghyka is an interesting book that pertains primarily to ancient information regarding the fiine arts. Geometry unites all aspects of this book. All aspects of geometry are utilized to manage the organic and inorganic in time and space.



2. This short paperback is a hidden gem. It contains so many insightful pithy clues about life, along with easy to understand mathematical paradigms. Every item will have you saying is this math, is it philosophy, is it religion, or is just true in many, many ways.



3. This book is a unique one that combines mathematics with art and somewhat quantifies that which we call beauty. The mathematical concepts presented are not difficult. If you've been exposed to algebra and geometry you should have no trouble. What will definitely help is having studied art, and in particular, art appreciation. With no real feeling for symmetry or form you might not appreciate this book as much as you could.
   
   The book's central focus is to show that patterns, themes of symmetry, and spirals discovered in living forms and living growth are the same themes of proportion that were used by Greek and Gothic architects. It also shows that the proportion known as "The Golden Section" appears to be the principle invariant. The Golden Section's algebraic and geometric properties are discussed, as are its role in biology and in aesthetics.
   
   This book is very accessible, but it is not something you will want to read quickly cover to cover. Instead, the best way to read this book is to read a short section, make sure you understand the underlying mathematics, and then think about what that particular section of the book says about the application of that mathematics to the arts or biology before returning to the book for further reading.



4. Ghyka attempts to show the objects in nature are not randomly formed; he begins the with the concept of ratio and proportion in the plane; the golden section; and then to the regular polygons and geometric shapes in 3 dimensions. Then he rambles onto hypothesizing why an architecture design may seem striking. In doing so he makes gross assumptions which are to the point of being forced to fit his theories. The basic concepts that he delves; one can familiarize oneself with by a quick reference on the internet. Hence I do not recommend spending the time and money to read this book.



5. I'm not a mathematician, but I still found this book to be readable. It is largely focused on the Golden Section (Phi) and related proportions, including Fibonacci numbers, sqrt(Phi), etc. The explanation of how to derive this number is clearly explained in the first few chapters. The following chapters show how Phi is related to most things we see everyday, including architecture, 5-point animals, crystal latticies, art, and music. This book is quite old, so the illustrations seem rather antiquated. Nonetheless, the quantity and clarity of these illustrations are impressive.

   The writing was clear, but the concepts were occasionally difficult to understand. The author made mention of "gnomic" growth a number of times without really giving a single clear definition. Also, I felt that a number of the tie-ins between Phi and architecture were a bit of a stretch. Most likely you could overlay any graph over a blueprint and see any proportion you'd want to see. At any rate, this book has gotten me interested in this subject, and I will be looking for more books on Phi.

5 comments about History of Modern Art: Painting, Sculpture, Architecture, Photography (5th Edition).

1. The book seems intimidating due to it's size, but it is interesting and you'll learn alot about the topic.



2. This was excellent. Very comprehensive, to say the least, and very well organized. This is my only book from art class that I actually sustained my interest! Definitely worth it.



3. It's very helpful for the class that I'm taking this semester and it's a good book to have because it's very informative and easy to use.



4. History of Modern Art is a well sructure resource textbook for students who are seeking information about Contemporary and/or Modern Art History. Great grasps of information on every page is a journey through space time and the people who made this possible in the 20th century . You will never find a better textbook on the market.



5. I used this book in college for my two course survey of Modern Art. I absolutely loved the book and when I found out there was a hardback edition I had to have it. Let me tell you, getting it for 66 bucks is a STEAL! I saw this book brand new in a brick and mortar store and it was 110 DOLLARS! If you are at all interested in 20th Century Art I highly recommend this book as a general overview. This was one of the FEW books I read in college and actually enjoyed it.

5 comments about Anatomy for Fantasy Artists: An Illustrator's Guide to Creating Action Figures and Fantastical Forms.

1. This book is okay and has some good information, but some of the artwork isn't very awe inspiring. Not too bad though.



2. This is a good book if you want to learn how to draw action figures that are real life people not creatures



3. Thankfully, I was able to browse at this in my public library before buying it. The title doesn't reflect on the actual book. While the illustrations were clear and quiet a few were lovely the book failed to explain how the artists used anatomy and how they determined how to compose their figures. for an anatomy book, this falls horrible short. There about a handful (literally one handfull) of pages with live models. The images are of various sizes and almost on top of each other. More annoyingly for what few live model poses we are given the best are put inbetween two pages. You'll have an annoyign crease righti n the middle of the picture. It's not that hard to fill in the gaps, but certain details are lost from this type of placement.
   Also when going into skeletal structures he might have used a real model skeleton instead of sketches. You don't get an adequate understanding of dimension with a pencil depiction alone. Also, most of the book is dedicated to the common characters of comics (e.g. the barabarian, the female robot, Muu the fatman, Brutus the hulk). All these characters really show are sketches at different angles with bullets with brief common sense info.
   Plus the anatomy of most of the characters arenot really explored. It would have been nicer had they compared the exagerated features with realistic features.
   Overall , despite some talented artists' contributions, this book fails in teaching anything abotu anatomy.



4. This is not only a great book but a wonderful guide on drawing great action figures. There are many tips and tricks I recommend in here and it not only looks at just one detain but many perspectives in drawing fantasy characters.



5. Get Drawing and painting Fantasy Figures and/or Fantasy Worlds first. This book is good if you can't get enough of source/guide/inspirational material.
   
   Of Course, R. Crumb said "Wanna know how to draw better? Draw. Wishing won't make it happen!" and that's the first and best advice. Still, I have all these books I mentioned and do not regret my purchase!

5 comments about Klimt (Big Art).

1. This is truly a wonderful book. The paintings are beautifully re-produced and printed. The analysis is in depth and fascinating. I would like an index of all the works contained in the book. Perhaps individual critical analysis of each print would be better, but it's difficult to criticize a book selling for 10 dollar!
   This book was originally published in 1990 so it does not have the current developmets of Klimt's art: such as the 2006 auction of Adele Bloch-Bauer I for 135 million dollars - the highest price ever paid for a painting. A B-B I is hardly critiqued in this book. But overall, the book is a must read!



2. My disappointment comes from the printing process rather than the content,
   which is chock full of color plates of Klimt's paintings and some great
   photos of Klimt's life and times.
   All of the color plates and the photos are printed soft-edged and the wonderful vibrant golds are somehow absent. None the less, it is a lovely
   book with a very good text and a marvelous range of his work.



3. First of all, the book is not covered as shown in the amazon photo which shows the famous "kiss" painting. The book, apparently updated in 2006, shows a cover photo of Klimt's famous Danae (1907-8) oil on canvas painting. I think this cover is more provacative and more organic and softer than the famed Kiss painting which reveals a couple entwined in gold looking rather stiff. Danae was certainly a better choice for the cover. The book is definitely not written for the casual art reader. It is written with extreme depth as what I'd expect from a historian of the arts on a university research level. As verbose as it is, it has plenty, if not hundreds of photos of the famous works, including all of Klimt's paintings and lesser known sketches. The author discusses several of Klimt's famous paintings in depth and reviews various critics of Klimt's time period as well as Klimt's personal opinions and struggles. Culture, politics, and various movements in the arts is also discussed at length. This book is too deep for the casual browser or reader but makes a great coffee table book if only for the pictures alone. It is a high quality book and the pages are high quality (acid free) and glossy. The painting photos are rich and fully colored, better than other books I've bought on Klimt (where the precious gold paint is reduced to lousy brownish or greenish prints). The gold tones in this book, so famous in Klimt's work, are reproduced extremely well as well as the other vivid colors so characteristic of Klimt's work. It's a bargain to get this book at the price.



4. Over the years, I've only looked at Klimt from the edges - that is, I was aware only of the more popular poster images you couldn't help seeing here and there. But this book is a big revelation to me. Such genius! He is truly amazing, and I had no idea of the range of his thought or the depth of his talent. He was a superb draftsman, which enabled him to take risks with the figure because he knew exactly what he was doing.
   
   A well-designed book - a complete visual pleasure, and fire to the imagination.



5. Spend more. get a bigger book. the painting are worth it.

5 comments about The Art of Naruto: Uzumaki.

1. I am a fan of Naruto, which is why i bought this book. I also love to draw, etc. Although this book doesn't really teach to how to draw the characters, it is still a great book to just go through and say, "Wow, that's a really great cover!"
   
   So, If you're a fan, then i recommend this. If not... then... go find something else...



2. This is a perfect item to be added to your collection if you are a Naruto die-hard fan. I said "die-hard fan", so if your just one Naruto fan, this one is probably not something you should quite consider to buy, since you'd think it'd waste your money later on.
   
   This one is a collection of previously published Naruto arts, whether in Shounen Jump, tankonbon covers, and such. So if you want all those in one book, so this is for you.
   
   All in all, I think this book would make a Naruto die-hard fans and Naruto fans under 13 happy. Period.



3. I was impressed with both the quality and contents of this book. Mr. Kishimoto not only provides readers with amazing art (colorful and huge!), but also a variety of thoughts and concepts behind each of the 75 drawings (how they relate to the overall Naruto world, technical art details, etc.) There are also bonuses: a detailed description of how the cover art was made, a gallery (small, greyscale) of Shonen Jump covers featuring Naruto, and interview material. Believe it!



4. Short and sweet: If you like the artwork of Naruto, you won't be disappointed with this book. I especially liked Masashi Kishimoto's walkthrough of the cover art and his interpretation of squad 7 as a rock band (although I would have made Sasuke the guitarist as the guitarist and singer are always vying for the camera's attention but that's a personal choice). Several of the pieces would be excellent poster fodder. Highly recommended!



5. My daughters (pre-teens and teens) likes these types of books. It's not my favotite but it's theirs. And to encourage their love in reading, I do allow them to read some books of their choices in additional to the more academic choices books.

5 comments about Life, Paint and Passion.

1. This book is a must for those interested in the creative process. It is clear, inspiring and very worthwhile for artists of all mediums even though the focus is on painting.



2. I've never been drawn to the concept of "process painting" before. It just seemed too simplistic as ordinarily presented.
   
   But Michele Cassou's ideas - based on decades of hard-won experience - about what encourages the creative flow and what constricts it are profoundly illuminating, detailed and sophisticated. And her sparkling observations are presented in the most enjoyably simple and down-to-earth way imaginable, to boot!
   
   For the most part, each chapter begins with an observation about what creates a block to creativity and what releases it. It then continues on with a vignette from an interaction Michele has had with a student during one of her workshops in which she helps the student release the sort of block just discussed.
   
   Her solutions always involve having students ask themselves a question specific to the block they're encountering. For instance, if a student feels all dried up and as if she simply has no inspiration for a painting, and then bursts out, "It's so childish!," Michele will ask her to question herself: "What would I paint if it didn't matter how childish it was?"
   
   Quite simple and direct. And Michele's questions work with the precision of a scalpel in releasing constricted creative energy.
   
   Through these vignettes, Michele reveals numerous presuppositions, both conscious and unconscious, that we hold about what we're allowed to feel and to do, and how they strangle our creative flow. Even more important, she reveals the way out of each of these strangleholds.
   
   This is not just for painters; it's for anyone who feels they've encountered significant creative blocking or who would like to encounter their own creative core.
   
   This book is simple but far from simplistic, and altogether delightful!



3. Painting, although the medium meant to be the subject for this book, is only a catalyst for inspiring creative thought in any venue. As a writer, I found it easy to replace writing for painting in many portions of the book. One part in particular, many creative people of all genres can relate to where it states: "If you find yourself overwhelmed by your emotions, make your brush move faster then you thoughts. It will help you disengage from the drama." "Brush" can easily be replaced by "pen" and work as effectively.
   
   If technique and structure are what you are looking for, keep looking. This book is for those that want to create freely and be released from the guilt, judgment, and conditioning of traditionalists.



4. This is an inspiring book on letting go and letting art come from you without your internal critic or judgements on meaning or technique. It is about Learning from Art; and letting art take you where it will. It is about discovery and play -- ultimately it is about how to get into the Process of Creating.... and stop worrying about the "product"
   
   This is one of those books that I read and instantly thought of five friends I wanted to share it with. And it also helped jump start me to believe in making what I make; not to worry if it is too dark, too silly, too profane, too honest and vulnerable; and not to try to direct it to what I think it is supposed to be.
   
   The book contains short chapters about challenges and personal accounts. It can be just as beneficial to open the book to any page and read what is there as a jumping-off spot. It does not tell you "how" to create your work -- but it shares why, and it also shares methods for loosening the restrictions and the blocks. "What" you create will come from you.
   
   Sometimes living in the world is a challenge with all the other concerns and critiques of other people...but if we keep growing and learning and making/creating -- it can keep us going! Art is a respite for me; it is what gives me meaning and value in my life, it is what gives me energy. This book puts these ideas in an inspiring perspective with some humor, some philosophy, and some common sense. Don't let anyone keep you down -- and don't keep yourself down!
   
   Artists, writers, educators, and anyone who loves any of the arts would benefit from the viewpoint of this book. No experience is necessary, just the desire to create for the fun of it -- for the play and joy and experience.



5. The title says it all. I would recommend this book to those of us that call ourselves artists, aspiring artists, or anyone of any age.
   Great Book!!!!