4 comments about Watercolour Textures (Collins Artist's Studio).

1. 
   If you are looking for someone to hold your hand, forget about
   this book. Ann Blockley is a better painter than teacher, since she assumes you know quite a bit about watermedia. However, if you have a good foundation in painting, she can introduce you to some very nice techniques.



2. If you are familiar with Ann Blockley's flower paintings, you will be surprised by this book. (You can see a gallery of Blockley's paintings on her website.) It is no ordinary, watercolour how-to book, and the cover and title give nothing away. In this book, the author admits that she has stepped well outside her comfort zone to explore an entirely new approach to the painting process. We can be very glad that she did.
   
   The simple chapter headings give no idea of the innovations Blockley presents. There are the usual texture mediums described in other art instruction books, but Blockely applies these mediums in entirely new ways: clingfilm, salt, inks, granulation medium, bubbles and foam, gold and silver pigments, paint resist and more. The beautiful colour illustrations inspire and encourage the reader to experiment, but the text is even more important.
   
   You could approach this book in one of two ways: either you can use it for the techniques alone, or you can use the techniques to move outside your artistic comfort zone as Blockley has done - beyond what is familiar in your established approach to painting. Blockley admits that it took courage to do this publicly in a book. Any artist - of any medium - can take heart - and inspiration - from what the author shares of her out-of-the-zone process.
   
   This book has plenty of demonstrations and includes three guest artists: Shirley Trevena, Moira Huntly and John Blockley, all of whom explored art mediums in daring ways. You can google all three names and take a look at their on-line galleries.
   
   I nearly didn't buy this book because watercolour is not my medium. I am so glad I did. It's one of the best books I've come across for encouraging the exploration of new ways of artistic expression - in any medium. Better still, Blockley makes the process simple, interesting and fun.



3. Beautiful and inspirational book! I can't wait to try by myself all the examples and exercises.



4. I pre-ordered this book quite a while back and it finally arrived yesterday. WOW! Was it ever worth the wait! Every page is inspirational. I am primarily an oil painter but this book has inspired me to get back into watercolor. I must have 100 watercolor books but this is the one I would save in case of fire. What a great book!!!

5 comments about Theory of Colours.

1. Clever, original, speculative.
   
   Ideas like Goethe's are the wellspring of new fashions in thought, whether they are 'right' or not.
   
   Maybe Newton was supported by better evidence in his analysis of light and colour, but Goethe's views are a study in how the inquisitive human mind speculates on fascinating topics and comes up with answers that demand consideration and respect - whether they are 'right' in reality or just useful as ideas in themselves.
   
   This book will provide insights into how we think, not just how we explain phenomenon.



2. Very impressed to find the book as described
   either someone was very careful or it didn't get read more than once; either way I am glad.



3. Excellent



4. Johann Wolfgang von Goethe, probably the greatest of Germany's poets, was also an avid amateur scientist and displayed through his careful observations and his keen, what might now be called phenomenological, mind an ability to discern the depth of the phenomenon in question, in this case the origin of colours. In direct contradiction to Newton whose theory of colour formation, based on his earlier prism experiments and their interpretation, was the accepted theory of the time in all scientific circles and laymen alike, with one exception, that of painting and artistic use of colour.

   Goethe, being fascinated by the colours generated from the prism conducted his own investigations and found to his great surprise that Newton's theory was, if not incorrect, but rather mechanical in nature and based on an "interpretation" of the phenomenon rather than the truth as it stands. Goethe through his investigations into natural phenomena gave rise to the idea of the archetypal phenomenon or Ur-phenomenon, in this case meaning the movement or active form present in the phenomenon which gives it its character rather than some static image such as a Darwinian ancestor. Goethe noted that it is possible to actually experience the fullness of the phenomenon ie the coming into being of the colours themselves and that the human being can not only theorise in the conventional sense of Kant but can in fact truly know the phenomenon as it is. Contemporary science as it also was then does not acknowledge such a possibility.

   The book is basically a written account of experiments done by Goethe on the generation of colour in natural events and his own experiments to bring to the fore the ground of all colour generation. It displays great care in his observations and it gives a wide ranging explanation of colour in the sciences, the arts such as painting and also deals to some degree with the experience of colours in the physiological domain. It is all encompassing in its attempt to understand the colour phenomenon in all of its many incarnations. It is convincing in its comprehension of colours and yet at times leaves one dissatisfied because it lacks mathematical rigour or measurement that is characteristic of science today. This habitual way of thinking present in scientists is rather hard to dislodge even when the mind is open, the main reason for this being the hard edged practicality of such an approach.

   I would think that Goethe's book can be looked at as an introduction to his way of doing science and as a first attempt to fathom the real depth of the phenomenon which is inherent in his approach and sorely lacking in "normal" science. Naturally, this does not mean scientists themselves haven't used similar approaches, the names of Faraday and his investigation of electromagnetism and Heisenberg in his description of the limitation induced by the scientific method to the investigation of natural processes, come to mind. It is the cutting down of the original "life" present in their investigations that is lacking today, perhaps a Goethean approach can lead back to the intensification of science that is needed.




5. This was a book for a class I'm taking. It's very interesting. I totally recommend it.

1 comments about Apparel Manufacturing: Sewn Product Analysis (4th Edition).

1. This was the required textbook for my Apparel Manufacturing class. My teacher ran her own manufacturing company several years ago and told our class that no book she has read even came close to providing the wealth of knowledge available in this book. Seam finishes are explained in terms necessary to complete spec packs, including seam diagrams and stitch numbers used as standards in the industry world-wide. If you plan on putting a technical section in your portfolio or plan to work in the manufacturing side of the industry or plan on being a pattern maker, I recommend this book more than any other. It is rare that I enjoy a textbook so much, but I have read it through and referenced it constantly since the class. Worth every penny.

5 comments about Structures: Or Why Things Don't Fall Down.

1. I'm a starting-out engineer with a degree in aerospace. This is the sort of book that I would've "wanted" to read while in school. I personally haven't had chance to use 90% of what I've learned in school. But this book has opened my eyes to the root of what we do as engineers. Not something that'll get you a better grade in school. Instead, it will motivate you to really learn the most basic and important thing in engineering and to realize how important and crucial what we do at work are. 100% recommended for all my fellow engineering geeks out there!



2. The author, who worked as an aeronautical engineer during the war, was fond of asking his colleages "but shouldn't we put feathers on the wings". That his answer effected an instrument design of my own is strange enough, but it's his persistence in asking such a question well into middle age that is perhaps of higher value. It illustrates the childlike joy that marks the pleasures of engineering. In another example, a drawing of a wing feather showing the quill not centered but close to the leading edge provides a vivid punchline to the story of the development of the mono-plane. How putting struts in the center of their wings made them twist off when pulling out of a dive - resulting in the deaths of many Fokker pilots. He deepens our understanding of shear stresses through examples of form-fitting cocktail dresses made of fabrics cut 'on the bias' - heightening my appreciation both for the human form and Poisson's Ratio. That a book on structural enginnering was a pleasure to read was a surprise. That it was un-put-downable boggles the mind. He enables what we most hope for and least expect from a book: to see the world afresh.



3. I must confess I had a terrible time in the U making my degree in mechanical engineering.. stregth of materials almost made me mad.
   
   But as Twain said it, I have not let my schooling interfere with my education... and this are the books that educate.. for education can only be self-education... this is what I was after in the U and I never received it!!!
   
   I go futher with this assertion, the progress of the US (and some other advanced nations) above all the rest lies in the fact that popularizations of science and technology are readibly accesible to everyone (for all of those who want to use it, of course).. if anyone ever doubts the positive effects of globalization and the internet, I can testify that ever since I can use Amazon I can tap into the resources of knowledge previously denied by geographical barriers and help the system that produces this books.
   
   Getting back to the book, no matter what your schooling is, if you are into design and need to know about structures you cannot go wrong with this wonderful book.



4. I'M PROBABLY THE ODD MAN OUT ON THIS ONE BUT I HAD TROUBLE WADING THROUGH THIS BOOK..IN FACT I THOUGHT THE WRITING STYLE WAS GROPING AND STUMBLING AT BEST. WRITING ABOUT STRUCTURES IN SIMLPE TERMS IS A TOUGH TASK INDEED AND I'M NOT SURE GORDON HAS SUCEEDED HERE. I FOUND THE BOOK TO BE A REAL "YAWNER".
   
   FOR MY MONEY I WOULD BUY SALVADORI'S BOOKS OVER THIS. SALVADORI HAS A KNACK FOR MAKING THE SUBJECT TRULY GRIPPING READING. HIS BOOKS HAVE A MUCH MORE PRACTICAL BENT, AND IMHO THEY ARE WRITTEN MUCH BETTER, NOT TO MENTION THE ILLUSTRATIONS ARE TOP GRADE. TRY STRUCTURE IN ARCHITECTURE OR WHY BUILDINGS STAND UP.
   
   THE 2 STARS ARE FOR GORDON'S DISCUSSION OF STRESS AND STRAIN, THE BEST PART OF THE BOOK FOR ME.



5. The book is indeed good for the layman (I would even say very good), but it lacks rigour and this makes it less usable for professional purposes...
   The author wants to avoid as much math as possible but as a consequence, some explanations contain gaps.
   This book can be seen as an extra to more professional books, everybody will definitely learn something from it and it reads very well...But if you want to have a rigorous understanding of structures, you should buy another book ...

2 comments about Arboretum.

1. What a great book for sparking ideas. Byrne Makes connections to intangible thoughts in a visual medium. It is also wonderful to catch a glimpse of the creative process of one of the greatest creative thinkers of our time.



2. When TIME magazine put Byrne on its cover back in '86 and called him "Rock's renaissance man", some people shrugged it off and said "yeah, right". Well, that caption has more than withstood the test of time. I can't think of anyone who's been as prolific on so many artistic fronts.
   
   Most recently, he's been quite prolific in his online journal, which itself is a mind boggling display of the incredible range of topics constantly churning through Mr. Byrne's gray haired head.
   
   First and foremost, David Byrne's art (yes, even Talking Heads) is about design. So, as with his previous books, the first thing you notice about the book is its design. "Strange Ritual" was black with big gold letters; the idea was to make it feel and look like a Bible.
   
   Then came "Your Action World", which was huge, and had rubber covers. Not sure what the deal was on that (although a great book in the annals of anti corporatism).
   
   After that, he did a mini Bible called "The new Sins", which by and large, turned the teachings of the real Bible upside down (literally, the book itself could be read upside down or right side up, and in Spanish or English, depending on your mood or bilingual proficiency).
   
   Anyway, "Arboretum" has the look and feel of a library book on certain subjects, maybe philosophy or archaeology, or psychology, in short, an academic look and feel about it.
   
   I started reading this book by just selecting pages at random. By approaching it this way, at first the various drawings have an automatic, stream of consciousness writing feel to them. There's a 4 foot pullout in the back of the book, however, which covers a bunch of topics, corresponding to the various diagrams on numbered pages of the book. If you read the book this way, then the tree diagrams begin to make a lot more sense.
   
   On the latter note, it was Byrne who coined the term "Stop Making Sense". I always took that as "let go of reason, and let the spirit and subconscious take over". As it turns out, Byrne is a very methodical fellow. While he draws heavily from dreams and the subconscious, he prefers to stick to a fairly rigid structure in his concert tours. This aesthetic also emerges in the book, for the most part, and sort of contradicts the whole notion of "Stop Making Sense".
   
   At any rate, Byrne is indeed a true renaissance artist by any definition, and it's always a thrill to see and hear what he's up to next. If you're a long time fan, this is definitely worth buying. If you're nostalgic for a Talking Heads reunion and consider that period his finest hour, you're not likely going to enjoy much of his post TH work or this book.

5 comments about Southwestern Pottery: Anasazi to Zuni.

1. a beautiful coffee-table book on old and modern Southwestern Pottery. I would have liked a little more on the old stuff and a little less by modern potters, but it is a minor quibble.



2. this is a beautiful book the the pictures in the book are so vivid and colorful, it would make a wonderful addition to any library or it would make a great coffee table book!



3. I was impressed with the display groupings presented and the journey of the authors beginnings of his collections and the knowledge he aquired along the way. He gave good advice to new collectors. I open it daily and alway see something I missed. It's a great book to add to your collection.



4. I'd been looking for a book like this for ages. It goes through every pueblo's pottery, describing the special characteristics of each, and talks about the important potters in each pueblo.
   
   This is very well written in an easy going, non-snobish style, instantly increasing your depth of knowledge in southwestern pottery. The photographs are excellent and plentiful, giving many diverse examples from each pueblo/region/era.
   
   Highly recommended for those new to collecting. I gave a copy to my parents in New Mexico, and even though they had been doing a bit of collecting for years, they have a much better understanding of the history of some of the pottery sitting on their shelves. They love this book.



5. This is an excellent book for both the beginner or serious student of Southwestern Pottery. It gives examples of all styles, types, and designs, making it easy for anyone to understand what makes each Pueblo's pottery unique. Perhaps not as "in depth" as some others, this book is easily the best book out there today as far as explaining and illustrating the basics. It really is an indispensable guide and reference book. The authors are regular guys rather than scholars, so it is easy and enjoyable to read, and filled with great photos of their quite amazing collections. I would highly recommend this book to anyone looking for a place to begin learning about Southwestern Pottery.

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 Art for Dummies.

1. I liked his anecdotes a lot and I agree with his overall philosophy about art, but agree with others on the shortcomings.



2. My husband and I are planning a trip to Europe with our teenaged kids this summer, and I had hoped to refresh my very faded memories of the Humanities class I took in High School, and get useful info that I could convey to my kids regarding the art we will be touring this summer. Unfortunately this book is not really helping. The descriptions are all over the place - for each art style or era or artist, he highlights selected works, maybe two or three, as good examples - but rarely shows a photo of what he is describing, and when he does the b/w photos are uselessly small and grainy. It is not helpful to me to say, for example, that the two most important examples of Uppity-Up style can be found in Turkey and Egypt - and then not show the photo of them. When will I ever get to see those? It's a big deal for us to go to London! Forget the Nile! Rather, I'd love to have a listing of more accessible examples, with references to the best but inaccessible pieces in case I'm a real globe trotter.
   
   Another gripe - he spends a great deal of time early in the book telling us that the stereotypes of art are false - it's not pretentious, it's not accessible only to the rich, it's not hard to get the "meaning" from a piece, etc. Then the rest of the book is written in a very dry, scholarly style. He tells us we have to travel all over the place to see the best stuff. He also seems to brag about the pieces of art that he has had access to that most people in the world will never be able to see. What's the use of that? If that's not pretentious, I don't know what is.
   
   This book is not scratching my itch, and certainly is not helping me find ways to educate my (bored with art) teenagers.



3. I've always enjoyed looking at art, but not only had trouble with expressing my feelings, but also understanding what was going through the artist's mind when they created their masterpiece. Mr.Hoving uses wit and charm to guide his reader through a very extensive lesson in art history: from the very first cave paintings ,to the Renaissance, to Modern Art. You will also learn a lot of tidbits about art history, and about all of art's major players (e.g. Raphael, Hugo, Picasso). He even teaches you how to select art to start your own collection!
   I'd still say that the best way to learn to critique art, is to go to a museum with a friend/parent that knows their stuff, and just have them "think outloud" when they are viewing the paintings. You do eventually want to go from: "Wow that painting of that lady is pretty," to "by giving her a coy look coupled with a slight smirk, the artist was clearly trying to convey the 'I know you want me, but you can just keep dreaming,' attitude." ;) And that kind of critical thinking is a skill that can be acquired with lots of real world practice--which no book will be able to provide you with.
   Note: I had to lower my review slightly after reading about the errors pointed out by the professors. That is indeed embarassing.



4. Did you skip art history 101 in college? Do you enjoy visiting museums but when you are not with your curator pal, you are utterly clueless as to how to optimize your visit? Fortunately, this book can help!
   
   Art for Dummies is written in a very easily digestible style by the former director of the Met in New York and former editor of Connoisseur magazine. It essentially lays out the different art periods, highlights those works of art that are considered most famous and of the greatest importance (note: rather subjective as always...) and even goes so far as to display these works in color pictures. If you are a burgeoning art philomath, you may find this book a good tool for moving up the learning curve.
   
   There are also good tips on how to get the most out of a museum visit and a helpful bibliography with online material. After reading this book one will easily be able to answer the following queries without a dumbfounded look on one's face:
   
   -What are your three favorite works of art and by whom?
   -What are the 10 best museums in the world?
   -Where is Rousseau's Sleeping Gypsy housed?
   -Where was the Venus of Willendorf found?
   -What work of art did the first woman pharaoh build?
   
   A special nonlocal thanks to the friend that purchased this book for me!



5. I am a big fan of the Dummies series of books (I've read Mutual Funds for dummies when I was new to investing, anticipate purchasing Wine for Dummies, and have also read Personal Finance for Dummies), the pictures are nice, the it is easily digestable and worth the price.

   I like the little tips that they suggest. For example, the author suggests litte tricks the "pros" use when visiting museums. For instance, if one is short of time, simply make a first stop to the museum's gift shop where most often, pictures of the museum's best exhibits are on the post cards. This tells you the best that the place has to offer and gives you the heads up about what not to miss if you can't see everything.

   I thought that was a nice little nugget of information...

4 comments about The Disasters of War (Dover Books on Fine Art).

1. When I look at these prints, I am reminded of: the "contractors" whose dismembered bodies were hung from the bridge in Fallujah; the lynching postcards that were commonly mailed around the USA only a few generations ago to celebrate the murder of black men; Auschwitz; All Quiet on the Western Front; Sherman's March; the Trojan War; you get the idea. Unfortunately these powerful images are and shall remain contemporary. There is some topical political comment here, but you're mostly looking at the human condition, and with a few changes of costume and props, these prints are applicable to almost any conflict, anywhere. Good for the kids' room.



2. Consistently all things published by Dover are of the highest and most comprehensive quality technically and academically, and yet at a very low and democratic price, as if they actually wish to place high culture into the hands of the common man and the poorest person, rather than charging top dollar for instantly disposable art and airport lounge short-lived literature. Dover rather presents for our constant use high quality and durable books: Our Daily Book.
   
   And thus this book which we need to see and weep every night as we grow dull with constant war and violence. We see here why war must wage nevermore, in this brave new era of total and indiscriminate and disproportionate yet profitable colonialist warfare.
   
   When allowed by our media we may now see the same or similar images to these which Goya so accurately depicts, both realistically and fantastically. Goya, so well known as a painter of the Spanish courts, but also of Saturn consuming his children, here shows us grotesquely and coldly the true meaning of war, the true fruits of warfare, the moral and the spiritual causes and effects of war: the disasters of war.
   
   As I pride myself as bilingual and am certified superlatively fluent in Spanish with some English besides, as well as a few other tongues, I found occasion here to wince at Dover's translations of Goya's carefully scripted captions, or to shout aloud more probable interpretations, yet I find this the only possible objection to this excellent and gratefully received volume, which must be on the table of every American home, lacking as we are the graphics from Fallujah or Gaza. Read this book and pray for peace. Read this book and study war no more. Read this book with Mark Twain's War Prayer, and turn aside from the ever more rugged war path surging with the blood of innocents.
   
   Even more than Barefoot Gen, more than the immortal Guernica, more even than Speigelman's Maus series, this realistic, classical and careful draftsmanship of the great Goya brings home to us across the centuries the true horrors and disasters of war, with poignant captions. Please read this book in this excellent, scholarly and complete presentation by Dover Editions, now at an even lower price here upon the amazon. Here must we see that the victims of our violence are human beings, our brothers and sisters, children and elders, and not some dehumanized uncounted collateral statistic alienated into separate labels of faith or of nation. We strike our own family in these disasters of war. This is a powerful book which must be seen today, and most gratefully Dover offers it still upon this amazon.



3. The Disasters of war is a difficult book to read, containing the most impressing pictures of war and its consequences. The black/white drawings are as real as life itself, and sometimes even more!
   
   Goya depicts tortures made on public squares, people starving to death, and warriors fighting. But the most amazing is the vividness and actuality of the pictures. The Disasters of war is like a poetry book, it has no time, and no defined significance; it can be interpreted in infinite different ways and it is always an up-to-date work.
   
   In my view, one of the best ways to fight war is using art. War leads on to war, art leads on to art. Understanding what and how war happens is essential in order to fight it (I excluded Why since I believe there is no explanation for it). This book shows the What perfectly. I have written a review of the book 'Why?' by Nikolai Popov which is about the How.



4. Like most dover press books, we have here a wonderful bargain: clear reproductions and good paper stock. Goya was a court painter trying to please his patrons, but in this series of etchings, he indulged his twisted soul in the first recorded anti war propaganda. These etchings are both lovely in their technique and horrifying in their imagery.

5 comments about Famous Monster Movie Art of Basil Gogos.

1. First of all...Like so many reviewers before me have said; almost every boy that grew up in the '50s & '60s anxiously collected our 35 cents every month so we could go to the local candy store & buy the latest issue of Famous Monsters of Filmland. This magazine became our bible & 4E Ackerman became our surrogate father. More than 45 years have passed; but I can still remember those magnificent covers as though it were yesterday. Basil Gogos painted the cover of the Gorgo issue which had a blue background & also the Vincent Price issue which had a white background,etc. This Book displays all of Basil Gogos outstanding cover art which graced the cover of FM for so many years. Don't take my word for it...ask Stephen King, Rick Baker, George Lucas, Stephen Spielberg, John Landis, Rob Zombie & a host of others..This book is an absolute delight for the senses & like fine art is meant to be treasured,



2. this book is great.Very happy to included this one in my collection.Already have a tattoo planed of bride of frankenstein.



3. I'm in agreement with another reviewer that mentioned the book could have been better written. That being said, it is well worth the price for all the fantastic paintings and drawings. A must for every fan of horror and sci-fi art.



4. Even without text, this book would've earned 4 stars, just for the impressiveness of Gogos' work. Within this book are large, crystal-clear repros of his most famous monster cover paintings, as well as samples of his illustration work.
   The only setback for this book is its lack of depth in the text. It seems that whoever was sent to interview Basil didn't ask too many questions, didn't want to really know too much about him except for his general acheivements, and didn't ask him for a demonstration of how he works. Among all of the great pics, some candid ones of the artist would've been nice, most notably a pic of his studio.
   Still, the images are so rich in color and character. Worth it!



5. If you were fortunate to have been born between 1950 and 1970 or so, you're lucky to be a part of a wonderful fraternity. Like me, you are a "monster kid". Monster Kids are the generation that grew up with Shock Theater and campy horror movie hosts, old Aurora model kits, classic Universal horror films on 8MM, and...a fantastic magazine called Famous Monsters of Filmland. Famous Monsters was edited by legendary collector and Sci-Fi sage Forrest Ackerman and one of the great attractions throughout the years were the magnificent magazine covers painted by Basil Gogos. From Vanguard Productions comes "The Famous Monster Movie Art of Basil Gogos." Basil Gogos has rightfully been called, "The World's Most Famous Monster Artist." His bold, expresionistic use of color is what caught the eye of little ghouls like myself and my friends. Edited by Kerry Gammill and J. David Spurlock and with an introduction by Rob Zombie, the book provides a dazzling display of Gogos' art not only from Famous Monsters, but from many other magazines, books, and films.
   
   In fact, his first professional sale was not a monster, but rather a cover for a western paperback (reprinted in the book) in 1959. Gogos did numerous covers in many different genres including westerns, war, jungle adventures, spicy adventures, and more. Dozens of examples of his work from this period are included. His first cover for Famous Monsters of Filmland appeared on the cover of issue #9 from November, 1960, depicting Vincent Price from "The House of Usher". For the first time, kids who were used to only knowing them from black & white films now saw their monster heroes in bold color thanks to Gogos. In all, Gogos did 48 covers of Famous Monsters and they are among the most popular issues for collectors. Everyone has their favorite Gogos Famous Monster cover...for me it was his rendition of Boris Karloff as the Mummy from issue # 58. The fine detail of the withered, dead-eyed mummy still mesmerizes me. Issue #56 featuring Gogos painting of Karloff as the Frankenstein's monster for the Karloff tribute issue is another favorite. Basil provides valuable insight to his legions of fans by discussing the various paints, styles, and techniques that he's employed over the years.
   
   Gogos would eventually move into doing fine art as well as non-monster commercial illustration including work for many years at a New York advertising agency. But much like the victims of those classic monster films, Gogos found he could not, for long, escape his beloved creatures. The 1990's brought a renewed interest in Gogos' monster art and soon he was back doing new paintings for trading card companies, CD cover art for The Misfits and Rob Zombie, and a whole new generation of monster magazines such as Monsterscene, making him more popular than ever. Gogos even did the concept art for a series of U.S. Postage stamps in 1997 that featured the classic monsters. The book features comments and tributes from such luminaries as Sara Karloff, Ken Kelly, Forrest Ackerman, Roger Corman, and Rick Baker. In all there are over 150 color and 50 black & white illustrations in the 160 page book. For monster kids like myself, who are all "grown up" now, Basil Gogos will always have a special place in our hearts. His Famous Monsters of Filmland covers take us back to a simpler time of true chills and thrills and I can think of no other book that would please a monster fan more than "The Famous Monster Movie Art of Basil Gogos." Like many of the books from Vanguard Productions, it is available in several different editions: There is a softcover, a hardcover, and a deluxe hardcover that is signed by Basil Gogos and includes a 16 page bonus folio and comes in a slipcase. The Deluxe, signed, slipcased edition was an instant sell-out and is already selling for big bucks on the collector's market. My highest recommendation!
   
   Reviewed by Tim Janson