No comments about Lino Tagliapietra in Retrospect: A Modern Renaissance in Italian Glass.

5 comments about Drawing and Painting Fantasy Figures: From the Imagination to the Page.

1. An excellent step-by-step workshop on the how-to of fantasy illustrating. I've seen some other workshop books that consist mostly of the author conveying a message of: "This is how I paint, draw, etc..." but that usually does not explain how to get there. Not this book. I highly recommend this book, for it clearly gives you detailed lessons and drawing exercises you can do to get started.



2. excellent book. great how to pictures that guide you step by step. gives a great deal of info regarding reference material and ideas. storyboarding, anatomy, foreshortening, costume, perspective, architecture and much more. also for each subject there is an "over to you" section. this gives great ideas on how to get started and find you own unique style. must have for anyone interested in fantasy art!



3. Although R. Crumb's "Want to improve your art? DRAW. Wishing won't make it happen!" is the best "How-To" advice anyone can give/get, books like this are still quite helpful and inspirational. I bought this book, ended up loaning it to a friend also interested in it during an OT period at work. Later, I just bought another copy for myself!!! It is that good.



4. I've been drawing for over seven years. This book is helping me considerably.
   
   Cowan gives a good emphasis on the fantasy genre. Before, I knew nothing of how to draw armor or if I was drawing the female and male anatomy correctly or if my drawings even could be considered fantasy.
   
   In the beginning of the book, he explores the different ways you can receive inspiration (scrapbooking, mementoes, museums, art books, et cetera) and different helpful tools. He also explains opportunities that fantasy artists can receive (work in film, games, et cetera).
   
   In the drawing portion of the book, he focuses on the basics: faces, expressions, bodies/anatomy; and helpful intermediate things: archetypes, foreshortening. Throughout the book are drawings and paintings (both digital and traditional) that give both inspiration and help considerably. There is also the topic of wizards and mythical creatures (dragons, gryphons, et cetera) and non-mytical (horses and owls...).
   
   The back of the book deals with painting and inking as well as digital art (3D and Photoshop).
   
   This book is very helpful. The only flaw I see is that it doesn't go into too much depth. I only wish that he went into more depth with the costumes. Otherwise, everything else was fine!
   
   This is two books for the price of one!
   (When I was in the bookstore, I couldn't decide on a book on to get. I had two in my hand - together it would have been over $50.00. Then I saw this book that covered everything I wanted: dragons and fantasy themes. So, I don't agree with "A Classicist"'s review about it being two books.) I find this book perfect!



5. While a few helpful tips are included, this book is concerned primarily with listing various characters and props in the fantasy genre and showcasing the artist's work. If you are looking for guidance in drawing the characters or props, this is not the book for you. If you are unaware that the fantasy genre includes warriors, elves, and wizards, then look no further.

5 comments about Patterns and Palette Sourcebook: A Complete Guide to Choosing the Perfect Color and Pattern in Design.

1. See my review of Pattern and Palette Sourcebook 2: A Complete Guide to Choosing the Perfect Color and Pattern in Design by Heidi Arrizabala.....
   I do agree that the CD is not that helpful, but the information of color combination of this book (and its newest edition) is priceless!!!
   I highly recommend this book if you are looking for beautiful color pallets.... if you are a designers, artist, illustrator, you DO NOT NEED A CD OR A 'WELL DESIGNED" book (although I like its design! If you are creative in any matter and want to create your own designs, there is no need for vectors or to see this book as "page after page of patterns repeated"... learn to read between the lines people..... Maybe this book needs a change of name so it is referred to as a COLOR PALLETE REFERENCE book.... just be patient and follow the color formulations given in the book! Highly recommended!!!



2. I have to share the same sentiments with a few of the other reviewers. Typically, when a CD-ROM comes with a book of this nature, one would expect the visual content (in this case the patterns displayed in this book) to be available on the disc itself. Not the case here, which I thought was a bit deceiving. It would have been much smarter (and more practical for the end user) for the book author to have provided the patterns as EPS files for use in a vector based software application such as Adobe Illustrator or Corel Draw. Otherwise what good is it to look at these patterns when you can't easily recreate them?



3. First of all the content on the CD is not resuable in anyway. It comes with a semi-functional interactive CD that will allow you to print patterns but they are all locked Flash files so you can not use them in illustrator or in any other program.
   
   The book itself is page after page of repeated patterns with slight color adjustment. The patterns are uninspired and dated. I would not recommend this book to anyone if I could give it negative stars i would.



4. This book is filled with beautiful and diverse patters, some really modern and clean, others more ornate and traditional. The best part is the CD lets you change the colors in the patterns and then print them out for you to use. It's great for everything from professional design jobs to scrapbooking and personal projects.



5. I bought this book because i thought i can use the pattern in the cd provided, but unfortunately you cant use any of them, they saved it as flash animation format. Unlike the other book I have purchased "the complete pattern library" where you can use any pattern in the book and even change the colors of them.

3 comments about Pattern-Welded Blade: Artistry In Iron.

1. the book gives concise information on all aspects of the pattern welded blade. A great how to on billet building, forging the pattern, and completing to finished blade.



2. If you've read the author's previous books you will find some repetition (e.g., workshop, materials, weights, measures, compounds) yet this book really delves in-depth into the art of pattern-welding like no other I've read. It's his shortest book too, for that matter, but it really delivers on topic. You will learn everything you need to know to begin making stunning, functional Damascus creations. Well written, well illustrated, and very well done!
   
   Lawrence Kane
   Author of Surviving Armed Assaults, The Way of Kata, and Martial Arts Instruction



3. This book is not intended for a novice at forge work. But if you have already hammered hot steel, and want to try something more challenging this book gives you all the information you will ever need about making forge welded blades. This book is an absolute must have for anyone who wants to start making pattered blades. The third of Dr. Hrisoulas' books, buy the other two as well (although if you're experienced enough to want this book, you've probably already got the others) and you won't need to ever buy another book on blade forging again. Buy this book. Buy it right now.

1 comments about The Art of Simon Bisley Redux.

1. Heavy Metal Hardcover and soft cover books are known to have bad binding.
   This book and it's previous version are in my library falling apart. Art is great though.

5 comments about A History of Far Eastern Art.

1. I'm reading this book for an Asian Art class, and I find it has both significant strengths and significant weaknesses.

   Its major strength is the integrated approach: Sherman Lee organizes the book chronologically and thematically, rather than geographically. Instead of writing a section on Chinese art and a section on Indian art, Lee organizes his material by stage of development (Stone Age pottery) or by cultural movement (Buddhism), for example tracing the development of Buddhist styles in India, the adoption of those styles in China, Japan, and S.E. Asia, and the eventual synthesis of the Indian influences into local styles incorporating indigenous themes. Lee writes eloquently and even passionately about his subject, letting us know which cultures, styles, and artworks he admires. He covers a vast amount of cultures and time periods, easily enough material for dozens of books.

   The book does have significant flaws, however. Most frustrating are the black and white photos (presumably a cost-saving measure). Roughly 90% of the images in the book are black and white, and they cannot do justice to most of the subject matter. A second weakness is Lee's writing style, which is sometimes more eloquent than comprehensible. At times I had to reread a section several times in order to figure out what Lee was trying to say. He sometimes seemes to be addressing himself to an audience of art critics who are already familiar with the material, rather than students encountering it for the first time. He will tell us that a particular art work is hieratic in style, or is an example of Daoist style, without explaining why. Also the thematic, rather than chronological, approach means that some topics are fragmented into parts of different chapters. The material on Korea, Southeast Asia, and the Tang Dynasty seemed especially disjointed. The sections on China in particular need more development: Lee provides only a single page of text on the historically pivotal Qin Dynasty, and does only a fair job explaining the influences of Confucianism and Daoism.

   One alternative text that deserves consideration is The Art of East Asia, edited by Gabriele Fahr-Becker. Almost of the photographs are in color, and the text is both more comprehensive and more comprehensible than Sherman Lee, in particular the section on China. The text is written by several different authors, one for each region, which has both advantages and disadvantages -- it avoids the fragmentation of Lee's approach, at the expense of integrating it all into one consistent framework. The key disadvantage of The Art of East Asia (compared to Sherman Lee's History of Far Eastern Art) is that it doesn't include India, which contributed some of Asia's most impressive sculptures, and whose religions had tremendous influence on the rest of Asia.





2. I was required to use this book as a secondary text for a class on early Asian Cultures at NYU. Along with the material presented in class, this book provided great insight into basics of the Asian culture.

   This rather heavy book is perfectly organized chronologically and geographically. It provides great graphical supplement to the study of early Asian art. Many artifacts are portrayed, most with detailed description of their history and origin.

   I enjoyed my class greatly and this book provided great help to understanding Asian art. If you are a person who prefers visual aids rather than tons of text and would like to learn the basics of Asian art, I highly recommend this book. The photographs are excellent, and more often then not, actually motivate you to reading the descriptions of the portrayed objects. This book will not make you an expert on Asian art, but you'll be able to schmooze your way through at pretentious cocktail parties without any effort.




3. I was required to purchase this book for an oriental art class at VCU. when I went to purchase it in person, most places wated $75 or better for it. Being a student, I am not rich. Amazon had it for the best price and for that I am very happy. points to amazon yet again for having the best price. THANKS!



4. Sherman Lee guides us through the ages and territories of the Far East in this study. A study of art following a wonderfully coordinated common theme - ritual and religion. Most noteable is the progress of Buddhism from its origins in India, through Southeast Asia, into China, Korea and finally Japan. Respectable discourse on other arts are included in the tour. Good reading and a great survey of the arts of the Far East.



5. I used this text in college, in a course on the subject. It pained me immensely to have to sell it back, but I was even more poor then than I am now, and needed the $50. I am now planning to purchase a new copy of it. This book is beautiful. It is full of simply amazing images, the text is clear, concise and accessible. Out of 10 years of undergraduate and graduate studies, I remember this text more fondly than almost any other. My thanks to the author for writing it.

No comments about Detour Art: Outsider, Folk Art, and Visionary Environments Coast to Coast - Art and Photographs from the Collection of Kelly Ludwig.

3 comments about The Way of the Brush: Painting Techniques of China and Japan.

1. This is the best generally available book on Chinese and Japanese ink-painting in English of which I am aware. Why? Because it is not, primarily, a "how to" book. Yes, there are extensive examples of specific brushstrokes and characteristic forms and techniques, however they are by way of explanation and illustration, rather than instruction. There is much talk of history and aesthetics, but from a practical perspective; this is not, primarily, a book of art history or criticism. Rather, it looks at those things from the point of view of a painter, rather than an academic. While it's not an easy read, I would recommend this every bit as much for beginners as those with more experience.
   
   So, why would this be useful for the beginning painter? While some authors would have you believe that Asian ink work is rooted in a spontaneous expression of feeling, and/or that a meaningful piece of art can be created with just a few, easily mastered, brushstrokes, these are extreme oversimplifications of the actuality of Asian art. Tossing a bit of ink on some rice paper may be spontaneous, but it isn't the same as the Spontaneous school of Chinese painting. In reading this book, which is admittedly dense and occasionally dry, the reader can gain a strong background in the traditions and aesthetics of ink painting. While learning basic brush control from a teacher or how-to book, "The Way of the Brush" will give you not just context and history, but an understanding of how to compose and construct a work -- how to put those brushstrokes together.
   
   It could be said that this is not a book about how to paint in the Chinese and Japanese style, but how to look at a painting in the Chinese and Japanese style. In doing so, it also points the way towards seeing like a brush-painter. Unless you can see, not merely with your eyes, but with your mind, it is impossible to make the jump from brushwork to painting, from technique to art.



2. This is the book from which I learned sumi-e. It is well written, with wonderful examples. If one is seriously interested in the subject and in learning how to paint high quality works, it is the definitive work. The artist, P'u Ch'uan, who illustrates particular styles and strokes, is a master, providing some of the best examples one could hope for. The works of other artists in their instructional books pale by comparison; they fall into the "You too can paint a masterpiece in 60 minutes" sort of thing one sees on TV. Those are acceptable if you accept the limitations and set your sights accordingly. The standards set by this book are extremely high.

   The historical perspectives help a great deal in understanding not only the background of the art, but also in understanding the background of the strokes. These backgrounds are essential to more fully appreciating the work of others and in informing your own work. The great variety of styles and artists presented--contemparary and historical--help one to form one's own style.

   This book teaches both an appreciation of the art form and a sound basis for attempting it. I can't say I have mastered the form by any means, but working based on this book has been a rewarding experience.

   Highly recommended.




3. This is one of the best books about Chinese painting for those who want to understand not just Chinese painting techniques, but also something of the history and variety of traditional Chinese brush painting. The one drawback is the usage of the outdated Wade-Giles romanization (the book was first published in 1962), but that is merely a trivial annoyance compared to the wealth of information the author provides. Most instructional painting books are written by painters who focus on their own style, and give no credit to all the masters who have gone before them. This book shows many examples of paintings by master painters (ancient and modern), along with examples from the author's own teacher, master painter P'u Ch'uan. He thoroughly describes the different painting styles, with excellent examples, and many bibliographical references. I especially liked the fact that he gave 7 different versions of translations of "the Six Principles" of Hsieh Ho; by combining the common threads in all of them, their real meaning becomes clearer.

   Another subject he talks about, although briefly, is the importance of understanding brush strokes in order to be better prepared to deal with forgeries and copies. This subject is almost universally ignored in books on Chinese painting, and yet it is very important. I have seen a painting in a catalog from one of the big auction houses that on first glance looked like another one of Li Ke-ran's many water buffalo paintings, and was attributed to him by the (anonymous) seller. Upon closer scrutiny of the brush strokes used, it was obviously a fake. And I am by no means a true expert.

   If you are a beginner with no teacher to help you, then you will probably need other books, too. But for anyone who wants to learn about the history and traditions of Chinese painting, this is the ideal book.

No comments about The Iconography of Landscape: Essays on the Symbolic Representation, Design and Use of Past Environments (Cambridge Studies in Historical Geography).

4 comments about Jazz, Giants and Journeys: The Photography of Herman Leonard.

1. If you're a fan of jazz or photography, this is the book for you. Lovely rich photo reproduction and pictures of the jazz greats - often behind the scenes - that make you feel as though you were there.



2. Herman Leonard is by far one of the best photographers I have ever had the privilege to come across. I was visiting New Orleans a few weeks ago and came across a documentary on the local Louisiana station, it was a documentary on Leonard. If you ever have the chance to view this please do so because its an amazing story about a remarkable man. Generally, it takes a great deal to inspire me to want to study portraits, for me portraits are the most complex images to appreciate with the passage of time. Yet with Leonard's images (including his commercial works,) you can sit down and study them and you still find inspiration in them over and over again. His work is one of a kind, and his vision is the strongest I have ever seen in a photographer.



3. Herman Leonard brings one back to a time in America that no longer exists in a way that makes one feel a part of what was. You can almost hear the music!



4. Looking for a gift for a jazz lover, photography buff or international
   traveler? Look no farther. JAZZ, GIANTS AND JOURNEYS: THE PHOTOGRAPHY OF
   HERMAN LEONARD is a mind-blower. The meticulously detailed photos of jazz
   greats like Miles Davis, Dexter Gordon, Billie Holliday, Quincy Jones and
   others recreate the essence of an era so well that the viewer can actually
   see, hear and smell the flavor of the 40's and 50's NY jazz venues where
   the musicians played. Included in this wonderful book is a photo of the
   great Buddhas of Bamiyan in Afghanistan, taken in 1970, long before they
   were blown up by the Taliban. This alone makes the book vital.