5 comments about The Little Box of Socks.

1. Nifty little collection of sock patterns. I'm always looking for new ones and this fills the bill.



2. Lots of choices, very nice presentation, good instructions. What more could you ask--free yarn? I really like it and am glad I bought it.



3. I just received this great little box of sock patterns and I already have planned a few projects using some of my special single and multi colored hand-dyed stash that I've been hoarding while waiting to find patterns worthy of using it on. There are so many great patterns in this "box" with lots of really interesting textures. I love how each pattern is on a separate folded laminated card which is great for those of us that keep sock projects stashed in our purses for on-the-go knitting.



4. This is a great sock book! 20 laminated patterns in a little box .Perfect for those who like hand dyed yarn., but works well for those who dont.I planned out my next 3 socks One already on the needles the day i got this book!



5. The last thing I need is another sock pattern book, but I just couldn't pass this one up. It has socks for every skill level and gives many, many, many options for working with hand-painted yarns so they don't "puddle" into blobs of color. Those patterns alone are worth the price of the book. There are even more great patterns, though. Lace socks, felted socks, Fair Isle socks, you name it, this box of sock patterns has it. As soon as I got my Little Box of Socks, I found one of the patterns to be just perfect for some very persnicketty sock yarn I have - the pattern will work beautifully with it - and the socks are already cast on. Talk about motivating! Even if you own every sock book there is, this Little Box of Socks is well worth having for its own unique designs.

5 comments about Exploring Color.

1. Nita Leland has a wonderful way of inspiring her readers and making them feel more comfortable with color and paint. Doing the exercises in the book are an essential part of the experience and should not be skipped.



2. Before reading this book I'd had an attitude about 'color theory' and such - or at least the teaching of it. Anything I read was either imperious and demanding or so complicated that I'd be lost in the first chapter.
   
   But this book doesn't order you to do things a certain way. It explains what results you will get doing this and what results you'll get doing that. There is no highbrow judgment here about the only "correct" way to do anything. It is clearly written, with lots of pics and examples, and is completely accessible. What a breath of fresh air!
   
   The book begins with a little bit of the history of color in paintings and the physics of color mixing. She doesn't bog down the book with it though. She gives just enough information to put the use of color in painting into context and as a starting point if one wants to do further research.
   
   Then comes the more detailed information. This starts out simply and builds with each chapter. She explains why things happen in color combining and mixing and how to get the desired results. Color in painting is a detailed and complex subject, but, while she encourages you to learn it all, she is never demeaning or rigid that one has to know all this front and back before painting. She explains why knowing all this will help and improve your painting.
   
   In other words she makes me *want* to learn all this rather than making me feel like I *have* to learn it.
   
   One thing to note is the she uses watercolor in her examples and exercises so some adjustment may be necessary for oils.
   
   There are also lots of things to practice in the book. She has exercises for everything she teaches. So when you're done you will have a tremendous visual reference library. I have lots of art books but this one will stay OFF the shelf and easily accessible. The use of color isn't something that can be learned overnight, so do yourself a favor: get this book.



3. One of the first books I've looked at that explains color in non technical terms. It has examples of how to use these colors in your paintings. There are several step by step instructions on using different color combinations as well as many exercises for you to do on your own. There's a companion coloring book which is helpful but not necessary. An outstanding book for beginners wanting to know more about color theory. The author has a web site and is very helpful in answering any questions.



4. This book is everything I hoped it would be. I am a novice painter, working in acrylics, and wanted some basic info on color theory. This is it. The information is comprehensive yet easy to understand with exercises for the reader to do in any medium. I was so impressed that I bought her Exploring Color Workbook to go with it. This is highly recommended for the artist wanting to expand her color theory expertise.



5. I bought this based on other reviews about it. I don't know doodley about color and have always gone on gut instinct...and I've painted over a lot of ruined canvas and wasted a lot of paint.
   This is an excellent little book with a lot of exercises to make it all quite clear. Every page teaches me something - I have so far had quite a few "AHA" moments. I am beginning to understand why sometimes a color works and sometimes it is just a little off...
   I recommend this for everyone. Thank you Nita Leland.

5 comments about How to Draw Noir Comics: The Art and Technique of Visual Storytelling.

1. I'm a comics writer, not an artist, so I almost started this review by saying that I bought the book just to look at the pictures. And who could blame me? Shawn Martinbrough is one of the most original and distinctive stylists in modern mainstream comics. In a sea of imitators and variations on a house style, his artwork is instantly recognizable. His run on DETECTIVE COMICS with writer Greg Rucka (who writes the introduction to this book) is a landmark to me, in that it was one of the things that brought me back to reading comics after a long absence.
   
   But Martinbrough's strengths lie far beyond his style - he has a true mastery of the *craft* of sequential storytelling, which is what makes this book such a valuable read, for aspiring artists and students of the medium in general. Reading about his process has given me much food for thought in how to evaluate and critique the work of other artists, as well as in how to better compose my scripts for artists to create the maximum impact in the collaboration. In short, HOW TO DRAW NOIR COMICS is a fine read for anyone interested in creating comics, whether one's work is done at the drawing board or at the keyboard.
   
   Oh, and you get to look at the cool pictures, too.



2. This book is not just another how-to book written by another comic book guy.
   
   Martinbrough is clearly an illustrator who knows his craft well, takes pride in it, and has used a vast library of tools, ideas, and creative resources to create a book that is a must-have for any artist aspiring to make their work more dramatic.
   
   His insight into the creative process and the relationship between artist and writer makes this book a must-have for any comic book (or even screenplay) writer, to give them a sense of what to provide an artist with in a script.
   
   This book reinforced for me the need for shadows in storytelling.
   
   HOW TO DRAW NOIR COMICS is a cut above the rest of its peers, and is for SERIOUS ARTISTS, not pencilers looking to imitate Jim Lee.



3. I was expecting a little more from the book, judging from the fact that the author is a legend (read other reviews)in the comics industry. But the content is still pretty educational and informative. I enjoyed looking at the large print as well as the artwork which is printed on nice good quality paper. Even though the information may seem too comprehensive for more professional artists, they may benefit from looking at how the artwork is done, and in fact, I enjoyed looking at how the author has provided us with different treatment to the same artwork. To me this is precious, and show that the author is versatile in his technique and creative in his use of tools and materials.



4. So here is the thing, comics are a very hard medium, its also subjective and seriously its HARD. What I like about this book. Its not some hand holding trite sketchbook full of cliches and half-thought out pablum being fed to the reader. What it does is it gives you theory and ideas on how to improve your art , how to look at your art and get the look you want. It makes you think on how to incorporate the skill of going noir. If you want a book to teach you to draw like great artist like Frank Miller and Mike Mignola--this isn't your thing. It you want a book to help you look at your art in a different way and make you a thinking artist, and bring something real to the table then, this is the shiznit!!!!



5. Let's face it: there are a lot of how to books out there, many quite bad, many just middle of the road or simply not helpful. And it doesn't help that other books have had the term Noir in it.
   
   But not like this. Shawn's book has the experience of an artist who understands the medium and explains it clearly. It builds realistic expectations for the aspiring artist, not the beginning one. It reads concisely and expresses the techniques in logical progression.
   
   High contrast in this medium is tricky to do properly: if one doesn't apply light and dark properly or understand the many ways they're used, the result can confuse storytelling. Shawn's book guides the process with candor and doesn't appear to assume too much or too little from the reader.
   
   A solid how-to noir book from an artist that understands the medium. What a refreshingly novel idea. Well done.

5 comments about The Business Side of Creativity: The Complete Guide to Running a Small Graphic Design or Communications Business, Third Updated Edition.

1. Cameron Foote's books and monthly newsletters are truly must-have resources for graphic designers, from the lone freelance to a busy studio. I teach design, and this book is one of about three that I have recommended to every class.



2. A fantastic book full of valuable insights. Most of these "how to run your business" books are drab and full of what amounts to blah blah blah. I have found this book to be revolutionary in the way that I organize my business strategies, developing a more proactive mind set, and restructuring the entire operation of running a creative studio. Amongst the hundreds of design books on my shelf, this is the one that is currently helping me the most. The tone is not pretentious, nor laymen. Designers are demanding individuals, and as a professional designer, this is necessary reading.



3. Very helpful, concise and confidence building resource for information on how to run a small design firm.



4. Cam Foote's book is a complete resource for new freelancers and a great "reality check" for experienced creatives. I have read his material for many years and always found it practical, clear, realistic, and helpful. Although his focus may seem to be almost entirely on graphic designers, as a copywriter I found most of his information applicable to my own business.



5. I read a lot of business books so I tend to think I won't get much out of any one book. That's not the case with this book. I highly recommend the book to anyone who works in any kind of creative/freelance setting.
   
   Cameron Foote really gets to the heart of the details of creative business. Most books like this take a 10,000 foot view of all the issues. I end up being frustrated with not really learning tactics, just strategies. With this book, even the generic business issues are dealt with in a way that's relevant to creative/freelance businesses.
   
   When I first got the book I skipped to the chapter on how to go after the right business. I then read the chapters on how to make money in the business. After those chapters I realized there wasn't anything in the book I wanted to skip. I wound up reading the whole book back to back (and for a business book that's a big compliment--at least coming from me).
   
   This may sound like a glowing review--that's because it is. I was very impressed with the level of detail and relevancy the book has to what I wanted to know. I found a few mistakes I was making with the way I was running my own business. I used the tips Foote gave and improved the issues immediately.
   
   One last reason you might consider this book--in the Appendix there's a ton of helpful resources. Not only that, if you log on to the author's website, you can find about two times the forms found in the book. I wound up using 3 forms the author gives away on a daily basis.

5 comments about Picture This: How Pictures Work.

1. I can't say I'm overly well versed in composition, namely because most books on the subject are so dense. But in Picture This, the author has found easily understandable way to show the basic fundamentals of art.
   
   Rather than teach composition with diagrams drawn over old master paintings like some books, Molly Bang uses simple bits of paper to demonstrate how shape, color and placement can affect the mood of a picture. And once you understand these principles, it's easy to see how they can be applied to more complex artwork.
   
   Bang's pace is very deliberate. Every change to her construction paper compositions is well documented and explained. It's that simplicity and directness that allow her to communicate such a large amount of knowledge in only 96 pages.
   
   And don't let the short page count and the fact that this book is recommended for grade schoolers fool you. This is a book every artist should have her shelf.



2. This book is amazing...the illustrations are simple, clear and compelling and the narrative approach to understanding the art elements and principles makes this rather dry topic into a fascinating tale. I have purchased several copies of this book for friends and plan to use it in my middle school art classroom.



3. Don't be misled by the simple pictures and storybook style into thinking this a just a book for children. I have given this book to several adult friends, including some who are professional artists. We all learned something from Molly Bang's clear and compelling explanations of the principles of visual composition.



4. I love this book and using it for teaching basic design ideas...a fellow teacher uses it in Psychology! The simple story of Little Red Riding Hood serves as the basis for discussion how line, color, shape, etc. work in art. Such a great idea...wish there were others of this type. I will be using it to teach the elements of art in Art History this fall.



5. Using the story of Little Red Riding Hood this book is focusing on the basic principles of composing images.

   Reduced to the maximum and using simple colors and arrangements of basic elements like circles or triangles, the drawings as well as the short, precise text within this book are pointing out, how simple and complex arrangements within pictures work, transfer obvious (and hidden) messages, how philosophy and psychology witin pictures works. Therefor its a book telling the story why pictures may lie, may influence, may manipulate an observer even though obviously just showing "reality".

   Whether you are taking photographs, drawing or designing - this book is a absolute must! A photo/image tells more than thousand words - here you will find the answer how and why. Great to read and watch, easy and fast to understand - even though dealing with a most complex matter.

   Finally a personal statement and hint for an esthetes: if you like to possess a book with an outer shape and appearance that promises, what the contents keeps, than you have to buy the nice hard cover version instead of the cheaper soft cover version - it will pay off for sure.

5 comments about Unfiltered: The Complete Ralph Bakshi (The Force Behind Fritz the Cat, Mighty Mouse, Cool World, and The Lord of the Rings).

1. Unfiltered: The Complete Ralph Bakshi is one of the best animator/animation books I have read in the last 10 yrs. It is not only full of information on Ralph Bakshi, but also with tons and tons of his artwork. This ranges from cells to ink drawings to roughs and at the end they have put a bunch of his paintings. This book has really inspired me and is an easy read.
   Before reading this book I had only seen Fritz the Cat and some of the Mighty Mouse series. I knew I liked Ralph Bakshi, but after this book I have such a stronger love of his work, and how he changed the Animation industry. His films were real, and based on his experience growing up in New York. They might be vulgar and push the line of decency, but his works reflect who he is and how he grew up. They were vulgar for a reason, not just to be vulgar for vulgar's sake. The movies reflect the man.



2. I've been an animation fan my entire life. Yet, there has always been a wierd thing about Ralph Bakshi I could not understand. The rotoscoping, the crazy backgrounds and somewhat unfinished quality to the work. After reading this book I understand clearly now who the man is behind the work and I appreciate his work even more so. This isn't a book about animation, this a book about a man's soul thrown onto the silverscreen and dares you to watch with an open mind. I sat and read this book straight through without stopping. A very awesome and unique book!



3. Very pleased to report that my copy of Bakshi's new book "Unfiltered" arrived yesterday via Amazon.com. The pre-order price was $25 which was a amazing for a $40 list hardcover book from Amazon.
   
   The book is insane! Everything you could ask for about his life, history, artistic phases from early cartooning straight through Harlem Shuffle and Spicy City. So pleased to have my Bakshi fix in one "huge" book!
   
   Mostly enjoyed understanding his life and the doodles and art that is sprinkled throughout. Also enjoyed the dedicated sections tied to his movies. Heavy Traffic and American Pop are my favs here.
   
   If you don't have it...get it. What a blessing...



4. If all you know about Bakshi is his rotoscope pictures, you're in for a surprise. Ralph is one of the most innovative and wildly creative geniuses of recent times. His influence on animation is immense. On the back cover, Frank Frazetta is quoted as saying, 'Ralph Bakshi is one of the finest artists I've ever met.' He isn't exaggerating a bit.
   
   If you are an artist working in animation, whether you know it or not, Ralph Bakshi is the reason you're here. Don't believe me? Throw your mind back to 1970. Look at what the animation business had turned into... Disney was cranking out Robin Hood, a film without a single new idea. On TV, Filmation was lowering the bar so Hanna Barbera could play 'quality limbo' with them. Animation was dying, animators were choosing retirement over flogging the dead carcass of the art form they loved, and it looked like it the situation would never get any better.
   
   Enter Bakshi. With his first three films, he turned animation upside down. He showed that it wasn't just a medium for big bears with Phil Harris's voice and crappy sitcom characters in outer space. His films shocked and terrified people... they were crass and sloppy. They were made on a shoestring, and sometimes it showed. But they had something honest to say, and that got noticed. Ralph showed that animation- the most collaborative art form ever- could be an intensely personal medium.
   
   Ralph's first three films- Fritz the Cat, Heavy Traffic, and Coonskin- came totally out of the blue. They are the animation equivalent of Louis Armstrong's Hot Fives. Great old time animators like Irv Spence, Ambi Paliwoda and Virgil Ross were offered the opportunity to cut loose and make films that weren't just cats chasing mice and dogs chasing cats. These films dealt with what it meant to be an artist, the battle of the sexes, race relations, and the unsenimentalized realities of urban life. They were improvisational and had no rules.
   
   These three films, made in the darkest of the dark ages of animation, offered a glint of hope for what animation could become. If all you've seen of Ralph's work is Lord of the Rings and Fire and Ice you don't know what I'm talking about here. All of the adult targeted animation you see in the US today has its roots in Ralph's example in these three films. They stirred up controversy and caused riots at screenings back in the day, but now they seem to us like they could have been made yesterday, not three decades ago- except for the fact that today's world has trouble accepting brutal honesty when it comes to politically charged topics. Ralph has never been one to pull punches.
   
   In the 1980s, Ralph did for television animation what he did for theatrical features, blowing the lid off of CBS's Saturday morning schedule with Mighty Mouse: The New Adventures. Ralph took a chance on the ideas of a kid named John Kricfalusi, and set up the studio after the unit structure model used at Warners. Artists were cut loose to create cartoons. Without Mighty Mouse, there never would have been Ren & Stimpy or The Simpsons. The artists who worked on Mighty Mouse have gone on to lead the TV animation industry. Ralph is an absolute genius when it comes to spotting raw talent. He can take a kid straight out of school and turn him into a pro faster than anyone else. Every film had its 'graduating class' of kids. Those kids now populate the animation business on every level, from the top Producer at Disney feature to the creative sparks at Warners. I know of Bakshi alumni who are top dogs at Dreamworks and the CGI companies too.
   
   As a filmmaker, Ralph is one-of-a-kind. He doesn't make films for executives... he doesn't even make films for a specific audience. He makes them for himself. You can count the number of animators capable of using this unweildy medium for personal expression on one hand and still have fingers left. Ralph is one of them. But Ralph is not only the greatest living animation artist. He is the catylist that has more than once pulled the industry out of a hole so deep people had just about given up on cartoons. For that alone, he deserves the respect of any and all animators, whether they like his work or not.
   
   If the animation business needs anything right now, it's another go round with Bakshi. The era of shi-shi 'distressed' animation desks complete with faux wormholes, and middle management producers driving Jaguars paid for by their bonus checks is over. That was great for the people lucky enough to hook up to the gravy train while it lasted. But times have changed. The people left standing will be the ones who REALLY CARE about the medium of animation.
   
   You can take my word for the fact that no one loves cartoons more than Ralph. Read this book and hear him talk about Jim Tyer. (Ralph was Tyer's assistant...) Listen to what he has to say about Spence or Maltese or any of the other old timers he brought in to work on his films. Ralph lives and breathes animation. His drawings are imbued with the whole history of the medium. He announces his retirement every once in a while, and swears off cartoons forever, but it's in his blood. Just count the days till the bellowing voice out of the blue hollers 'BAKSHI'S BACK, YOU BASTUHDS!' over the studio intercom again.
   
   It's time for Ralph to rent a warehouse, fill it full of kids with big dreams, raw talent and lots of ideas and crank out a film. It doesn't even matter if it turns out crappy. It'll be a shot in the arm to the whole business, and it just might lead to something even better. I know I'd love to be a part of it.
   
   UNFILTERED: The Complete Ralph Bakshi isn't one of those 'art books' with postage stamp sized pictures floating in oceans of tasteful white space and huge text blocks of scholarly blather that crowds out the images. It's just pictures, pictures and more pictures... along with just enough text to put them in context. Artwork by Frank Frazetta, John Kricfalusi, Barry Jackson, Louise Zingarelli, Michael Ploog, Ian Miller, Irv Spence, Robert Dranko, Mark Kausler and Ambi Paliwoda. The book is organized to show Ralph's career from his earliest days at Terry-Toons, to his groundbreaking features, to his revolutionary TV work, to his most recent fine art paintings. BUY THIS BOOK!
   
   Stephen Worth
   ASIFA-Hollywood Animation Archive



5. This book took you behind the scenes to Bakshi's creative & imaginative mind while featuring some great, colorful pictures of his "ahead-of-the-curve" animation. I personally liked how each of his feature films had a section of their own summarizing Bakshi's story-line and how his direction to the artists resulted in some excellent art. I loved the last section of the book showing how Bakshi changed from animator to serious painter. Art lovers and film lovers will enjoy viewing throughout this book.

1 comments about Design Matters: Brochures 01: An Essential Primer for Today's Competitive Market (Design Matters).

1. This is a great reference and learning tool. Clearly laid out and concisely written, Brochures 01 is very handy!

5 comments about Prepare to Board! Creating Story and Characters for Animated Features and Shorts.

1. Ms. Beiman's book is exceptional; it not only discusses storyboarding, but also the entire pre-production process, from character design to art direction to using cinematic lighting and camera angles. I'm never boarding without using tonal drawings again!
   
   I'm going to be the Teaching Assistant for the Storyboarding class at UCLA's MFA Animation Workshop in the fall, and I'm going to tell all the newbies to GET THIS BOOK!!!



2. This is a truly wonderful book filled with practical, concrete knowledge about how to plan for an animated production.
   
   In the past, I have seen a few somewhat superficial treatments of similar topics, and I was initially a little bit skeptical of this book. Suffice it to say that my expectations were vastly exceeded. Storyboarding is a central part of animated movie production, and it has finally gotten a definitive treatment in book form. This book is highly entertaining, beautifully illustrated, and really packed with information.
   
   Many readers of my own book Introducing Character Animation with Blender are interested in creating animated movies. I highly recommend that they take a look at this inspiring and informative book to ensure that they get off to a good start.



3. Well written and well organized, "Prepare to Board!" is a wonderful source for learning the ins' and outs of animation boarding.
   
   Nary a step in the process is glossed over or a stone left unturned. I'm quite impressed with the book all around, and have learned a lot about the inner workings of animation.
   
   A definite recommendation.



4. Nancy Beiman's book "Prepare to Board" is a must-have for animators. If you're serious about working in the industry then this book is for you.
   
   The quick little lessons are excellent tools for practice and improving skills. This books helps to increase creativity and really gives great advice. No other animation book has achieved what "Prepare to Board" has.
   
   Nancy Beiman knows the ins and outs of the animation world and you can tell why she's worked on so many great projects - she's the best at what she's talking about. Nancy Beiman is a professional and this book will help you along your path to a career.
   
   If you're not lucky enough to know her and have her as a Professor (or even if you do), then it goes without saying BUY THIS BOOK!



5. Initially I thought this was going to be a book only about storyboarding, but as the title suggests, it "Prepares" you for the story boarding process. It was great to have all the different aspects of character and story developement all in one book.

1 comments about New Vintage Type: Classic Fonts for the Digital Age.

1. As all of Heller's books, a beautiful presentation. My own preference for historical referencing of type especially endears this book to me. It will be a valuable library addition for whoever appreciates historical type, & post modern typography.

4 comments about Making Books That Fly, Fold, Wrap, Hide, Pop Up, Twist & Turn: Books for Kids to Make.

1. As a teacher, this book is a great resource for ideas to show students how to write and product there own work of literature. We used the book as the basis for a "Make a Book Night" sponsored by our PTA. Students and their parents attended a night of book making and story writing choosing from one of the many book ideas presented in the book. It was a great experience for one and all. If you love books, like to write poetry, stories or journals I highly recommend purchasing
   
   Making Books That Fly, Fold, Wrap, Hide, Pop Up, Twist & Turn: Books for Kids to Make



2. I recently purchased this book and have found it to be a terrific resource for teaching children how to make beautiful books.The instructions and diagrams are easy to follow and very clear. My favourite is the T.V. book. The children in my class had a blast making these books.



3. Good ideas for books to make with kids, and also some basic ideas to further explore in more complex books.



4. I used several ideas in this book to teach an afterschool bookmaking class for K-3rd graders. The books are eye-catching and pretty simple to make, although I did a bit of prep work for the kids.
   
   It was really wonderful to see how much the children loved their projects. They were extremely creative and innovative too, every child made the book their own by doing something interesting or different with the materials provided. This is in stark contrast to several adult bookmaking classes I've taken, where the adult students want to recreate the teacher's book EXACTLY.
   
   Anyway, I highly recommend this book to anyone is willing to spend some time making books with kids. Children older than 4th grade MIGHT be able to use this book independently, depending on their experience and motivation.
   
   Regardless, I think this book is wonderful for showing kids just how fascinating and rewarding it can be to make their very own books.