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

1. This book is a great instructional. The prose is clear and the author elegantly "illustrates" the points with perfectly chosen imagery. But it is also just a great book in a straightforward visual sense. By that I mean, it works as a coffee table book. And the story at the end is an added bonus for anyone who loves comics.



2. 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.



3. 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.



4. 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.



5. 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 comments about The Arthur Rackham Treasury: 86 Full-Color Illustrations.

1. I heartily concur with all the other reviews as far as the necessity of exposing children to Rackham's illustrations as soon as possible. Hopefully this would happen in part through his books, like his Aesop's Fables, Favorite Tales From Grimm, Alice and Wonderland, etc. So my purpose is more practical: to say that the two Dover collections of his pictures, this and Rackham's Fairy Tale Illustrations are very true to Rackham's original color illustrations. I have seen reproductions of some of his illustrations that make his colors seem muddy. He uses a lot of dark colors in his work, but he also used many subtle light colors which have been captured well here. A great value for the money, along with the Fairy Tale book. All the pictures are suitable for framing.



2. As advertised. This is a Dover book, so it includes no scholarly apparatus to speak of. Still, the printing is good, and it includes a nice collection of prints that I hadn't seen. Shipping was timely.



3. As a child I was thrilled with Arthur Rackham's illustrations and I haven't lost my love for his work. They're timeless. He combines the real world with magical kingdoms, the almost-grotesque creatures with the unusually beautiful, the fairy creatures with the mortals, humor with terror. Rackham paints beautiful landscapes and beautiful people, yet we know to beware of the creatures who may lurk under the gnarly tree roots. His colors are subdued, but rich; and his detail is gracefully executed.
   
   His illustrations have been and still are an inspiration to artists who wish to delve into an imaginative realm. And for those who wish to delve in themselves, I highly recommend this excellent book. Thanks to Arthur Rackham, the fairy world is alive and well, and shall remain so.
   
   Denise Hillman Moynahan
   The Great Cavern of the Winds: Tales from Backbone Mountain



4. I was introduced to Arthur Rackham's magical illustrations as a child via the old St. Nicholas children's magazines, and his pictures have lost none of their magic in the ensuing years. Rackham's pen-and-ink drawings are complemented by a muted palette of colors that transform the glossy pages into insubstantial doors that open into an enchanted world populated by slender butterfly-winged fairies, multitudes of elves and gnomes, and twisted anthropomorphic trees that capture a child's imagination, without being threatening. At the same time, the sharp angular faces of the children in his drawings suggest a subtle mischievous humor that prevents Rackham's illustrations from ever sinking into sentimentality.
   
   Rackham's pen covered a wide range of subjects, from Shakespeare's "Midsummer Night's Dream" and "The Tempest" by way of Kenneth Grahame's "Wind in the Willows", Lewis Carroll's "Alice in Wonderland," and classical fairy tales, to Wagner's "Ring of the Niebelungen."
   
   We are so lucky to have these beautifully reproduced Dover illustrations in a single book. They should be introduced to one's grandchildren so that their own imaginations may also take flight with the enchanting creatures of Arthur Rackham's world.



5. I love this book! I found that the introduction was helpful in placing each piece of art in context. The works themselves are gorgeous and enchanting. The book really shows the breadth of talent and subject matter Rackham mastered, as well as his superb use of composition and imagination. An excellent book for any collection, for children and adults alike.

1 comments about Force: Character Design from Life Drawing.

1. There's only a couple character design books out there. Most notably Creating Characters with Personality: For Film, TV, Animation, Video Games, and Graphic Novels. This new volume of Force takes on design from a more exploratory standpoint. One that can also lead to a foundation of more informed choices when working with Bancroft's methods later on.
   
   The text starts off with a review of the drawing techniques Mattesi laid out in the original Force. Not only the concepts of drawing with forceful lines and shapes, but also ensuring every aspect of your drawing make a statement about the subject. It's that thought process that leads to interesting designs.
   
   This book has no shortage of examples of experimental designs based off of posed models. Not only from the author, but also from several noted artists including Stephen Silver, Dean Yeagle & Ragnar. Each example includes explainations for the artistic choices made.
   
   Flipping through the pages of this book you, you won't find many of the tight, nailed down drawings you might expect from a character design book, but the principles Mattesi teaches build a strong foundation to create better, more interesting designs.

5 comments about 1,000 Greetings: Creative Correspondence Designed for All Occasions (1000 Series).

1. Whether you are a seasoned design professional or an aspiring beginner, this book will challenge and encourage you forward.
   Excellent idea starter. So many creative ideas that I have spent more than 25 hours reaping concepts from it's pages.
   Worth many times more than it's price.



2. I first saw this book at a local bookstore. Being a Graphic Design Student I've been struggling to find a decent collection of well designed promotions, to give me some inspiration. It figures that I finally discovered it the last semester of my senior year... but you know, I think that this will still be much used. This is by far one of the best design book I have seen. Typography is used in ways I never thought could be done before. Basically, it's teaching me things I've never learned in my schooling. What fascinates me most, is the way papers, text, and color come together. So, for all you Graphic Art/Design Students, or even if you are an artist of any sort and you start feeling the need for inspiration. Just open up this book, and an explosion of new ideas will fill your head. Make sure you have a sketchbook handy... :)



3. I have a lot of problems with this book.
   
   The first being that while the designs are split into categories such as "brand identity", "invitations" and "self branding" (among others) the individual pieces have virtually no information given on their purpose or use. It would be very helpful to know standard information like the target audience or main goals attributed to the selected works shown. It isn't enough to simply lump sum all this work into a category and offer no explanation on demographics or psychographics. A directory at the end of the book lists who designed the work, but that's really all you get.
   
   The second thing that irked me is that the pictures are very small. Each page may have half a dozen or more pieces shown but no detail shots of any. This further adds to my first complaint. The viewer can't even deduce for themselves what most of the work was intended for since the images are so small. Some of the photography is very lovely and truly works to show off the best qualities of the selected pieces but without detailed shots or full page displays the viewer is left unsatisfied.
   
   While all the designs shown are very good, many are based off of common ideas. Lots of Pseudo-Asian, lots of decomposed and grunge. While they're attractive, they're not particularly inspiring.
   
   Over all I think this book would do more good in the hands of a craft minded individual and not a designer. I can see many of the invitations lending themselves well to home projects and offering some inspiration for personal correspondence stationery.
   
   An acceptable coffee table book, but not a design tool.



4. Love this book. It's jam-packed with inspirational greetings that can be applied to all types of graphic design projects. I plan on buying their other 1000 series in the near future.



5. I bought this book and used it everyday until I lost it. I felt completely off base without it for several months until I couldn't take it anymore and purchased it AGAIN! I absolutely love 1000 greetings and recommend it to everyone.

3 comments about Letter by Letter.

1. This is a brilliant book on the history of letters and lettering. I could have done without the chakras, but everything else was to the point and fascinating. This is a learned and beautiful book.



2. This is a joy to read or peruse. Visually beautiful. Very entertaining, even insightful. But, I have some serious reservations about some of the historical claims. The book attempts a sweeping historical perspective by making many grand historical claims. You'll find that many better dictionaries give a history of individual letters of the alphabet. And they don't mesh particularly well with some of the claims of Laurent Pflughaupt. Moreover, the persistence of certain kinds of claims by Pflughaupt suggests to me a certain religious/historical bent (or bias, perhaps).
   
   That said, I'm no expert on the history, so feel free to disregard my gripes. One way or another, the book is a pleasure to read at length or just to browse.



3. "Letter by Letter" by Laurent Pflughaupt lays bare its author's passion for the origins and anatomy of lettering. Pflughaupt guides us, from "History" (ancient Cuneiform to the Roman alphabet) and thence to modern styles, in a succinct 18 pages. Then he plunges us into his true passion, supplying a "genealogy" for each of the twenty-six letters we think we know so well -- his "Letter by Letter" section. He leaves no stone unturned in explaining the origins and transformations of these ancient and modern symbols that have conveyed the richness of human communication through recorded history. Indeed, these letters were, and remain, the iconic symbols by which much of that history was recorded and recalled.
   
   One wishes for more. For example, discrete symbols in Old English sounded out the diphthongs "th" and "gh." They disappeared when Gutenberg's moveable type imposed standardized forms. Never mind; regional variants abounded across Europe, and Pflughaupt's focus is the Roman twenty-six.
   
   In 1963, Ben Rosen asked his former teacher, designer Will Burtin, to contribute the Foreword for Rosen's book, "Type and Typography: The Designer's Type Book." Rosen's "Type and Typography" predates Pflughaupt's "Letter by Letter" ("Lettres Latines," 2003) by forty years, but Burtin's comments about Rosen's fonts apply equally to Pflughaupt's letters. Burtin wrote: "Each typeface is a piece of history, like a chip in a mosaic that depicts the development of human communication. Each typeface is also a visual record of the person who created it -- his skill as a designer, his philosophy as an artist, his feeling for ... the details of each letter and the resulting impressions of an alphabet or a text line." Burtin might have been writing an accurate prequel for "Letter by Letter" while commending Pflughaupt's evident passion for those letters. Every student of type and typography should read "Letter by Letter" -- more than once.
   
   Robert Fripp, co-author of
   "Design and Science: The Life and Work of Will Burtin"

5 comments about Illustrator CS3 Bible.

1. I just love this book! I started learning Illustrator with CS2. I was connecting the dots with CS3 and decided to get the Illustrator CS3 Bible. By not having classes with Illustrator CS3, I was missing out on all the cool new tools like Live Trace. A great designer always has the best refrence books! I also have the Photoshop CS3 bible and the InDesign bible... get them all!!



2. I purchased this book to help migrate from Fireworks 8 to Illustrator CS3. I have read six chapters so far.
   
   Another reviewer commented on the "newspaper" pages, and while the pages are somewhat thin, it doesn't detract from my reading process.
   
   The book's first few chapters covers all of the basics any newcomer needs to start drawing simple designs and my reading was going rather well until I read about symbols.
   
   The author's description of a symbol is, well, nothing. The first mention of symbols is, "Since the addition of the Symbol tools in Illustrator 10, the world has never been the same. Small children can now, with ease, make a sensible drawing using the Symbol Sprayer tool."
   
   So I read on, expecting to be enlightened, and he never even tells the reader what a symbol is, or why "the world has never been the same"! Such a bold statement with absolutely no supporting dissertation. There are 6 pages dedicated to symbols with not one mention of the fact that the concept significantly increases productivity and efficiency.
   
   Luckily, I know enough about symbols to know the author really missed the mark, and instead of exposing their true power, passes them off as art that can be spray painted on the the canvas. Yeah, that's kind of helpful in certain situations, but those situations are far and few between.
   
   If I wouldn't have already understood what symbols are and how they work, I wouldn't have figured it out by using this book. I am, therefor, lead to question how much information is left out. Am I going to be left in the dark on some other basic and important concepts that the author either doesn't understand or doesn't care to share? Probably.
   
   This is the only time I have ever wanted to return a book...I simply don't think I can trust it as an authority on the subject.



3. It has been 2 years from last "Illustrator CS2 Bible" and now we have updated version of it to CS3.
   This time book again written by Ted Alspach alone and he stays the guard of this reference from version 7 (in far 1997). And the most interesting thing that every time Ted tried to power this book on 100% with information.
   
   Bible keeps not only it's author, but also great style. With minimum clear explanation it gives you the most full information on an object. There're couple of color insert with nice Illustrator examples (seems very creative). Book consist of 700 pages. Pages are not not white shiny to make you blind, but pretty good indeed and in calculation of (book information*paper quality)/price buyer wins a couple of times.
   
   All information you need is included: from novice to professionals - this reference is for everybody. To study new features or start from basics, to draw simple lines up to combine them in one complicated object and up to professional printing process of your work.
   
   Great information order, information presented very clear and it is easy to follow, easy to find and it is explained step by step.
   
   As we all know Illustrator belongs to Adobe family products, that's why almost every month such programs as Illustrator, Flash, Photoshop and other are used together to make work more easy and productive. Ted took one chapter of this time to explain the very basics of this programs integration (to expand our vision on this program and it's possibilities).
   Illustrator is also a very powerful program and has a lot of "hot keys" and the complete list of it you can find in Appendix.
   
   For people who never used Bibles, I would like to give table of content to let you know what you can expect from Bibles:
   
   Part I: Illustrator Basics
   - What's new in Illustrator CS3
   - Understanding Illustrator's Desktop
   - Working with Illustrator Documents
   - Understanding Drawing and Painting Techniques
   - Creating Objects, Graphs and Symbols
   - Learning how to select and edit
   - Understanding Color, Gradients and Mess
   
   Part II:
   - Using Illustrator to Organize Objects
   - Working with Type
   - Using Creative Strokes and Fills with Patterns
   - Applying Transformations and Distortions
   - Using Path Blends, Compound Path and Masks
   - Using Live Trace
   - Using Live Paint
   Part III:
   - Working with Graphic Styles, Filters and Effects
   - Creating 3D in Illustrator
   - Customizing and Automating Illustrator
   
   Part IV:
   - Understanding PostScript and Printing
   - Creating Web Graphics
   
   Appendix: Shortcuts in Illustrator CS3
   Index
   
   
   But in couple of words, we have here a titanic work of Ted Alspach that was put on paper for your satisfaction. And I really can't imagine a person that would not enjoy it. This book is really all you need.



4. Excellent book for those that want an owners manual for Illustrator. The book explains each tool and command in Illustrator quite well. The only issue I saw was that it did not have enough details on design techniques. Even though it started explaining how blends are created I was left craving for more information. It would have been nice if they would have shown how blending works on a few different objects.
   The book does have a nice keyboard shortcut guide in the back. In my opinion the book was still worth it and will make an excellent reference book.
   To recap, if you want a reference book this is it, if you want a how-to book for designing look elsewhere.



5. I can't speak to the quality of the instruction, but the paper quality of the book is very cheap newsprint. It was so bad, I couldn't stand to touch it. I know this seems a silly reason to dislike a book, but this is not a cheap dime store paperback or cheap puzzle book & for what the book costs, you should did get quality. Also, as far as I could tell, all pictures were in black and white. I'll stick to the Wow series - quality paper, color illustrations & excellent instructions.

5 comments about You Are Here: Personal Geographies and Other Maps of the Imagination.

1. This book was not what I was expecting but it is interesting nonetheless. It is a collection of (mostly) unconventional maps with a few paragraphs written about each. In addition there are some articles on topics loosely related to cartography and the mind. It is more of a picture book than a reference volume and provides food for thought on mapping and identity.



2. This is a great collection of eccentric, unique and brilliant conceptual maps. It is one of those books that will take you places you never imagined.



3. This is a wonderful and thoughtful and visually stunning collection of artist maps. I LOVE it!!! If you're interested in environmental art, it's a must have for your book collection.



4. This book is useful for science people, geographers, visual arts and so poets. Im cartographer, its very useful for teaching, the book have a lot of examples for understanding the philosophy of a map. Higly recommended. Tonatiuh Suarez-Meaney



5. What a great book! This is an unusual look at the notion of maps, from the aesthetic to the scientific. I have found inspiration as an artist and highly recommend this interesting resource.

1 comments about Information Design Workbook: Graphic approaches, solutions, and inspiration plus 20 case studies.

1. Kim Baer knows what she is talking about. Her vast and varied client list makes her the de facto expert in the ID field. I have had the pleasure of working directly with her co-author Jill Vacarra, and the two of them make a dynamic team - exceptionally well able to explain and illustrate the concepts they are chronicling - both for the professional and the student of graphic design. BRAVO!

5 comments about The End of Fashion: How Marketing Changed the Clothing Business Forever.

1. I loved this book! I am not a fashionista or big business person by any stretch of the imagination, but Teri Agins's look at the evolution of the fashion business is a true page-turner. I couldn't stop reading. This is not your typical business book written just for industry insiders.
   
   It used to be that it was the fashion designers who dictated what women should wear, but now the tables have turned, and designers look to the public/street for inspiration. Fashion is no longer so much an art form as it is a big business, and Agins's book really delves into how this came about via clever and creative marketing. She also looks at the mass-marketing of fashion, which in and of itself, is fascinating. It's clear that the author has done her homework. A great book about a fascinating industry.



2. Anyone interested in fashion must read this book. It is a quick read and super entertaining. I now look at luxury goods in a whole new light.



3. I had high expectations that the book failed to meet. The beginning chapter is great, explaining the "end of fashion" - clearly organized and interesting. However, much of the rest of the book was a poorly organized slow read. It starts with some history of the "old" French labels, then it goes all over the place, in chapters devoted to individual designers or pairs of designers. There is little rhyme or reason in those chapters, and everything seems to happen from the late 1960's until the late 90's, so much of it is contemporaneous and it is hard to see what point the author is making about the evolution of fashion. The worst part of the book, however, is that it is dated - it talks of labels that nobody cares about, or about movie stars and events that were relevant in the 80's up to mid 90's - the early Clinton days are as hip as it gets.
   
   Overall, if you are interested either in the design aspects of fashion, or the business side, you are better off trying to find better reading somewhere else.



4. Very interesting, business minded look at the fashion industry and the struggle between the creative and the profitable. Written in a straight forward, non-fluffy manner.



5. Wonderful book. This book has given me loads of useful information about the fashion industry. I use information from it in nearly every job interview I've been to.

5 comments about The Ultimate Airbrush Handbook (Crafts Highlights).

1. It's chock full of different tutorial types. From model building to fingernail airbrushing. It has become VERY useful.



2. This book does a great job of going over almost all the facets of starting and airbrushing. One of the most complete books I've seen.



3. I gave this book to my husband along with a new airbrush & it's been a great help to him, includes info that even the airbrush didn't company give.



4. The "Ultimate Airbrush Handbook" is exactly what it's title says is! No hyperbole in the title. It covers all aspects of airbrushing, useful to everyone, including newbies like myself. Well worth the money spent!



5. Excellent. As the title states the "ultimate". Should be the first book purchased, borrowed or stolen for the enthusiast.