5 comments about Animals: 1,419 Copyright-Free Illustrations of Mammals, Birds, Fish, Insects, etc. (Dover Pictorial Archives).

1. This book has the most awesome animal drawings I have ever seen. The fact that they are wood engravings is more than remarkable!



2. A present for my daughter-in-law and the illustrations were incredible. She is an artist and will make good use of this book.



3. Wow - the enormous numbers of animal life is astounding and the book clearly shows this. Unfortunately the images are quite dark and the book is very thick (you get your money's worth - image-wise), so scanning them for use in various artistic media is difficult. Therefore, I bought two of the books and plan to cut one of them up (that hurts to say for I treasure books of all types). This way I can control the scanning and modification using software to bring out details and highlight an image to my satisfaction. And finally, the classic images are impressive and I applaud the author for his selection of animals from all realms of life on earth.



4. Used several of these drawings in projects. Books like this are great for those of us designers who aren't the best freehand drawers.



5. This is just packed full of brilliant illustrations of birds frogs fish girafee spiders butterflies you name it , throughly recommended for any one who loves botanical illustrations or engravings , really good source material for artists or designers.very nice book but rember it is a paper back not that that matters to me.

1 comments about Print Work: An Exploration of Printing Techniques.

1. i pre-ordered this book in hopes that this book would live up to the other books by victionary and it definitely has. from the design of the covers to the collection of packaging, type, collateral, etc designs is carefully chosen and uniquely displayed on each page/spread. and having the piece info along the bottom (ie. specs, clients, year, type of paper and printing, etc) is really useful and interesting. i have absolutely no regrets and can see myself reading/looking through this book many, many times. you definitely want this book for your collection if you're a graphic designer. great book for inspiration.

2 comments about Contemporary Graphic Design.

1. Im pretty happy with my purchase it comes on time and in good shape to thanks



2. I got this book after a VERY long wait (nothing to do with Amazon, Taschen delayed its publication for months and months...) and I could not be happier with it.
   
   The waiting was well worth it, Taschen prints great products and this thick, colorful book is no exception, you get great design from the plastic jacket, to the silky pages that are very well printed (full yellow pages with no banding, WOW!).
   
   About the content:
   Interesting, up to date and very pleasing to the eye (even if you're not into graphic design you want to buy this book and have it sit on your coffee table, it looks great as an object too). You get lots of cases/projects from various places and eclectic cultures.
   
   I highly recommend buying this book if you work or want to work in graphic design.
   
   Aldana

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.

5 comments about The Animation Book: A Complete Guide to Animated Filmmaking--From Flip-Books to Sound Cartoons to 3- D Animation.

1. If there was ever a 'textbook' for learning animation, this is it. I have several books on animation production, from cell to 3D, and this on the pretty much the backbone of them all. I am not a professional animator, though I wish I was. This book provides a plethora of reference films for various styles of animation (it's nice to have a somewhat comprehensive list of styles) and suggestions for production. Though, it does lean more towards the artistry of animation, rather than digital production techniques to turn a quick buck.
   
   I recommend this book as a primer for anyone who is passionate about animation as an art, hobby, or the first step in building an animation production house from scratch.



2. I just about wore out my copy of the original edition of this book years ago; i never got far into *doing* animation, but it really helped me to *understand* what i was seeing on the screen (as well as serving as a source of recommendations as to Good Things to look out for...)
   
   While this may not be quite the essential text for asiring animators that Will Eisner's "Comics and Sequential Art" (q.v.) is for would-be comics pros, it is a Very Good overview of the field as a whole, from techniques to materials to the creative aspects.
   
   There is, admittedly, not sufficient detail on any one subject to take one to a true professional level, but there is sufficient detail and commentary to let the tyro make a beginning in almost any aspect of animation (within one's financial limitations, anyway -- while costs are rather less now than they were in the day when film was the sole practical medium of choice, some aspects of animation do cost more than others to do) nd work at it enough to get an idea as to whether that's what she wants to do.
   
   And remember -- you might not intend to make animation your life's work; but Mike Jittlov was an accounting major who took an animation course because he needed an elective and it fit his schedule. The film he made for that course won him an Oscar nomination...
   
   Anything can happen, and this book is a good place to check it out if you think animation might be one of the "anythings" you'd like to happen to you.



3. This is a great book for both students of animation and anyone out there who just wants to know more about that thing called animation. Laybourne is very easy to read and goes step-by-step through various animation processes in such an accessible way that its almost entertaining.
   
   If you have a serious interest or just a passing interest, this is a great book!



4. I am using this book for background info for an animation unit I teach with my graphics students. It gives you a good overview of many different animation techniques. It answered a lot of my questions. This book is a good start, but you might also want to check out animation by preston blair, and Animation from script to screen by Shamus Culhane. Shamus will make an animator out of you by the end of his book.



5. Although it is almost impossible for a book to provide the most up-to-date info, this book tries it's best. I really think that an animation book should be specified (ie 2d, stop-motion, 3d, etc) in order to not "cheat" the reader out of more intense knowledge. However, if a broad introduction is what you seek, then this book will work (but there are less expensive books that will do just the same).

5 comments about Of Mice and Magic: A History of American Animated Cartoons; Revised and Updated (Plume Books).

1. I purchased this book for a class, it was the textbook we used. It was interesting and seemed to encompass a fair amount of history. I do wish he'd expanded more on the history of computer animation, but it's pretty extensive in and of itself.



2. The book I ordered was in perfect condition and delivery right away. I got it about half the amount of business days I was supposed to get it. Plus the book isn't mind-numbing to read as it's about the coolest subject ever.



3. When I think of the history of animation, I tend to divide things into three periods: The Golden Age, noted for early Warner Brothers cartoons and the classic Disney movies such as Snow White and Fantasia; The Age of Mediocrity, where creativity seemed to reach its nadir, as seen most notably in the bland Hanna Barbera cartoons; and the Modern Era, with the resurgence in cartoon creativity, which, starting with The Little Mermaid in the movies and the Simpsons on TV, animation reached a new level of popularity and respectability. Leonard Maltin's book, Of Mice and Magic, shows that my own view of cartoon history is roughly correct but also overly simple: there was plenty of mediocrity in the Golden Age and plenty of decent stuff in the Age of Mediocrity.
   
   Maltin starts off with a chapter about the silent era, when animation was just beginning. Over time, experience would refine the process, but the big leap would occur with sound, in particular with Walt Disney's Steamboat Willie featuring Mickey Mouse. After the silent era chapter, there are chapters that serve as "biographies" of the major animation studios, starting with the biggest of them all, Disney.
   
   The Disney characters are among the most popular in cartoon history (or film history in general). Mickey Mouse may have been the biggest name, but he didn't have much of a personality, so he started being pushed aside in favor of more developed characters, especially Donald Duck, the first major Disney character with any sort of edge. In fact, this is a constant theme in the book: that the weakest cartoons from any studio were the ones that featured characters with no distinct personalities.
   
   Success would often come with the most offbeat and edgy characters, such as Donald Duck, Bugs Bunny, Popeye and Daffy Duck. But some of the studios had a mercenary nature that would put quantity ahead of quality; probably the worst in the bunch was Terrytoons where good cartoons were the exception, not the rule. Although even Terrytoons would have some memorable characters - in particular, Mighty Mouse and Heckle & Jeckle - even many of the cartoons featuring them were not very good (which is why in the world of cartoons, the Terrytoons characters will never outshine even some of the Disney or Warner Brothers second-stringers).
   
   Space limitations prevent me from going as in depth on this subject as I would like, but suffice it to say that after reading this book, I still do feel justified in defining an Age of Mediocrity. It was not that every cartoon in that period was bad, but the good ones were few and far between and classics were very rare indeed. The Age of Mediocrity was filled with bland cartoons that were more cute than funny, often repeated the same gags over and over again, and had few remarkable characters.
   
   What about what I call the Modern Age? It would have started right after this edition of the book was published (1987), so it is understandably, but sadly omitted. Also missing is any real look at TV cartoons, so Bullwinkle, Underdog, Yogi Bear and the Super Friends, among others, are only mentioned in passing. Maltin admits up front that this book won't cover these TV cartoons, nor non-American products, hence the omission of international fare such as the Italian Fantasia-like movie, Allegro non troppo.
   
   The strengths of this book, however, far outweigh the shortcomings. While my opinions sometimes differ from Maltin's on the quality of various cartoons, these are a matter of individual taste (overall, he tends to go easier on the films than I do; for example, he has a more favorable opinion on the UPA cartoons than I do); besides, this book is more of a history of cartoons than a critique of them. In addition to good writing, we gets lots of pictures (only a few in color) and an extensive filmography for all the chronicled cartoon studios.
   
   You probably need to be a certain age (probably at least 30) to fully appreciate this book, as younger readers may not have really grown up with these cartoons and may not have even seen them as adults (and since many of these cartoons were geared only to kids, they would not even have much appeal to those over 10). But if you remember these cartoons and look back at them with fond nostalgia, this is a great book.



4. I found this book to be an excellent reference source for cartoons produced to be shown in theaters. However, entitling it "A History of American Animated Cartoons" is not exactly truth in advertising. I think most people (except for perhaps some obsessive purists) would agree that the cartoons produced for television from the 40/50's onward would also be considered American Animated Cartoons. But none of these great cartoons (i.e., Gumby, Beany and Cecil, Clutch Cargo, Hanna-Barbara's Huckleberry Hound, Yogi Bear, Pixie & Dixie, and others through the present) are included here in any detail. Also missing from the appendices of studio output are the more obscure products like Warner's Private Snafu and other animation produced for corporate clients. Mr Maltin would do cartoon lovers well by commissioning a second volume to complete the story.



5. Leonard Maltin has a real knowledge of animation and his passion and enthusiasm for cartoons is apparent. The book traces animation from its beginnings at the turn of the century up to modern day. Extensive coverage is provided to all the major cartoon studios and many of the key directors. The illustrations are excellent. Maltin provides a fair amount of detail but not too much to overwhelm the casual fan. Anyone interested in the history of animation or just wants information on which films to see is well advised to pick up this very well written book.

5 comments about Hot Textiles: Inspiration and Techniques with Heat Tools.

1. I am really enjoying all the ideas and great instructions for techniques packed into this book. I feel I really got my moneys worth with this purchase and will browse through it over and over.



2. This is one of the few books I have bought that I read cover to cover. I can't wait to get started on everything!
   
   There are not step by step directions but there are good descriptions of what to do to achieve each effect. It might not be the book for a beginner. The pictures are wonderful.



3. Although I am not skilled in this type of art, I am a visual artist. This book and the methods shown intrigued me enough that I will try to find a way to incorporate some of the methods and materials into my work.



4. Contrary to the previous reviewer who didn't think Kim Thittichai (Hot Textiles) did a good job on addressing the safety issues...I beg to differ. I'm only on page 27 and so far Ms. Thittichai addresses the safety issue on page(s) 7 (2 paragraphs); pg 10, entire page; pg 12, 1 paragraph; pg. 15, 1 paragraph; pg. 17, warning; pg 24, entire page. I think this is an excellent book which leads the artist into using different mediums and how to safely use each of them. I'd highly recommend this book to someone who has used some of the products as well as someone who is new to working in this textile environment.



5. Lots of innovative fiber techniques are coming out of the UK,
   and this is no exception.
   However, I found some inaccuracies, like MX dyes dyeing polyester
   (doesn't happen), and some downright blatant safety issues ignored.

5 comments about 9 Heads: A Guide to Drawing Fashion (3rd Edition).

1. At first i didnt want to pay the price without getting a good look inside, but when i traveled to Europe the fashion school I went to had several copies and I ordered it at once. Definitely worth the money!! Has everything you need for fashion drawing. either for beginners or advanced artists.



2. I took an illustration class and we used a different book and felt that my illustrations were still horrible, even after the class. I saw this book was being used for the next illustration class and looked at my friend's book and decided to get it. Upon receiving this book, I started really sketching and I got a lot of compliments on my new sketches! This is a great instructional book!



3. i could honestly say i have a ton of books and as a fashion designer this is the best book out there.. it will teach you step by step and the best thing to do is to get colors for modern fashion. You have both of these you are set. I had Nancy R. as a teacher and shes the best! the money is worth it !! it will be your fashion bible! :)



4. I can't explain what a great help this book has been for my studies. It is very indepth and the steps to creating the croqui are excellent. I am a first year fashion design student with very limited skills in drawing and this book has helped me improve in my class by leaps and bounds in just a short span of time. A must for all Fashion Illustrators.



5. This book is a must have for anyone who is seriosly into Fashion Illustration. I do some of my teaching with it, and students go crazy over the simplicity of the explanations.

4 comments about LOGO Design (Midi Series).

1. Not only the selection is good... but what really insterestred me was the case studies. That's what made this book a great choice for me.



2. I thought it's gonna be bit better. Some examples of logos are great but most just average. They could be bit bigger. Nice cover and rounded corners :)



3. I am a Advertising design student and this comes in handy as a reference tool.



4. Hace tiempo que no veía una compilación de trabajos como esta. Un libro bastante completo, fuente de inspiración para los diseñadores en una edición de lujo

5 comments about Getting It Printed: How to Work With Printers and Graphic Imaging Services to Assure Quality, Stay on Schedule and Control Costs (Getting It Printed) 4th Edition.

1. The content of this book is excellent, but who cares? You can't read the stupid thing because the design is so bad it absorbs all your attention trying to ignore it. I would offer concrete examples of the design flaws, but there are so many it's overwhelming to even begin. Also, the organization of the book is haphazard. For example, the visuals seem to land anywhere but where you'd expect in relation to text flow. I would value this book much more if it were set in Courier and held together with a rubber band. The production team was definitely out to lunch when this monster made it through the approval process.



2. They may know printing, but the 4th ed of this book is not readable.
   
   Every single left and right page border contains CMYK registration marks. Cute idea, fine for a front page, but the stark color contrast is constantly distracting.
   
   Chapter headings are migraine-inducing 3" x 7" YELLOW hyper contrasted with blinding full-on CYAN. Other headings are set off with CMYKCMYKCMYK color chunks that are twitchiness defined.
   
   All the text is sans-serif font. Please have mercy on your readers!
   
   This is exactly how not to design a book. A kids' cereal box, maybe... a book, no. The 3rd ed is much more refined and readable, why oh why did they assign this design to the amateurs?
   
   My recommended antidotes: 1) anything by Edward Tufte. Start with "The Visual Display of Quantitative Information"; 2) Robin Williams' "The Non-Designer's Design Book".



3. book is brand new great shape, it got here so fast didn't miss a class without a book.



4. This book is a great learning tool for printing... production and prepress. This is a great book to have as a graphic designer or design student. There is a great deal to be learned about printing to get the results you want, and this book will help you along the way. There are amazing terms and definitions to aid in expanding your printing industry vocabulary.
   
   It is broken down into 10 chapters:
   Chapter 1 Overview: Planning for Results
   Chapter 2 The Parts: Type and Graphics
   Chapter 3 Assembling the Parts: Prepress
   Chapter 4 Outputting the Parts: Film and Flats
   Chapter 5 The Magic of Color
   Chapter 6 Using Paper and Ink
   Chapter 7 Exploring Offset Printing
   Chapter 8 Exploring Other Printing Methods
   Chapter 9 Techniques for Finishing and Binding
   Chapter 10 Working with Printers



5. I use this book to teach a Graphic Production class. This is a good entry level book to wet one's interest in the broad scope of each part of the printing production process. It touchs on everything from scheduling to design to prepress to actually getting it on press al the way through the bindery and shipping processes. Without this basic understanding, new design students have no understanding of what they are creating. This gives a brief snippet about each process. The early designer then at least has an idea of how their final products will possibly be used.
   
   Each area of print production can have its own book and ideally designers will learn these processes in depth. As an entry level book however this has all of the basics without overwhelming the student. It also delivers the dry information that creative folks need in simple clear form. After thirty years in this industry I welcome the simplicity this book provides.