5 comments about M.C. Escher: His Life and Complete Graphic Work (With a Fully Illustrated Catalogue).

1. This is a major compilation of the work of the intriguing graphic artist, M. C. Escher. Remember seeing depictions of events that seem plausible but, under closer analysis, involve impossibilities? That describes some of Escher's most interesting works.
   The book provides just about everything Escher produced (appearing in the "Catalog" section of the book), including his earliest works compiled during his teens. Among the most well known (and fascinating) include "The Waterfall," "Ascending and Descending March," "Convex and Concave," "Liberation," "Synthesis," "House of Stairs," and so on. The catalog section is fun, for one thing, simply to trace the evolution of his art.
   
   But there is more to this volume than the works themselves. The volume provides context, with a brief description of his father's life as well as a more detailed analysis of Escher's life, from his birth in 1898 to his death in 1972.
   
   There is also a most useful chapter labeled "The Vision of a Mathematician" (featuring the thoughts of mathematics teacher Bruno Ernst). It begins by noting two periods in the work of Escher--(page 135): ". . .pre 1935, in which landscapes predominate, and post 1937, which is characterized by a marked mathematical tendency." Ernst describes the mathematical principles in some detail (for those interested in this, a fascinating discussion). The textual portion of the book concludes with an essay by Escher himself on "The Regular Division of the Plane," including his reflections on his art.
   
   This book has been around a while, but it is a valuable backdrop to getting a sense of the art of M. C. Escher.



2. I love everything Escher. I have several books, numerous calendars, as well as large jigsaw puzzles, T-shirts, magnets and mini jigsaw puzzles. Because of the detail in this book, I will never need to add another book to my collection. I especially appreciate the explanations. I am nowhere near smart enough to figure out what Escher was doing in each of his artworks. The detailed lesson on what each piece means is much appreciated by an art fan who is not an art scholar. I think this book would be great for any Escher fan, but I feel the need to tell you it is very large. Make sure you have room for it.



3. And c'mon - if you've seen his work, you're a fan.
   
   The great thing about this book is not just the extensive and readable biography, but the complete (so they say) catalog of his graphic works. Even people very familiar with Escher's ouvre will be surprised by some of the entries here. They go back to work he did at ages 18 and 19, and show the devleopment of the Escher that has become so famous. It's just a little disappointing that the catalog is printed only in black and white, when so many of his works used color. The catalog reproductions are just that - a listing of his work, not a gallery, so the quarter-page size of most pieces is adequate for recognizing a piece, if not for appreciating it fully.
   
   It is fascinating to see Escher's style develop though his (and the twentieth century's) twenties. Various influences early on suggest Beardsley (cat. 49, 67), Picasso (cat. 51, 58), or the pervasive Art Deco of his time (cat.34). Even then, some of Escher's later fascinations begin to emerge, including hands and reflective balls (cat. 88 and 80), symmetries and tilings (cat. 61, 65), and complex interactions of many figures in a repeating structure (cat. 90). The lesser-known parts of his work also start to emerge by the time he's 30, including delicate lithographs (cat. 129, 132). As much as I love his visual paradoxes and flirtation with the infinite, the lithos and mezzotints are the pieces that truly move me. "Snow" and "Blowball" (cat. 278 and 330) have an eloquent simplicity. "Eye" and "Drop" (cat. 344 and 356) demonstrate his classical sense and his perseverance with the demanding medium of mezzotint.
   
   The text is also thorough and enjoyable - a good thing, since it takes up half of this heavy book, including its own set of illustrations. I admit that I have only skipped around this section, which starts by describing Escher's father. It's small wonder that his father was an engineer and that his son Arthur studied geology. Although an artist to the core, Escher had fruitful contact with mathematicians and crystallographers. He is one of very few artists that have successfully incorporated hard science into their artistic vision at such a visceral level, and the scientists appreciated that as much as anyone.
   
   Although out of print, this book is available inexpensively on the used market. It's one of the best bargains around; if you've read this far, you'll probably find it well worth having.
   
   //wiredweird



4. Definitely the first book every Escher fan should purchase. It's helpful in getting to know about the man himself as well as his brilliant artwork. It may seem pricey, but it's totally worth it, being hardcover (at least the one I got), and high quality photos of his work. It also shows his lesser known works (ones never released apparently), as well as photos of himself and his family. A very informative read and a quality edition.



5. I haven't even had a chance to go through all of this remarkable book yet, but I am so impressed with it so far I cannot burble enough about how delighted I am with my purchase. This is a beautifully produced, designed, and wonderfully complete book. Many tales of the personal life an vision of the artist, countless, cleanly reproduced graphics, many works I have never seen or heard of before. Terrific! Can't recommend enough!!!

No comments about Magic Eye: A New Bag Of Tricks.

3 comments about Cowboy Style.

1. "In the typical cowboy-chic living room, overstuffed couches and deep Molesworth-inspired club chairs invite lounging while oversized upholstered ottomans offer a variation on the traditional coffee table, providing softer edges, a more casual feeling, and extra seating." ~ pg. 54
   
   Cowboy Style is filled with warm comforting styles to reflect a casual sophistication. Intricately designed armoires and Tiffany lamps are as welcome as the more organic designs made from ponderosa pine.
   
   Wood furniture shimmers in the glow of fireplaces and creative chandeliers in rooms layered in comfort. Intricately designed carpets and designer bookcases make the spaces inviting.
   
   A magical artist's studio built in Wyoming showcases a cut-metal lamp by a California craftsman, Tony Alvis. His fireplace screens are of especially high interest in this book because they are scenes of cowboys overlooking deserts and the interplay of the light behind the silhouettes makes for a fascinating magical experience.
   
   Other interesting features include the details about sheep wagons used by sheepherders in remote mountains, cozy cabins and stories about the artists featured throughout this book.
   
   ~The Rebecca Review



2. I needed pictures to help me figure out how to design a Country Western style art gallery. This book had beautiful pictures, gives an overview of the history of the western culture, and provides names of companies and/or creators of furniture pieces. I would recommend this book to anyone who likes the Rustic/Country Western style home; this book was absolutely wonderful!



3. I enjoyed the book, but I was a bit disappointed, since there wasn't enough technical decorating information on color schemes, regional variations in styles, etc.

   Great pictures, though.

5 comments about How to Write for Animation.

1. I'm not saying it's a bad book. On the contrary. It's very good.
   But you have to know what you are buying.
   It's a book for writing Scripts for ANIMATED SERIES FOR KIDS.
   The case study with which you will go through this hands on course is
   THE MUTANT NINJA TURTULES.
   This will be great for some but not for all.



2. I'm in the process of writing a proposal for a new animated series and though familiar with writing in general have no experience in animation. Scott's book is a clear, step-by-step primer and is a terrific source of info for the beginner. Every writer approaches his work differently, of course but I find Scott's one-block-at-a-time method of putting together a solid animated story to be highly efficient while leaving room for a good deal of creativity and fun at the same time.
   When I feel my energy and ambition start to flag a bit, opening up Scott's book and reading a couple of pages is a great way to get the fires burning again. He writes in a clear, friendly style that neither condescends nor misses any of the major questions a newbie might have.
   "How To Write For Animation" is obviously the product of a highly experienced pro - which is much to the benefit his readers.
   Highly recommended.



3. I didn't know who he was before buying the book but you bet I learned who he is and what he's done. Great person to read and learn from. The book was very inspiring but specially was technically estimulating to the level that for the first time in my life I think I can give it a shot and write something. He explained writing the script not as an art but a science. Most of the times when he mentioned that writing is also an art he refered to this a "something that takes years to develop" so instead of making me feel bad about this, he went ahead and taught me the basics, the basic structure, the basic approach and it was killer to have some actual samples of his work the reinforcing his words. The books is technical so dont expect an "about my life" book which is great... it's clear that Jeffrey has forged his talent and reputation by his work and not by saying how great he is. The book starts technical and ends in a more conversational way when Jeffrey tells you his "points of view" on different media types including internet. One thing I would love to ask him is to release an updated edition or even a new book on writing for a) writing for the internet and b) full length picture writing. When he wrote this book, internet animation was booming, now it's here so, some advice from him on this regard would be useful.



4. I am a published comic book writer developing an idea for an animated series and have been thoroughly impressed with `How to Write for Animation'. In it, Jeffrey Scott takes you through the entire process of animation writing, and provides examples for every step. He demonstrates how to write a premise, beat outline, outline, and script. He then tells you how to make contacts in the industry, including finding an agent. What I especially like about the book is the wealth of information Jeff shares on how to develop a series idea, including writing a bible and pilot script and how to pitch the idea to Hollywood.
   
   A previous reviewer misstates Jeff as saying that writing a feature is impossible. This is not the case. What Jeff did write was that `to the best of my knowledge, at the time of this writing, no spec animated screenplay has ever been sold or produced'. He goes on to write, `Someone IS going to sell an animated spec one day and it might as well be you.' (Emphasis added). This book will equip you to do just that.
   
   For those of you wanting to take the next step in your animation writing career, I highly recommend Jeffrey Scott's Cartoon Writing Apprenticeship Program offered through his website (www.jeffreyscott.tv). In this program, you learn directly from the master and I can tell you from personal experience that Jeff does an incredible job of teaching you how to improve and polish your writing.
   
   The book and the apprenticeship program are incredible resources to help you succeed as an animation writer.



5. I was disappointed in this book since it focussed almost exclusively on creating TV series scripts, and drew virtually all examples from one of Scott's Teenage Mutant Ninja Turtles scripts. When it comes to features, there's only a small chapter and Scott basically says 'Forget about it - no film scripts have ever been bought from outside a studio - they're only developed in-house by execs.' There's also only one paragraph devoted to creating 'direct-to-video' projects, and no mention whatsoever of strategies for writing for independent films or any less 'orthodox' ways to get your work seen and developed.
   
   Given all the other glowing reviews I read, I expected more.

3 comments about Living in Morocco.

1. This is an excellent book for anyone interested in interior design or Morocco.
   Full of beautifull photos of guest houses and private homes in Morocco. The book is presented beautifully and would make a great present for someone special or even as a gift to yourself.



2. This is certainly what I did when I purchased this book. I expected a volume full of palaces, mosques, markets and average folk's homes (or at least native Moroccans!). What I found was a book of lavish hotels and rich foreigners' mansions. They are by and large interesting rich foreigners, but I was still disappointed in that what is portrayed in this book is not "living" in Morocco. It's "being wealthy" in Morocco. There is nothing penetrating about this book, but it is nice eye-candy.



3. Another one those wonderful coffee table book by Taschen publication. This book has a broader variety of homes like from the exclusive Aman hotel (Amanjena) to a humble farmer's house. It's not a book about how to live in Morocco nor about going remodeling or building a home in Morocco. It shows you what some foreigners and locals have done to their home.

   Book is cheaper than the previous Taschen book "Moroccan style".

1 comments about Treasury of Art Nouveau Design & Ornament (Dover Pictorial Archive Series).

1. The pictures in this book are a huge source of inspiration. The clear, black and white illustrations lend themselves well to be photocopied. I love the fact that the pictures are free to reproduce. One of the designs was so pretty that I now have a tattoo of it. Now if that's not appreciation of the design, I don't know what is.

No comments about Dos & Don'ts 2: 13 Years of Vice Magazine's Street Fashion Critiques.

5 comments about Treasury of Fantastic and Mythological Creatures: 1,087 Renderings from Historic Sources (Dover Pictorial Archive Series).

1. There are some nice renderings of 3-D objects (sculptures and masks), but why would the author choose to re-draw a 16th century engraving when the original is so wonderfully done?? All the images in this book are drawings by the author. I'm not too fond of the drawing style, and the captions aren't very useful.



2. Fantastic book. Highly recommended. Bought for inspiration and collection, def worth a look! If youre looking for tattoo ideas, this is perfect.



3. These illustration are mediocre at best and I wish I had realized that they were an artists interpretation of monsters from historical sources, not direct images. Darn.



4. Satisfaction with this purchase will very much depend on your purpose. It certainly does not have much text in the book to accompany the illustrations. Personally, I wasn't expecting any having purchased other Dover publications for artists and craftspeople. Which then left the illustrations. There is a diverse range here across different parts of the world. I was expecting different 'ages' rather than different 'locations'; only because some pictorial archives (especially costume ones) start with the oldest period and work forwards.
   
   As someone looking for different animals and creatures for use in collage art, altered books and card making, this is a good book to add to my collection. There are certainly all manner of creatures contained within.
   
   If you are looking for an informative archive through text, then this is certainly not the book for you. If like me, you are looking for a range of creatures; then this book has something to offer.



5. On the one hand, the book does offer wide-ranging coverage. There isn't a region of the world that isn't covered to some extent.

   On the other hand, the textual information provided is sparse and occasionally *wrong*, and some of the inclusions are questionable.

   Each illustration has a one-sentence caption, varying considerably in detail provided. Some give you all the information you would need to find the source of the original illustration, some are a single word identifying the type of creature, others are somewhere in-between. It's unclear how much of this dearth of information is because of the reliance on secondary rather than original sources, and how much of it is because the author and/or his editor over-did the cutting.

   Also, some of the captions are mis-assigned. Going through the book, I easily spotted several occasions where two of the illustrations on the same page were clearly given each other's captions. I only spotted this a few times but it begs the question, how many other such errors are there in the book that I didn't spot?

   Finally, some of the illustrations included really don't belong. Details from Bosch paintings make sense, they're demons ("fantastical and mythological creatures") from hundreds of years ago ("from historic sources"). But there are some figures from modern art included that don't seem to belong, particularly a Picasso that's just an abstract rendering of a normal human.

   It may well be more useful for its bibliography than for its content.

No comments about The Production Manual: A Graphic Design Handbook (Advanced Level).

No comments about Happy Halloween CD-ROM and Book (Electronic Clip Art).