5 comments about The Sumi-E Book.

1. If you are new to Japanese brush art work and want to learn the technique, this is the book to start with!



2. If you're a beginning Sumi-e painter you might want to wait on purchasing this book until you're more comfortable with the basics of brush loading and color gradiation.
   
   This book tends to avoid going into detail about the intricacies of brush loading and the importance of your paper quality and it's absorbency.
   
   If you are a beginner looking for a solid book that explains in alot more detail the four gentlemen and the importance of your brushes quality and methods for loading the brush, buy "Japanese Ink Painting: Beginner's Guide to Sumi-E" (Paperback) by Susan Frame. It's a marvelous book with alot of great examples and step by step instruction as well as some history and excercises you can do to become more comfortable with your brushes.



3. Personally I am also interested in using colour in my sumi-e works, this guide only has black and white. But the images are just beautiful. Hope I reach that level soon!



4. After exactly two lessons in watercolor and an appetite to learn more precise brush strokes I purchased Sumi-E. I immediately was able to make headway using the carefully written examples shown in this lovely book even without purchasing the precise Japanese brushes. I highly recommend it.



5. The Sumi-E Book is an excellent source for beginners who are interested in learning this beatiful Japanese Art form.

5 comments about The Notebooks of Leonardo da Vinci (Oxford World's Classics).

1. I'm not much of a reader and it's not blatantly spelled out in this book's description BUT if you're looking for a book with DaVinci's art DO NOT LOOK HERE!



2. Nothing of Leonardo DAVinci's sketchbooks were published until the 20th century. These are some of the most important documents of the Renaissance, and they did not become known until the 20th century. There are still people who do not know how important this work was. His anatomical studies were a watershed moment, because they introduced visual diagrams as the standard for communicating knowledge of the body and self. This was no more and no less than the conviction that the true knowledge of the shape of any body could only be arrived at by seeing it from different aspects. The truth of the body, the truth of the human being can only be discovered by looking at the body from multiple aspects, like; level, motion, perspective, transformation and growth. He opened up the body, it had always been closed, now its open. Now, what goes on inside the body is going to give us the essence of what it means to be human. It is the internal struggle, the self with the self, within .you. When you look at his sketchbooks, you see just one place where the whole world opens up.
   
   Leonardo DAVinci-- Leonardo DAVinci invented the modern self. He invented the modern self precisely in this way, through the perspective of disappearance. What he tells reality and us about the self is that it only exists by that which is perceived by the eye. Reality is a product of nature; reality is that which we perceive by the eye. Reality is only that by which we can see. Moreover, in his notebooks he gives us another foundational belief about the human subject and its form. That the sound rules are the issue of sound experience and observation. Experience and observation can only be our best teacher. Of course, this is also, what Voltaire is telling us to by the way. The challenge comes when we realize that we are both to the subject observing and the object that is observed. In our search for self, we experience a kind of division between our constitutions as objects and our constitution as subjects. However, when we look at the human form, when we look at the self we find that the body is in harmony with nature, and that it is in harmony within nature. How does DA Vinci make these kinds of claims? Alternatively, how does he ground these kinds of claims with the function of the eye or the power of the eye? Well, one of the ways he does it is thru the camera obscura. Earliest record of use of camera obscura is in DA Vinci's writings. The camera obscura gave birth to the science of optics, the science of seeing. It is with DA Vinci, that the science of seeing became the foundation of self-representation, a representation called the self, thus the representation of the human form. Now DA Vinci embodied his own concept of the painter, as philosophers. He saw painters principally as natural philosophers. To him, nature was all important, absolute, the image of the eternal. In one very significant passage of his notebooks, he defines the relationship of art to nature and its process of evolution. "The painter will produce pictures of small merit, if he takes for his standard the pictures of others. If he will study from natural objects, he will bear good fruit, as was seen in the painters after the Romans always imitating each other until their art constantly declined from age to age. Therefore, this was paramount for him in some ways what he was doing, and thinking was very radical and revolutionary and in other ways, it was very traditional. He appears to be quite a traditionalist, he studied ancient sources, Greeks, medieval sources, he studied anatomy, and these traditions get him to compare the microcosm of the body and the macrocosm of the world. These analogies extend to everything that he attempted to trace, to record and to know about the human form. Comparisons between the arteries in the body and the underground rivers of the earth. The flow of blood to the head in relation to the circulation of water to the summits of mountains. How does blood get to your head? If you want to understand that then understand how water flows up to mountains. Blood when it bursts in the veins of your nose and water rushing out of a vein in the earth. Almost everything that occurs in the human body can be found in the natural world. His interest in these analogies becomes very evident in the notebooks and sketchbooks. Scholars argue that these microcosm and macrocosm analogies are more than outright comparisons that belong to a pre scientific age, they lead him to compare the study of the body and Ptolemy's study of the earth. Consequently to use Ptolemy's method in the geography as the starting point for his own systematic study of anatomy. Therefore, anatomy and geography here become one in DA Vinci's mind. The forms of the earth and those of the human body have a parallel. "Thus in 15 entire figures you will have set before you the microcosm on the same plan as was before me adapted by Ptolemy in his cosmology, and so I shall afterwards divide them into limbs as he divided the whole world into processes. Then, I will speak of the function of each part in every direction putting before your eyes a description of the whole form and substance of man as regards his movements from place to place by means of these different parts. Thus if it please our great author I may demonstrate the nature of men and their customs in a way I describe this figure." Therefore, within the human form and within the kind of intricate details of human anatomy he discovered a way of describing and recording, not only the geographical construction of the natural world, but of Divinity itself. And when you look more closely at the system he devised to study the body, the more carefully you look at his drawings of the human form the more clearly you begin to recognize how strikingly stunningly original it is.
   
   Earlier authors had relied exclusively on verbal descriptions of the human body. The human body had been a verbal entity but he emphasis visual description and some of the illustrations he has to bring visual dimensions to the philosophy of Plato, Aristotle the descriptions put forward by these men he presents in visual terms in these kind of body scapes. In the course of 20 years, roughly from 1489 to the end of his life, he dissected about 19 corpses and became very much obsessed with dissection. He drew these parts of bodies in minute detail every part of the human anatomy, he would draw each piece separately, together and at different angles. He laid out bodies in his drawings to mime classical poses in painting. He is referencing the history of art with the poses and the visual representation of the human subject. It is presented to us that deeply challenge these values of human nature, of life and death of living form and the cadaver it really raises some profound questions. The problem is in order to get to those questions, in order to explore some of the deeper philosophical implications of his work you have to get past the gross factor and the moral and ethical questions that his work raises. He is an artist that works very consciously with the sense of the ethical lines that he is crossing; he is not an artist that wants to make you comfortable. He sees that blood gets in the way of his observations, so he advises that you make a model of the body part and then you draw it. Model making and scientific art go hand in hand for him. You have to reconstruct reality before you can represent it. Therefore, before you can draw what is real you have to make it yourself. One of the most striking features of the notebooks is the manner in which he presents his work to us. There are no criticisms of the shortcomings that he has discovered in earlier authors, he does not boast about his own accomplishments, his writing style is pedagogical, and he is writing a teaching manual with descriptions and advice. Therefore, if you want to draw a lung, here is how you should do it. What he is trying to do is to convey to a larger audience this method of presentation and by representing human form, he relies on diagrams, and his reliance apparently causes some serious problems for the printing presses of the day. It also caused real issues for publishers because of the graphic nature of the work.
   
   This was very important for medicine. He shows us we can separate human emotions and passions from the human body in understanding human form, and what it means to be human. There is a purely clinical dimension and this other dimension of feelings and emotions, and they do not have to come together at all, this is radical.
   
   Thus again, this inside outside, you see it everywhere in his work. Why are we fascinated with the painting of the Mona Lisa? Because of the question we always ask, what is going on inside? The study of the Mona Lisa, it seems to me has always been organized around precisely the question that drove DA Vinci in his research. All his sketches in this obsessive and fanatical devotion to drawing every part of the body in relationship to every other part of the body at multiple levels and multiple perspectives and in motion, outside inside. There is the outside, what is going on inside, isn't that why we are obsessed with this? This painting just demands that we try to find out what is going on underneath. The truth is underneath, behind her smile, something she is keeping from us. Yet she is revealing just enough of it to make us have to find out what is going on inside of her. It is that relationship once again between the inside and the outside.
   
   I read this book for a graduate class in the Humanities. Recommended reading for anyone interested in history, psychology, philosophy, art, and science.



3. I was hoping that after getting these books, I would learn some secret in art making from the great one, but I found them book very disappointing. Tons of texts and very few explanation.
   
   However, the first volume is worth buying because it's about his drawing and painting theory. Beware they are very advance and i found them very confusing.
   
   The second volume has nothing to do with art but rather pure science (Astronamy, sun, etc).



4. Inexpensive, but the image quality is terrible, in some cases completely illegible and dark, like poor xeroxes...thus, it's nearly impossible to read or make out details of technical drawibngs.



5. Leonardo's curiosity and inventiveness are on display throughout this work. I cannot judge the quality of the translation , or how good the Richter edition of the Notebooks is. I can say that this is a tremendous amount of interesting observation and thought regarding the subjects from anatomy to perspective in painting, questions of architecture and aeronautics, that concern the Renaissance Man of Renaissance Men. All of this is in a way too much for another mind certainly one like my own who simply does not know anything about many of the areas Leonardo was interested in to real take in. But I think every person who takes an interest in the human mind and the way it works, in creativity and genius would do well to have and read these works.

5 comments about The Watercolor Book: Materials and Techniques for Today's Artists.

1. I have way too many watercolor books (buying WC books is addictive, although not as addictive as buying new colors). This book is one of my absolute favorites, and one I find myself returning to over and over. I am a very big fan of the entire "Materials and Techniques for Today's Artists" series, and I own their Drawing Book, Pen & Ink Book, Pastel Book, Acrylic Book, and Oil Painting Book.
   
   All of the books in this series seem to follow the same basic format. The first third or so of the book cover materials in great detail. The emphasis is on the types of materials that you need, options available, and characteristics of specific brand names. If you're a beginning watercolorist lost among all of the brands of brushes, paints, and paper available then this will be a great resource. The middle 3rd of the book focuses on general techniques, followed by a series of discussions related to specific subject matter. The final third focuses on mixed media - and in my opinion this is the area where Dewey's books really shine. I think he's a great pastelist and uses pastels and watercolors together to do some amazing stuff.
   
   I view this is a great book for folks that know at least a little bit about watercolor painting and are interested in getting into more depth and detail. I probably wouldn't recommend the book for absolute beginners, because I think absolute beginners would find the book a little overwhelming. Some initial questions that absolute beginners might ask (like "What colors should I have on a basic palette") aren't really addressed until pretty deep into the book. For an absolute beginner, something like Jack Reid's "Watercolor Basics: Let's Get Started" or Charles Reid's "Painting Flowers in Watercolor With Charles Reid" could be a better choice. But if you've seen enough of watercolor to know that you want to know a lot more about it, this book is a great resource.



2. I found this book very helpful -- a good introductory book on water color techniques and products. Lots of detail on the different materials and tools used in watercolor (paper type, brushes, paints, misc). The author discusses the uses of each and which products and brands he finds most useful/of the best quality. The author also discusses different techniques (with examples). The book is in color and the step-by-step instruction is useful for beginners or those of us that are a bit rusty. This book will also be useful for people that have never taken an art class as there is background info as well (the color wheel, values, etc.).



3. I wish I would have bought this book before I bought the supplies I did. I know that I would have saved a lot of guesswork and helped form my style faster and more satisfactorily. I am an amateur painter and will always be, so cost effectiveness is an issue. Even though I have brushes and stuff that I will not use (probably) I have the feeling with this book that I have an instructor at hand. Thanks guys!



4. After reading several books about watercolor, I found this book to be the best watercolor book on the market. It is the clarity and thoroughness of the explanations that make this such a valuable resource. I particularly found the section on color theory helpful. This is not a book with a few scattered tips against a background of gorgeous pictures of the artist's work. Rather, it is a master teacher reaching out to all levels of learners as he takes the mystery and confusion out of doing watercolors. If you were only going to buy one book about watercolor--this is the book!!
   
   The Watercolor Book: Materials and Techniques for Today's Artists



5. I was recommended this book by a professor to use as my guide in an Independent Study in watercolors. I don't have any other to compare it to, so I'm just writing what I got out of it.
   
   It has very good descriptions about types and brands of paints, papers, and brushes to start out with. There are also some chapters dealing with general composition and color theory.
   
   I was more interested in techniques though, which I thought Dewey covered well. As a newcomer to watercolors, I was introduced to different types of washes, layering, lifting techniques, etc. I really liked the mixed media section which discusses laying watercolor with things like pastels or colored pencil.
   
   It was nice to see a variety of work too. It's not all of Dewey's pictures (though I thought his stuff was pretty dang amazing).

5 comments about Robert Wade's Watercolor Workshop Handbook.

1. I was very impressed with this book. The side tabs make it easy to go directly to the section you want. Advice was excellent and well presented.



2. A beautifully printed hard cover book by an extraordinary watercolor artist. The book is filled with outstanding examples of landscapes, cityscapes from all over the world. In addition to being an inspired World class watercolor artist, Robert Wade is also a great teacher, the book is filled with practical advise and hands on lessons on color mixing, painting people,skies,glazing,location painting and many other subjects.Just to be able to look at his outstanding paintings would easily justify buying this book.



3. Excellent handbook for the serious watercolorist. Robert Wade has a great approach to some of the more difficult aspects of painting with watercolor. He is brief, to the point, yet his explanations make sense! Enjoyable reading and a great reference tool.



4. What a wonderful book with terrific instructions and insights. Replaces 20 books in my collection which don't come close to the wisdom this book provides.



5. I have a library of over 60 watercolor books, and this is by far my favorite. I also own all of Wades's tapes, and his new CD. I find them to be an extension of the book. I took a workshop from a famous watercolor teacher who had us doing wash on top of wash. She must have gotten the idea from Wade as he has a section on just that topic. He covers washes on top of finished paintings that changes the character of the painting completely. A fasinating book that I return to over and over again.

4 comments about The Rembrandt Book.

1. For an artist, the main reason to buy an art book is for the reproductions, not the text. The reproductions in this book are of high quality, but unfortuneately the vast majority are quite small, about the size you would expect for a typical entry in an exhibition catalogue. The exceptions are the wonderful full-page plates that precede each chapter; they really show what this book could have been if the focus had been Rembrandt's art and not the author's text. A further problem with this book is the inclusion of numerous etchings and drawings, intended to show the full scope of Rembrandt's output in a single volume. Its an admirable idea, but Rembrandt's graphic work has already been amply covered in the fine editions from Dover and its inclusion here feels unnecessary and takes valueable space away from the paintings. What Rembrandt really deserves is a large, high-quality book devoted to showing all his paintings with numerous details of each. Something similar to the excellent monographs from Taschen on Leonardo and Michelangelo.



2. Compiled and written by one of the world's leading experts on the life and work of Rembrandt von Rijn as part of the 400th anniversary of his birth, "The Rembrandt Book" is a 384-page compendium of biography and history of the Dutch master's life and art. Beautifully and visually enhanced with 700 full-color illustrations, "The Rembrandt Book" also provides interested readers with an introduction and analysis of all the various controversies and debates over Rembrandt in terms of just how many paintings and drawings can be accurately and definitively attributed to him. A core addition to personal, community, art school, and academic library Art History reference collections, "The Rembrandt Book" is most especially recommended to the attention of art historians, art students, art enthusiasts, and non-specialist general readers with an interest in the colorful life and personal mysteries involving one of Europe's most famous and influential painters.



3. Rembrandt is probably the most famous artist of all time. And this book, celebrating the 400 years since his birth is at once a tribute to the man and his life, and his work.
   
   A great deal of information is available about Rembrandt. There are some five hundred documents covering various aspects of his life. But there are still many conflicts. We are not sure just when he was born, docoments say 1605, 1606 and 1607. We are not sure how many paintings he produced - of the 400 or so usually attributed to him, at least 150 are in doubt. Likewise the number of etchings - about 285 -- and drawings maybe half of the 1575 suspected.
   
   In this book the author presents the story of his life, as can be best determined intermixed with the story of his art. The author is considered to be one of the leading Rembrandt experts and the views presented here are well reasoned and as close to being definite as possible.



4. This is a very beautifully produced book. There are a profusion of images through out with a very broad representation of paintings, etchings and drawings. The text is excellent as Schwartz has a lot of information but never loses the flow. Many of the images were a bit on the smallish size, but considering the scope of the book, that is easily overlooked. I look forward to the day when a book of his images alone is produced in a larger format. That doesnt cost a fortune. And stays in print long enough for me to buy it. I digress. This is an excellent treatment of a very large subject.

5 comments about Photo Restoration and Retouching Using Corel Paint Shop Pro Photo.

1. I've been using Paint Shop Pro since version 9 and consider myself at the lower end of an advanced user.
   
   I have seven Paint Shop Pro books proclaiming to teach you how to use the program. With the exception of Ken McMahon's book they all fall miserably short.
   
   I was weary of ordering Robert's book thinking it would turn out to be just like the others that sit in the bookshelf collecting dust. Fear not his book isn't a dust collector.
   
   I won't go over what's already been stated in the other reviews. This book is everything the publisher, author, and other reviewers claim it is.
   
   One recommendation:
   
   If you're a beginner to intermediate user of Paint Shop Pro I'd recommend getting Ken McMahon's book "Paint Shop Pro Photo For Photographers" along with this book. McMahon's book covers the program and it's use while Robert's book covers techniques for photo corrections. The combination of these two books will greatly reduce your frustrations and enhance your skills, knowledge & techniques of photo corrections and manipulation using Paint Shop Pro.
   
   
   Thank You Robert for a great reference and teaching publication.



2. Others have written enthusiastically about this book. I concur!
   
   I regularly must touch up photographs for web or print use including conversion to b/w for newspaper ads. I'd used PaintShop Pro since V5 for this task but with Corel Paint Shop Pro X2 and this book, everything I've done has moved forward by a quantum leap. People won't notice the fine differences in your work because of your better photographic presentation but it WILL show, and the advice/tips in this book will make you wish you'd found it years ago! I am SO pleased!!!!!



3. A common lament among users of Corel's popular Paint Shop Pro series of photo editing programs is the lack of advanced tutorial material. Over time there have been a few professionally done video books and texts offered here and there, and author Robert Correll himself has put together two helpful video books based upon earlier versions of PSP, but in general those efforts concentrate on developing basic to low-level intermediate skills at best. Now Correll and Thomson Course Publishing (since become Cengage Learning) have come forth with an advanced PSP tutorial that goes well beyond the basics of photo repair titled Photo Restoration and Retouching Using Corel Paint Shop Pro Photo.
   
   In his new tutorial Correll (the similarity in names Correll/Corel is pure coincidence) has assembled 73 photo projects, mostly casual photos of his wife and children along with those of assorted kinfolk who were smiling into the family cameras as far back as 1919. The color and black and white photographs presented here have suffered a host of indignities over the years; fading, overwriting and smudges of all kinds, scratches, tears and holes in addition to the usual technical defects caused by bad film, poor lighting or poor scanning techniques. There are, of course, the human flaws as well; a pimple here and there, nose hair, dandruff - it's all here in gory high resolution detail, and each Photo Study's source photo is made available for download upon request to the author. I should add that Correll makes himself readily accessible to his target audience via e-mail, keen on cheering them on in their photo restoration efforts.
   
   Basically each Photo Study begins with a brief background about the subject(s) of the photo. Along the way you will meet the author and his wife Anne and their four small children who are introduced in a light-hearted fashion along with Uncle Jim and Grandpa Bud among others. Then the problems in the photo at hand are pointed out, and Correll begins his repair routine in a step-by-step fashion sometimes diverging to try alternative means of solving the issues being confronted. A pre-release version of PSPP X2 was used to do the repairs, but the included screenshots are taken from PSPP XI. I am still using PSP X, and for the most part had no problems following along though the capabilities of some of the tools in my older version differ slightly from those in the more recent PSPP X2. The Levels adjustment tool is one such example. The text and screenshots are of excellent quality and printed in color on high-gloss stock. My only niggle here is that my 73 year old eyes had difficulty discerning the small text shown in many dialogue boxes, and even my magnifying glass sometimes struggled to make out many of the dialogue settings which are not always specified in the explanatory text.
   
   In Photo Study One the author throws the reader off the leaning tower and right into the heart of photo restoration and retouching with a very challenging photo repair study of the Leaning Tower of Pisa. I would have preferred easing into things with a more merciful project, but so much for whining. Perhaps Correll was trying to instill from the get-go a necessary sense of patience and persistence which he emphasizes frequently while stressing the need to be discriminating about one's work. He also cautions a light touch that does not render restore operations obvious to the viewer.
   
   One great advantage of the book for me was that I became acquainted with several tools that I had, frankly, not previously employed in my photo restore efforts since beginning to work with PSP about 6 or 7 months ago. The Saturation Up/Down and the Lighten/Darken tools are just two such. I was also introduced to the Displacement Map under the Effects menu. This looks like an interesting Effects routine that I intend to explore further. The final chapter of the book presents a few creative applications using some of the Effects menu options, but frankly the author only scratches the surface here, though his results are impressive. An imaginative author could easily employ the PSP Effects tools in a tutorial presented solely upon their own merits, and I am sure Mr. Correll would be the first to agree.
   
   In addition to the photo exercises, Correll offers interesting background information about scanning photos, organizing and archiving them as well as helpful printing tips. He also interjects along the way a few useful editing tips and tricks that he has discovered through his personal experiences using PSP.
   
   Does the author leave anything left unsaid? Well, in a word, yes. Not every tool and adjustment in the PSP arsenal is acknowledged its fifteen minutes of fame, though all the heavyweights certainly are, but there is an appendix to the book that does give a brief rundown of each and every tool. However, there is no mention of the hidden tools to be found in the Unused Commands section, some of which can be quite helpful in certain circumstances. Plug-ins are not touched upon nor is the use of scripts, even those pre-defined scripts included with PSP. The author has a tendency to use the High Pass Sharpen adjustment as opposed to the Unsharp Mask, but his reasons for this apparent preference are not stated. He also likes to work with photos in .tif format as opposed to the more common .jpg/.jpeg file format, but again reasons are not stated though I presume they have something to do with a lesser likelihood of introducing artifacts into a photo during the restoration/retouching process.
   
   I personally would have liked to have seen Photo Studies that put to work a few PSP capabilities that I am largely unfamiliar with. In this category I would include the Hue Map tool, and a few exercises using the Create Mask from Image procedure would have been a very welcome addition. In fact, I would have liked to have seen a few more exercises using masks in general though there are 3 of them. Masking, I think, is a weak point for many, including even PSP buffs far more experienced than I am.
   
   All in all, however, this is a powerful tutorial that ought to be a part of every PSP enthusiast's personal library - it is a text that is sure to be referred to again and again. It is my hope that Mr. Correll's tutorial does well in the marketplace thereby launching further PSP instructional texts from this very knowledgeable and photo-savvy author. In my book, Correll's tutorial, Photo Restoration and Retouching Using Corel Paint Shop Pro Photo, gets a well-deserved 5 stars.



4. As previously mentioned in other reviews this book assumes you know how to find your way around Paint Shop Pro. It's most compatible with versions X through photo X2. He doesn't go into any tools that aren't in all three of these versions so it covers the general usage of specific tools very well.
   
   The author stresses the importance of not trying to "perfect" your photos. Giving good examples of doing things the right way, the wrong way, and stopping when the photo is "good enough." He explains himself very well and has a good method presenting the information.
   
   His use of actual photos that he's fixed before, and has an actual personal connection with really brings this down to the average user who is just trying to fix those old photos and improve upon ones that didn't come out as well as they could have.
   
   My only real criticism is more of a warning to those of you who learn as I do. I learn by example, or in other words I need to follow along with the book to properly get everything down just right. This book does not include a link for downloading these pictures that I have found so without your own photos to practice on as he goes over the different parts, if you learn like I do, will be difficult.
   
   This book is far more about recognizing the different problems with photos and some tips and tricks and methods that the author himself has discovered that work very well. A lot of what he says comes from personal experience. And he goes through a trial and error process for most of the book demonstrating the different things you might try by using the number of effects options and hands-on tools. And he explains them all fairly well. He doesn't bore you with all of the technical aspects of the tools, he simply tells you what they do and gives you suggestions on their proper use.
   
   All in all the book is excellent, he focuses on basic aspects and information rather than focusing on the photo in specific. If you're fixing cracks he won't go into depth about adjusting the contrast unless it's needed. If he's being artistic he won't lecture you on the proper use of the clone brush. He focuses on the task at hand and only the task at hand. Helping you to identify the various aspects of restoring and retouching a photo individually.
   
   I would suggest this to anyone wanting to use Paint Shop Pro to correct photos.



5. This book is great no matter what level of experience you have. This expands so much info on the corel program it is definitely worth purchasing...everyone that has this program should own this book. You won't be sorry. Seriously, buy it right now! 5 STARS! A+

5 comments about How To Paint Flames (How-To).

1. I bought this book for my brother since he paints flames on cars as a hobby. He was THRILLED to receive this book. He said it will really help him fine-tune his skills.



2. This really does show you how to paint flames and in lots of styles. Well worth picking up if this area interests you.



3. This is a very inspirational book! great tutorials and very nice information about some general fields in custom painting. If you feel you like some flame works, you'll find this book leads you to flame almost anything around you... BEWARE! maybe you never stop!
   
   I suggest to read this book together with "How to paint your car" also from Motorbooks, this one first because maybe you'd like to start with some nice graphics before putting yourself on a whole car painting job.



4. If you want a great overveiw of how to apply flames, this is the book. If you want to learn how to apply flames, this is the place to start. It gives detailed instructions, materials, and brand names, so you get started right, and getting started right gives you a great base for gaining expearance.



5. The best instructional book I have ever read regarding Flame design, inspiration and how-to. It covers every aspect there is in the world of flamework; from traditional flames,wall-of-flames,realistic and ghost flames. Not only does it give you an in-sight into the world of creativity but gives a step-by-step guide to all products used and why they are used. In a nutshell, if you are considering the thought of customising Mom's shopping wagon, this book is for you!!!

5 comments about Exploring InDesign CS3 (Design Exploration Series).

1. Admittedly I'm not a computer geek. However, I am conversant with most Microsoft and some Adobe programs. I purchased a copy of InDesign the other day and ordered a copy of this book to help me jump start use of the program. It's been quite a letdown. Exercises are difficult to follow, directions are omitted (apparently because they were covered in earlier chapters), and consequently I'm finding this to be a rather poor teaching tool for the novice. If you are at that position on the learning curve, I suggest you look for another reference. Frankly, the help tab on InDesign is frequently of more assistance.



2. This book is the best book if you want to learn InDesign CS3 thoroughly. Its written so anyone can learn! Its written by a smart woman who understands how students and at home learners need to learn. I love how the chapters are broken up and the projects provided are integrated well with the chapters. I found this text very helpful while learning Ms.Terry's course, I think this book is so well written because she's such a great teacher with so much experience and she knows what she's talking about. There are a lot of authors out there that write a book just to make money, but Ms.Terry wrote the book because she enjoys sharing her knowledge of the program and teaching others easy ways to use it. If you want an InDesign book that's easy to learn and written by an author that knows what she's talking about this is the best one to choose.



3. This book is an invaluable resource for all knowledge levels. Although it's meant for a classroom, there are a lot of very informative lessons that can help improve productivity. With all of Terry's real world knowledge and respect for printers and typography, your local printer will notice a difference in your files and thank you for a worry-free print job. Terry's style of writing is very easy to follow. Exploring InDesign CS3 is very memorable and I would recommend it to any designer that is looking to boost their knowledge of this wonderful Adobe software.



4. I had never used Adobe InDesign before I purchased this book. I found the book to be extremely helpful in my learning process for this program. It's an excellent learning resource! I plan on keeping this book as a reference for all of the InDesign functions that I've learned.



5. Their are a lot of horribly written software textbooks where it gets confusing and it's hard to read. This book is so clear and easy to understand that it unbeliveable that it's about InDesign! I give it five stars not only because the author is my teacher but because it deserves it!

5 comments about Splash 9 - Watercolor Secrets: The Best of Watercolor: Watercolor Disoveries (Splash).

1. Sometimes Rachel Rubin Wolf"s Splash books all seem to be one and the same. But each one really does have a different flavor to it.
   
   This one is heavy on the still lifes: fruits, flowers, plants.
   
   I am always inspired by Wolf's books. There are some paintings that are so well done that attaining that level seems impossible. Others seem easy and friendly enough to maybe attempt to do something similar and excel.



2. High quality reproductions. Excellent book for artists to see the techniques that others are using. Also the quality that would allow you to set it out for others to enjoy.



3. I have the whole series, which is the only reason that it was not 5 stars.
   I have an earlier favorite. But this one is great in that you get to read the artists' thoughts on why or how. I've always been interested in what inspires other artists. This one gives me/us that.



4. If you like your watercolors with lots of intricate details and reflections in crystal, you'll like this latest Splash. If you're looking for something different, experimental and creative, don't bother. I have the entire series, and I'm thinking of reselling this one. (I won't be purchasing any future editions without checking them closely first.) The Splash series was quite cutting edge in the early years, striving to showcase the new trends. But it hasn't kept up. Now it just feels like a profit center for North Light.
   
   Of 130 pages, only 12 pages (the shortest chapter) is devoted to experimental watermedia. And even then, one painting includes reflections in crystal (just so you don't stray too far...)
   
   Publishers, it's time for a change. We need a new series for the 21st Century (edited by Betsy Dillard Stroud or Nita Leland?) devoted to the exciting trends in watermedia, mixed media, collage, monotypes, and digital hybrid art.



5. With this ninth book in the remarkable Splash series I was rather disappointed. To me the strength of the previous eight books has been the remarkable diversity of painting styles. Even though each had a rather loose theme you could turn the pages and not really know what to expect apart from the fact that every picture was a watercolor. So many of the paintings just make you stop and look and look and frequently wonder how an artist achieved that painting. Luckily part of the editorial format in each book allowed artists to reveal their creative thoughts or techniques in words next to the picture.
   
   All of this is true of book nine but I just didn't feel it had the excitement of the other books. Many of the paintings seem rather casual, the range of subject matter and composition perhaps too ordinary, safe and predictable and plenty seem to have sombre dominant colors, like the front cover for instance. Essentially I think that I've seen better versions of so many of these paintings in the previous eight titles.
   
   Still there is plenty to enjoy though. Three from Laurin McCracken caught my eye, she likes to make things difficult by creating still life compositions with crystal glass and silverware. Equally interesting is how she works: with a digital camera and pc to improve the composition even before lifting a brush. Paul Sullivan creates some almost photo-realist paintings of everyday scenes from Milan, Rome and Sienna. His exterior detail of a church in Milan is amazing. Diane Maxey does wonders with flowers, so much so that her Poppy Parade looks just like an oil painting.
   
   I've just looked through Splash 1/America's Best Contemporary Watercolors, which came out in 1991 and what an amazing start to the series and it does rather overpower this latest book. I'm hoping book ten will continue the magic so evident in the previous eight books.
   
   ***FOR AN INSIDE LOOK click 'customer images' under the cover.

No comments about Goodbye Picasso.