4 comments about Painter's Guide to Color.

1. Not a beginner's book, this book was way over my head....but I am sure that once I improved it will make more sense to me and I will enjoy it....I know of a couple of advanced artist that swear by him, but I am truly just a beginner



2. I have not received my order of this product (6 copies of it!)The order was made and shipping for it was to take place on November 21st, 2007.
   I can no longer fine this order on my computer, but I want to be sure it is CANCELLED!
   Margaret York



3. this is stephen quiller's sequel to "color choices" with the addition of new information about neutral mixtures (Jean Dobie's "mouse power"), color value and intensity (saturation), color families, "mother color", and the latest version of quiller's color mixing wheel, one of the best available. but i was disappointed. the book suffers from a mechanical approach to color mixing or color families -- in some cases, the text of captions or whole sections is identical, with color keywords repeatedly changed. this edition deletes some of the best chapters in "color choices," such as the chapter on "finding your own vision," adding in its place a bizarre section on "color personalities" (each mixed color is associated with adjectives such as "noble" or "playful"). and quiller recommends a 28-paint (!) palette, which will create more confusion for a painter (especially a beginning painter) than all the mixing instructions can clear away. i suggest you browse this book before you buy it: "color choices" is better overall, and you can order quiller's revised color wheel from him directly, on a plastic card that is more durable than the tear-out version that comes with this book.



4. Visually Stimulating. Extremely informative in regard to mixing colors! I was so excited to find a book that had so much visual information about the color wheel. There are many examples to refer to and learn from. A must for any painter!

5 comments about Rembrandt's Eyes.

1. Being Dutch, I remember as a kid how my teacher was mesmerizing about how wonderful it would be to have a big enough telescope to catch all the emitted light from long ago and to be able to see Rembrandt paint. I did not know why then, but now I do agree. How wonderful it would have been had he only lived 300 years more to light up all the museums in the world!
   This book is about, to my opinion, the best painter of mankind, his life and work. It is also a dual biography about Rubens, since he was so important for Rembrandt.
   The book works nicely chronological and winds its way through the younger years of Rembrandt til his last years. In the mean time we also learn a lot about not only his life in Leiden and Amsterdam, but also about the history of Holland of the 17th century. It is absolutely great to learn about for instance the Night Watch, for whom it was painted, who the people are on it, why it was so revolutionary and still the most stunning 17th century painting.
   I always wanted to know, as far as recorded history allows us, about the background of his paintings; who ordered it, did they and Rembrandt like it themselves? And most of all: analysis of the paintings themselves: what 'effects' are used, and how? This book goes into wide details of this all without getting repetitive or boring.
   Rembrandt is unique among all painters in his combination of talent and 'raffinement'. He could do anything: super precise works, impressionistic style where the paint itself was the 3d effect, portraits, group portraits, history paintings, landscapes, the best etches off all time. His touch and well-aimed strokes immediately got to the essence. His works under scrutiny come out even more unsurpassable and amazing. It is true that none of his students ever came close to his talent, and some of them tried for the rest of their life to master just some aspect of his art (for instance the light effects) while Rembrandt moved on to a more 'rough' style, although it was justly called in this book deceivingly easy to imitate, and of course, 'rough' here does not mean carelessly painted.
   Basically he is the first (and best) impressionist in the history of painting.
   I have been at the Rijksmuseum many times, and it does not matter which work you look at: Jeremia, his mother reading, the Jewish Bride, his hypnotisingly beautiful self portrait at a young age, it just shows that this is a once in a mankind kind of thing. Rembrandt has shown us once and for all what the art of painting can do, how it can lift our lives by trying so dramatically to imitate it. Indeed looking at his work, it almost seems that his paintings are triumphant over reality.
   This book is a great read and the many colour pictures of his work are, needless to say, a pleasure to look at.
   Only minus is, that Schama to my opinion is a little too modest about Rembrandt's genius.



2. One of the pleasures of reading books from your own library is that they are always there for return visits. Reading Hockney's 'Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters' stimulated this reader to probe more deeply into some of the venerated painters. Simon Schama's fine book REMBRANDT'S EYES is like an old friend, an excellent resource book for facts about Netherlands painting, social and political history that so affected the works of the two featured painters Rembrandt and Peter Paul Rubens, a page-turner novel, and a catalogue of brilliant reproductions of paintings. This book satisfies - even more the second time around!
   
   A hefty book at over 750 pages, there is not a page that Schama does not use his charming style of writing to slowly inform. We learn about the atmosphere into which Rembrandt was born, follow his works from the earliest examples through his entire career, encounter his passion for elegance and his fall into poverty, and understand his envy of the creatively and socially successful Rubens. Not a book of gossip, this, but instead a biography well documented in a fine bibliography (no mean feat for a history of a great man without much written contemporary documentation!) and a survey of illustrations that augment the story as well as any yet written.
   
   For those who hunger for knowledge about a famous painter yet who deign to wade through the usual dry treatise format, welcome to the class with Schama. This is a book that will endure (first printed in 1999 and now available in paperback) because of the stature of the subject AND the stature of the author. Hats off to Simon Schama who so entertainingly and successfully takes us behind Rembrandt's eyes to see his work as few have shown it. Grady Harp, December 06



3. I think most of the reviews below cover the bases pretty well, the only criticism I can think of is the book might have been better off printed in the full "coffee table art book" size so the reproductions cited in the text would have been larger...but what a fabulous work it is, an utterly fascinating evocation of a time and place. Even if you only have a peripheral interest in the subject, you will be drawn into the sweep of the narrative through Mr Schama's depth of knowledge and skillful intertwining of the personal and the public world of 17th century Holland. I cannot think of another recent book that I have enjoyed so thoroughly.



4. When i bought this book, I thought that it would be an amazing and definitive book about one of the most brilliant genius of art.
   But i was wrong, this is doesn't have a point, it goes to the biography of Rubens fathers, passing thru history, economy, and anything else you imagine, this is so borring for the people that actually want to know about Rembrandt and his work. So if you are looking for a book abou Rembrand and his work, this IS NOT....



5. Simon Schama's REMBRANDT'S EYES is undoubtedly one of the authoritative works on Rembrandt's life and paintings. Schama vividly depicts the unparalled and tortured genius of Rembrandt, a man who was brilliant in success and even more so during tragedy. To understand Rembrandt's paintings is to understand the man behind each brushstroke: strong-willed, prideful, and uncompromising in his art. Schama conveys the essence of Rembrandt with such force and effectiveness that we cannot help but appreciate Rembrandt's tragic life and artistic genius.

   REMBRANDT'S EYES contains beautiful illustrations of all of Rembrandt's major works; the analysis of each is detailed, clear, and interesting. Through the course of the book, you will be fascinated by Rembrandt's self-portraits and the level of understanding with which he painted himself. Perhaps no other artist has given us such a powerful autobiography without the use of a single written word. This deep understanding of the human soul is evident in all of his works. Schama explains Rembrandt's paintings and his techniques in a comprehensive and powerful manner. If you are interested at all in the truly unique and fascinating genius of Rembrandt, REMBRANDT'S EYES is a must.

   I would highly recommend REMBRANDT'S EYES to any person interested in art history, Dutch painting, or just Rembrandt. This book also serves as a powerful autobiography of a man with a very interesting story. Be forewarned though: this book is very long, and putting it down may be hard.

4 comments about Renoir Landscapes: 1865-1883 (National Gallery Company).

1. If you like impressionist landscapes or Renoir, don't miss this book.
   
   Most people think of Monet as the ultimate French landscape painter, but long before Monet picked up a brush there was a superb tradition of French landscape painting, especially among the Barbizon school and in earlier treatments of classical themes. As you can see from that observation, Monet's brush tended to hide or erase a lot of other fine landscape art from the general memory. Perhaps no contemporary was as effectively overshadowed in the same landscape realm as was Pierre-Auguste Renoir's work from 1865-1883 when he, too, was an impressionist who produced many fine landscapes.
   
   In this catalog from the current show at the Philadelphia Museum of Art, you'll see that Renoir did an astonishing variety of landscape paintings, each of which displays a different style. I am reminded of the early work of Picasso where he was able to adapt many different styles as easily as most people put on a new set of clothes. My estimation for Renoir as an innovator greatly rose from seeing this work.
   
   To put this innovation in context, this catalog displays many parallel works by other landscape artists. In addition, the catalog descriptions are pretty lengthy and build nicely on the introductory essays that explain how Renoir's classical training and inclination to stay in the studio rather than paint outdoors put him at a psychological and practical disadvantage in developing his landscape art. Landscape painting for Renoir was often a fun exercise rather than the source of planned works. But his landscapes were often quite popular, as when one landscape was accepted at the Salon while two figurative works were rejected. Abashed, Renoir withdrew the landscape rather than have his public image depend on this kind of work.
   
   You'll also learn about the challenges of finding a market for Renoir's landscapes which I thought was fascinating. It's hard to imagine such a great artist struggling to sell his innovative work, isn't it?
   
   Most agree that Renoir was one of the greatest figure painters. His landscapes often contain small figures. Many of his best works combine larger figures and the outdoors. Having seen this book, I was left wishing that he had done more to combine these two particular sides of his talent.
   
   Don't expect to see a lot of masterpieces in the book although there are some. Think of viewing this book as being more like seeing the studies for major works in many cases rather than major works themselves. I came away with a greater appreciation for how hard it is to make gorgeous impressionist landscapes.
   
   Let this book remind you to take a walk in some lovely outdoor place whenever you get a chance.



2. Renoir's landscapes are as lavish as his beautiful women in his portraits.
   This book is truly enjoyable.



3. This is fine book not only for Renoire lovers but painting devotees.
   
   
   However, I am a little disappointed that the book's illustrations were not much vivid. Pictures were generally too small to appreciate well. Besides some of Renoire's works of landscape which I expected to be in the book were missed such as 'Sentier dans les bois(1874)'.
   
   
   The book looks like coffee table one but it's contents is not easily readable in a short time. Contents is in detail and depth regarding it's subject.



4. This book accompanies an exhibition held at the National Gallery in London (which later will travel to the US) on a rarely studied aspect of Renoir's oeuvre. The period is limited between 1865 and 1883, which are the years when Renoir actually was an impressionist, competing with the likes of Monet and Pissaro to produce some of the most modern paintings of his time. Surprisingly enough it enables the reader to rediscover the artist through some of his best, though neglected, works. Some of the landscapes here are so loosely painted that they verge on abstraction (these landscapes sometimes remind me of Turner in this sense) and they show what a revolutionary painter Renoir was. Much more than any book on Renoir's often boring domestic scenes or nudes, this catalogue is definitely a must-have if you missed the exhibition.

5 comments about The Ultimate Picasso.

1. For many years I've been a great admirer of Pablo Picasso's work. Whenever I travel I always look for Picasso's museums or General Art Museums where Picasso's works are displayed. As a result of these trips I've gathered panflets, brochures and many books focusing different phases of the artist. However something was missing! And that would be a comprehensive overview that could be able to explain and make sense of his imense and brilliant lifelong work and at the same time to show magnificent reproductions! congratulations to the author who was very successful in her enterprise!



2. This is a great book. It's chock full of illustrations--so many that they just quit offering text every few pages to let the images catch up. It goes through his entire life, showing the art he created for each section. It's great, insightfull, a huge folio-sized book and just an all around great read/see.



3. I took this book out of our university library to have on hand while reading Françoise Gilot's "Living with Picasso", in order to see representations of the artwork to which she refers throughout the book. "The Ultimate Picasso" proved invaluable. Not only does it contain Picasso's complete major works, they are also presented in chronological order which made look-up easy despite Gilot's often describing an artwork and the process used to create it but not always giving its title (she always gives dates). I ordered "The Ultimate Picasso" before the library due date because I couldn't bear to not have the book in my house!
   The photos of the artwork are brilliant and crisp, and the accompanying text is informative.
   You will not be disappointed by this book.



4. this book rocks so much it breaks the very laws that govern physics!! so much information, so many beautiful pictures, so dense. it seems to capture the very spirit of pablo picasso. it was give to me as a valentine's day gift, and it is one of my most prized books. this is a MUST purchase for any picasso fan.



5. To see tons of Picasso works in one book is nothing short of breathtaking. This is easily the best Picasso book that focuses on his paintings. What's incredible is to see the prolific amount of work he was capable of, and just what a inventive genius he was. Without a doubt the greatest Artist of the 20th century. Not all the works make sense, or are even recognizable as anything, but that was Picasso; his art was how he viewed the world, and how his own heart felt inside:confused, and out of place. His Cubism is nearly mathmatical, and very intriguing. IF you're interested in Picasso as more than that weird guy who made all those paintings i just don't get, come and check out this book to see all of what he was made of. You'll be amazed and inspired.

4 comments about H. R. Giger's Necronomicon II.

1. Horrific? Yes, but beautiful none the less. The art in this book offers a great view into Giger's mind. Giger's use of the airbrush is phenomenal, giving his art a very realistic style to it. While flipping the pages, I felt like I was either reliving a nightmare or viewing satan's personal photo album. A truly unique experience.
   
   I highly recommend this book based on its unique and excellently rendered imagery.



2. Giger's art, like the music of Marilyn Manson, the paintings of Jackson Pollock, and the clothing taste of Cher, tends to provoke extreme reactions in people (the classic "love-hate" relationship). This book, as well as the first Necronomicon volume, delves deep into the subconscious and comes up with fists full of squirming demons and violent yet artful sexual imagery. Some people are so repulsed by these "shadowed" parts of the psyche that they condemn Giger's art in general, while others wallow in the decay and degradation he depicts, believing it to be a mirror of the world they see around them. I personally keep Giger's work next to that of Alex Grey on my bookshelf, representing the dark repressed side of human nature coexisting along with the transcendental, spiritual side. Some may call Giger's art spiritual; I personally find it far too celebratory of the flesh for it to be truly spiritually-themed. If you are considering buying this book, first of all be forewarned: it is graphic and disturbing, but if you're looking at Giger books to begin with you probably already knew that. Also, I find the first Necronomicon volume to be better than this one. But if you are a fan you definitely will not be disappointed. You should probably buy one of Giger's lower-priced retrospectives if you're only going to have one of his books, but the attractively presented Necronomicons are the logical next step if you find yourself wanting more. Giger's work is very yin; just make sure you have some yang on your bookshelf to balance it.



3. Well as the Biggest Giger fan in the world i could never express the value of each book that he publishes. If your looking for something new, strange,fun,and exotic H.R. Giger is the man to see, with his uniqe style of erotic horror and morbid imaginTION this book has no exception, check it out today. you won't be dissapointed!



4. As Giger fans, this is an excellent follow-up to "Necronomicon", with more gorgeous pictures. Another excellent gift for that special weirdo in your life.

5 comments about John Singer Sargent : The Early Portraits (Volume One).

1. By all means, buy this book! This is one of the most engrossing art books that I have come across. Each reproduction has crystalline clarity and the accompanying information makes for very interesting reading. You find yourself really interested in all the people depicted.
   This is an excellent combination of art and text, without the book becoming a glorified textbook, but still being useful for research. I purchased the book mainly for the art and I am not disappointed! It's not one of those 'trick' art books that promise lush full color reproductions and actually consist of mostly black and white images. The only black and white included here depicts paintings that are lost. If you love J. S. Sargent's work, this is a great introduction to his earlier work and he only gets better!



2. This book is such a treasure, it is such a wonderful tribute to an American icon. The pictures are just amazing and the text highly informative. It is truly an amazing compelation of his early work. It is the first in a series of three and they are all consistantly good. If you are a fan of Sargent you will definitely what to possess all three. I highly recommend this book to anyone with an appreciation of great art from a one of the masters.



3. This book is for Sargent lovers. His incredible talent oozes in these pages. I can't wait for Vol 2 of this beautiful production of Yale University Press. I got me a magnifying glass and have spent hours looking at the unbelievably grand flesh tones that Sargent commanded. You'll love reading the background data of these portrait commissions during Sargent's career. I would give it six stars if I could. See it to believe it.....if I could only paint like he did or anything barely close. One of my best of collection. Hurry up Yale and give us Vol 2.



4. i bought this book after seeing the sargent show at the met in new york. i have been studing it ever since. mr ormand, ms. kilmurray please hurry. you have brought the works of this great american master to life as no one has done before and i look forward in anticipation to vol 2.



5. i bought this book after seeing the sargent show at the met in new york. i have been studing it ever since. mr ormand, ms. kilmurray please hurry. you have brought the works of this great american master to life as no one has done before and i look forward in anticipation to vol 2.

4 comments about The Art of Pastel Painting.

1. As a student of pastel who practices in spare time, I found this book to be both educational and inspirational. Flattman provides specifics on his "tools", his process for developing a picture and inspires with his beautiful drawings. I recommend this book for someone who has spent some time working in this medium as well as someone comfortable with drawing. I am inspired and excited by his ideas! That alone makes this book worth buying.



2. The art and technique of modern pastel is taught in a text which revises an original 1987 version to include the latest details on new technical advancements, plus new demonstrations and new paintings from the artist author, who was indicted into the Pastel society of America hall of Fame in 2006. From surface texture and lighting to basic painting and preservation concepts, The Art of Pastel Painting thus expands expertise and options and remains a standard, highly commended pick for any art library catering to amateur painters who would learn professional techniques.



3. Alan is a master pastel artist and also a master teacher. No fluff here - just page after of page of real tips from a guy who really knows how to communicate at all levels. This book will teach even the pros a few things yet this book is really easy to understand. It will be THE pastel reference for years to come. The color reproductions could have been better on some pages, but it really doesn't hurt the overall message. Sometimes I like a book that I can pick up, flip through, and learn something without much investment of time -- this books can work like that. But it is also a great book to read cover to cover because of the author's ability to keep you interested in the creation of pastel art. This book should be read by anyone who plans to use pastels. Alan also includes some good "money-saving" tips -- so much so that the book will easily pay for itself if you take his advise.



4. Besides drawing with the things, Flattman shows how to prepare your own papers, and even roll your own pastels! Wonderful for the incurable do it-yourselfer who wants custom ranges of colors, but you'll need a garage or basement space you can devote to the messy business (and you'll need a respirator, too, not just a dust mask). There are lots of finished works, but the how-to step-by-step stuff uses too few steps usually. You need to have a good background in drawing already, and experience with composition. Flattmann comes to pastel from watercolor, and never thinks you might not already be accomplished in another form of painting. Pastels were my *first* media, when I began lessons when I was six, so they are not "inherently advanced." I would recommend you use this in conjunction with Bet Borgeson's _Color Drawing Workshop_.

5 comments about Space Art: How to Draw and Paint Planets, Moons, and Landscapes of Alien Worlds.

1. This book is exactly the book I need to continue developing as a space artist. The book has a number of step-by-step exercises, each of different levels of complexity/expertise. Even if you don't use the very same techniques he uses, you can still get a lot out of seeing a painting develop. This development was exactly the Rosetta Stone I needed.
   Thanks Mike!



2. I learned to paint from the wonderful Walter Foster art book series, which featured titles such as "How to Paint Landscapes," "How to Draw and Paint Seascapes," etc. Every niche of hobbyist painting was covered, from sunsets to still lifes. Typically, each subject would be explored through a series of illustrations showing the development of a painting from simple charcoal sketch, to rough color, to the finished work. Popular masters of the 50's and 60's such as Robert Wood and Violet Parkhurst let us look over their shoulders, sharing their "secrets" with struggling beginners. How I wish Michael Carroll's Space Art had existed back then!
   
   Space Art is not a primer on painting, although a beginner can pick up valuable techniques unlikely to be covered in more traditional "how to" books. While there is a good, brief discussion of media and tools, and an excellent presentation on color, the book assumes a basic knowledge of how to mix and work acrylics. What the beginning painter might find particularly useful, however, is Carroll's discussion, throughout the book, on how to "see" -- how to observe and depict the interplay of light and objects and atmosphere.
   
   Any basic art book will contain a diagram showing how to render and shade the cube, cone, and sphere, but Space Art links this exercise to nature in a way that traditional art books generally do not. For example, most landscape artists rarely paint the moon correctly, either depicting it as a featureless white disk or a weird, banana-shaped crescent. This is, I think, because they haven't made the conceptual leap that allows them to see the moon as a sphere, subject to the same rules of lighting as is an orange in a fruit bowl. They don't see the illuminated part of the moon as its "day" side, and the dark part as its "night." They haven't realized that the dividing line between day and night -- the terminator, to use astronomical parlance -- is an arc of an ellipse: the shape of a great circle seen in perspective. After reading Space Art and attempting its exercises, beginning painters will have a deeper understanding of light and shadow that will make them better artists in any genre of painting.
   
   Space Art takes the reader through fourteen exercises, ranging from the the almost mundane -- "Earth seen from the Moon" -- to the science-fictional landscapes of extrasolar worlds with binary suns. Brief essays by established space artists punctuate the exercises. These essays touch only lightly on technique, but delve more deeply into how space artists interpret the raw data of science and apply this knowledge to imaginatively portray a subject in a way that transcends a mere photograph. The sample illustrations by these guest artists range stylistically from plein air sketches to digital photographic realism. Carroll wisely restricts his exercises to techniques available to the beginner. Although he may sometimes use the airbrush or computer in his commercial work, subtle gradients in the exercises are created using fan brushes and sponges.
   
   Space Art is not only a useful book, but a beautiful one, well printed and rich with color. A reader is likely to learn a bit of astronomy and geology along the way, and Carroll's impish sense of humor comes through in the text, maintaining the friendly tone of a teacher who loves his work. Again, I wish some time traveler had brought this book to me forty years ago. Highly recommended for beginning -- and developing -- artists, in any genre.



3. SPACE ART: HOW TO DRAW AND PAINT PLANETS, MOONS, AND LANDSCAPES OF ALIEN WORLDS comes from a leading astronomical artist who explains the basics of styles and paints needed to produce the hues and excitement of alien worlds. Carroll has been a professional space art painter for over 25 years: his experience lends to a blend of science and art ideas which not only provides an overview of techniques, but provides some fourteen paintings, building in complexity, for step-by-step teaching. Any general-interest or art library will find it easily accessible and a popular pick.
   
   Diane C. Donovan
   California Bookwatch



4. I bought this book to gain an idea of how to paint western backdrops for a model railroad. The book is thouroughly illustrated with progressive views of how to create different images. Work of multiple artists are presented, so it goes beyond just one style. Explanations are given over the use of color. I have found it to be a very useful guide, and did I mention, it has lots of pictures!



5. Michael Carroll has written, once again,a very fine book. This one meets a specific need in the artistic painting market of today. Space Art is a unique topic that is a favorite of the author's and it shows. The narrative is presented clearly with step-by-step, easy-to-follow directions, including which colors to use, how to create textures, and specific tricks of the trade used to make the artist's space paintings as realistic as possible. The book portrays painting lessons, with colorful thumbnail views, for all levels of students, from beginners to intermediate through to advanced. Michael has also included educational highlights to broaden the painter's knowledge of his/her favorite space subject as they seek to broaden their painting experience to include the wonderful world of Space. It's a great book and very helpful.

5 comments about The Zen of Creative Painting: An Elegant Design for Revealing Your Muse (Practical Art Books).

1. Jeanne Carbonetti has produced awonderful book to unleash one's creativity--whether you understand Zen or not---It is not easy to get into Zen, but the illustrations help us to learn something at a deeper level--not just intellectual or academic.I like the play of light and color---in a sense that is what art is all about ---to convey your feelings or even passing moods...Books like these go beyond the 'right brain-left brain' theories that have filled the academic discussion on art training....May be ,one should work out his/her own Zen approach--this book can only point the way---not to imitate but to emulate Jeanne.



2. I have recently started doing watercolor paintings since I retired and was lent this book by my teacher. I had to buy it as soon as I opened it. The paintings are absolutely splendid. I think that they are what watercolors should be. And the text sets a mind frame that will enhance any budding artist down the path to great work.



3. A must to read to start your own ideas on Watercolor painting, using the Zen method.



4. I like Carbonetti's art and this book is full of it. For that reason it is worth buying. She also succeeds in showing the mental aspects of creative art. However, her seeing of Zen is not so successful. She also wrote books like "The Tao of Watercolor" and "The Yoga of Drawing". I would prefer if she simply explained her own position without packaging it into so many commercialy attractive titles.



5. The book was very logical yet had many creative aspects. I would recommend it for a mid-range painter.

No comments about Game Development Essentials: Game Level Design.