2 comments about The Art and Craft of Paper Sculpture: A Step-By-Step Guide to Creating 20 Outstanding and Original Paper Projects.

1. It is a very good book for the beginning sculpturist, but I found it lacking in technically challenging designs & creations. The Design Gallery at the end is good.



2. I have reviewed this book by Paul Jackson. The book shows step by step to create projects that show in the book. The book provides many information about equipments and techniques required to do paper sculpture. I have read others paper sculpture books and this book is my first choice. I have created projects using techniques provide in this book.

1 comments about The First Christmas in Origami.

1. This book has easy directions and diagrams to make each part of the nativity. I was very happy with the finished product. All the Nativity pieces were easy enough to make and when finished, it was obvious what they were. I made them in large numbers to give out during the Children's Sermon. I did a couple a week and it was well received. Two of the many people who saw the figures purchased the book because they liked them so well!!!

No comments about The Decorative Decoy Carver's Ultimate Painting & Pattern Portfolio, Series Two (Decorative Decoy Carver's).

3 comments about Chip Carving: Techniques & Patterns.

1. I was not impressed with this book in the least. Maybe it was because I had just finished reading Chris Pye's book Wood Carving Tools Marerial & Equipment. Now this book is about another form of carving but it is many times superior in handling its topic.

   An example is in Barton's book he covers wood selection, and finishing in roughly 2 pages in Pye's book he covers the material in 40 pages covering the issue in far greater detail.
   
   This book contains very little instruction (less than 1/5 of the pages). There are a few illustations on technique but they are very lacking.
   
   Now if you are really interested in looking at examples of completed work or you just need some templates for lettering, then this is your book. There is also a section detailing how to scribe out various rosette forms.

   Overall, I can not recommend this book as a "technique" book but it makes a good book to use for the templates and rosettes.




2. I learned to chip carve from reading this book. The patterns and work shown are somewhat simple and are easily attainable. Barton's descriptions and explainations are clear and if you follow what he does, it inspires enough confidence to continue.



3. A good basic book about chip carving. Covers selection of wood, tools and their maintenance, technique, and a brief history of chip carving. Also includes a variety of patterns.

2 comments about The Materials and Methods of Sculpture.

1. While I am not qualified to pass judgement on sculpture as far as methods of actually creating works of art,as a art foundry owner,I have reasonable background in usage of diferent materials connected with sculpture. I found this book to be of rather limited use to anyone seeking information on materials in use today. Almost all refererences are very dated and may be considered useful if a study of yesteryear's practices are intended.It appears to me,that information on various metals and their processing in particullar is more or less imprecise and in some cases wrong altogethrer-for example:to aneal common aluminium alloy to "pink" heat means going past melting point!To sum up,if you intend to learn current practices, go elsewhere.



2. This is a very good technical reference manual on the various types of sculpture mediums (including earth-clays, plastic, plaster of paris, casting, metal, stone, wood, and others). It goes into very specific detail on the metalurgic, chemical, and physical composition of the various mediums. I am just learning about sculpture but since I have a chemistry/engineering background I found the book very informative. This book will probably be difficult for those without a true passion to learn this much technical detail or without some solid science coursework.

4 comments about Charleston Blacksmith: The Work of Philip Simmons.

1. John Vlach gives us an interesting biographical study of Philip Simmons' blacksmithing in this richly illustrated book. The book begins with Simmons' accounts of his early life in the Sea Islands off Charleston's coast. He then describes how Simmons' life changed when he discovered the love of his life: blacksmithing. Vlach and Simmons provide enough context to show how he began learning the art. The book then gives us a portfolio of Simmons' work, with a special focus on the elaborate gates that epitomize much of his artistry. These photos were selected by Simmons, and Vlach provides fine commentary on each illustration. This commentary gives readers a better understanding of blacksmithing, and it trains the eye to examine this type of ironwork, thereby enhancing one's appreciation for Simmons' skill. One of my favorite chapters is a vibrant presentation of Simmons' work with apprentices. He describes interactions between Simmons and Willie Williams to provide a vivid depiction of the folklife of a blacksmith shop. This chapter reveals the passion that both artists feel for their work. The book's final chapters show how Simmons has been honored for his work, and they provide a fine tribute to his many accomplishments and his inspiring artistic vision.



2. After visiting Charleston and meeting this wonderful, talented gentleman, I bought the book to learn more about him. It is well written and describes beautifully the wrought iron gates that he designed and built in this lovely city. If you've seen any of his work either in Charleston or the Smithsonian Museum, this book will add to your knowledge of this very talented African American, now 95 years old.



3. I am sorry, but I never read the book, but I purchased it as a gift for friend. However I had the pleasure of meeting Mr Simmons on a tour of Charleston, South Carolina in 1998. He is an incredibly lively person who is full of humor and has countless stories to share. I remember one in particular, when he spoke of his years as a boy when there were only horse & carriages for transportation. Then he said the age of the automobile came to be and folks would stop whatever they were doing to watch in awe as the automobile went by. Then he chuckled quietly as he descibed the same behavior today when a horse & carriage goes clamoring through town. There are no words to describe the artistic craftmanship of Mr. Simmons iron works, you simply have to see for yourself. As for Mr. Simmons, he is a proud yet humble man about his craft, his works and his life, you should meet him for yourself.



4. a stirring and engaging account of a man whose life spans almost the whole century, who grew up in a fascinating environment, regularly crossing between worlds while he served an apprenticeship, and went on to cross between other worlds, a folk artist who is regarded by the art world as a peerless sculptor, whose work is exhibited in museums. THis is a great study by a preeminent folklorist that will interest anyone.

3 comments about What Every Potter Should Know: Answers and Solutions to Common Pottery Problems.

1. A wealth of solid advice on how to prevent (or solve) a wide variety of ceramics problems. Well-written and easy to read. A unique collection of topics, but well-organized, making it easy to find what you're looking for. Includes details about clays and glazes, buying materials, firing, safety, and even business considerations. The title is accurate: you really should know what's in this book, and much of it you won't find elsewhere.



2. I am a self taught potter. This is one of the first books I bought on the subject and I still find it very valuable. It gets to the point and addresses practical problems in clear and specific ways. The glaze recipes that are given work, however it helps to have a bit of knowledge first. (I didn't understand about the thermal expansion of lithium and one of the base glazes give is overloaded with it. It broke my clay body apart completely, not surprising from its chemistry. On the proper clay body it would have been fine.) The solutions to the problems work well. I am using, with good results, a clay body that uses advise from this book. It doesn't have every solution to problems, but I haven't seen any book that does. It is interesting and covers a wide range of important issues for the potter, issues that are often left out of other books. I highly recommend it for anybody who works in clay, specifically those who mix their own clay and glazes.



3. As a beginner in the world of pottery, I found this book to be useful in a language that is easy to follow and understand.

No comments about Faberge: Court Jeweler to the Tsars.

1 comments about The Shipcarvers' Art: Figureheads and Cigar-Store Indians in Nineteenth-Century America.

1. I collect figures. I have read the books that are used for reference. I have seen the exhibit that was chaperoned by Mr. Sessions (Sandwich,MA., NYC,NY & Baltimore,MD). I am a student of the art he describes! I was impressed by his scholarship, his easy east coast art scene style of writing, his photography/graphics, his hommage to Ms. Sanburn, Mr. Pendergast & Mr. Fried (I knew him). This is not a picture atlas. This is not a coffee table book. I would have liked to seen/read more especially regarding the social relevance of color race &c.(the folly of the time theirs & ours) but this is another matter! I RECOMMEND this book to all who treasure american sculpture. The vulgar artist is finally getting his place(WELL DONE Mr Sessions! What is next?).

4 comments about Metalwork and Enamelling.

1. For the professional, amateur or hobbyist, Herbert Maryon's book remains one of the most important books in its field. Originally published in 1912, this book was written at an important time in our history. It is a text of twentieth century knowledge and understanding encompassing over 3000 years of metalworking processes. It picks up where the master Italian goldsmith Benvenuto Cellini leaves off in his Treatises, and yet it is the last thorough publication that predates the advent of the modern electric power tool.
   The importance of this is multifold. First it brings every process down to the directness of basic hand tools. It is the jeweler making every mark and every cut through the simplicity of the basic tools that have been used for centuries. Processes are not obscured through expensive specialized equipment that are limited in their application.
   The same is true of the materials themselves. Sheet and wire that are readily made by the jeweler are the basis for all forms of fabrication. Hinges for example start with sheet metal and do not rely on the limitations of commercially produced products, thus freeing one financially and aesthetically.Thirdly, the use of basic hand tools expands the realm of the small studio. A simple burin, scraper and burnisher can accomplish many of the same tasks that match hundreds of dollars worth of specialized tools while performing a greater range of uses. Many of these tools can also be made by the jeweler or adapted to their own personal applications.
   Herbert Maryon was a master metalsmith himself. His expertise is evident throughout the book. While no one book can cover everything, this book provides a foundation to develop any number of approaches. His sample of seventy-two kinds of twisted wire is one example of taking a basic technique and turning it into a full scope of possibilities of the highest caliber. From fabrication to casting, stone setting to enamel this book provides a wealth of information and insight.
   (Review by Robert Jackson, University of Georgia, Athens, Georgia USA)



2. The first two reviews are dead on target. However,there is another aspect to Marion's book. It gives a fine perspective for judging newer texts and would-be teachers. During a novice's jewelry class, students were offered a chance to take an advanced course, given by one of the instructor's friends. It would show us a "special method" of soldering fine gold grain work. An excellent method is plainly laid out on pages ten and eleven of Metalwork & Enamelling. These two pages saved me over four hundred dollars; a nice return on the book's price.



3. I'm writing this review because I believe this book deserves another good review. My personal interest is working all sorts of metals. I have searched these sorts of sites extensively looking for books that give a clear explanation of the skills required to do this sort of work and this book by Herbert Maryon is one of the best.
   In the first 20 chapters, at 166 pages, Maryon concentrates on metalworking. The subjects include Soldering, Setting of stones, Filigree work, Raising and Shaping, Spinning, Repoussé work, Twisted Wires, Metal Inlaying and Overlaying to name just a few.
   I found the photos of twisted wires particularly good and have not found this sort of information in other books to date. The last chapter in this section on Japanese Alloys and Stratified Fabrics was excellent also as I have not encountered this information either.
   Chapters 21-27, at 31 pages, deal with Enamelling and once again we have good descriptions on the different topics of Cloisonné enamels, Plique-à-jour enamels, Encrusted enamels and Painted enamels to name a few.
   His next major section is Metal Casting at 33 pages, Chapters 28-31, and we again get good descriptions and techniques. Following on from this we have an assortment of chapters dealing with Construction, Design, The Making of Tools and Polishing and Colouring.
   Maryon rounds the book out with some tables and conversion charts dealing with areas, gauges, measurments, weights and temperatures.
   Overall I believe Maryon has done a very good job of explaining the skills and techniques required to do metalwork and enamelling at this level.
   One criticism that could be leveled at this book is that compared to other books on the same subject there are possibly too few photos and drawings which could have given an added dimension to the otherwise clear descriptions.
   When learning like myself from scratch it pays to draw on multiple sources. Other books I have consulted are; "A Silversmith's Manual" by Bernard Cuzner; "Silversmithing" by Finegold and Seitz; "Metal Techniques for Craftsmen" by Oppi Untracht. These books including Maryon's are the best out there and are all worth purchasing. Reasoning being that they all have invaluable infomation which often overlaps but have tips and tricks unique to each book. Which are invaluable to becoming proficient in this art.
   The book therefore gets 4.5 stars from me as it gives good advice which is most, and has been, helpful.
   Finally just to say another great book by Dover.



4. I have owned this book for 15 years and I think it is an excellent reference book for jewellers and metal smiths. It covers all types of metal work including gold and silversmithing, jewellery, stone setting and enamelling using traditional techniques. Written by Herbert Maryon O.B.E., who was one of London's best gold and silversmiths.