Book Description

Comprehensive compilation of elegant, imaginative two-letter monograms—ideal for enhancing scrolls, certificates, awards and other graphic projects in need of calligraphic excitement. Easily reproduced, copyright-free letters are also perfect for use in art, needlework, crafts and other decorative projects.
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Reviews (2)

Disappointed with Amazon!
I paid $24 for this book only to receive it and the price is stamped on the back "$9.95 in USA"! I would look for this book elsewhere.

Disappointed
I paid $24 for this book only to receive it and the price is stamped on the back "$9.95 in USA"! I would look for this book elsewhere. ... Read more

Book Description

This is the only title on the market that gives readers a comprehensive look at negative painting. Linda Kemp shows beginning and advanced artists how to harness the power of these often overlooked areas around a painting's focal point.

The book is brimming with easy-to-follow, interactive elements, including:
*Step-by-step techniques, exercises and projects
*Do-it-yourself tests and worksheets
*Troubleshooting suggestions and secrets
*Straightforward diagrams for color and design

Whether they want to paint florals, landscapes or patterns in nature, readers will come away with the skills they need to make their next work more striking than ever! ... Read more

Reviews (1)

Painting negative space does positive things for your art
Linda Kemp's work is luminous and seems to float off the pages. She recommends EVERYONE to use the technique of painting negative space to improve their art. Negative painting is going AROUND the outline of a subject, the way you might lay down a leaf on a white sheet of paper. Then dab paint around it. Lift off that leaf and you have a white leaf floating on a colored ground.

The book has the following chapters:

Basic Painting Supplies

Underpaintings - laying the groundwork

Getting into Shapes - become aware of negative shapes!

Working with Glazes and Building Layers

Building Nature's Complex Shapes

Picture Planning Made Easy

Assembling the Pieces of the Puzzle

The author says this technique applies to all media (certainly those who do charcoal or pastel are well aware of the importance of negative space, as are sculptors.) As a watercolorist, if you concentrate on line and wash, this will be quite revealing. In fact, this is probably a "must-have" on the technique bookshelf. ... Read more

Reviews (15)

a good starter book
This is a great introduction to the practical side of the fine art business.
It touches on general themes and gives resources/ contacts for further help.
Some of the tips are pretty intuitive.... such as get a tax number, save your receipts, etc
On the other hand, I found the sample contracts for sales, models etc. to be one of the most helpful parts of the book.
If you wish for a more comprehensive look at the legal side of fine art check out legal guide for the visual artist by tad crawford.

It's more for the painter or printmaker.
While this book does touch many topics that are important in marketing your art, it seems to be a bit single minded on the markets (galleries, museums, businesses, etc) and the art (mostly painting, prints, photography, etc.). I'm an installtion artist that is interested in investigating alternative markets, but didn't find much information here. Smith does give many helpful tips and contacts, but none that can't be found elsewhere. While the most of the information could be applied to any fine artist, I didn't really warm to the following comment from Smith's book:

"Most working artists will be able to complete at least five original works a month....If it takes you a month of working eight hours a day to finish one painting, this probably means that you will have to get involved in the print markets and forget about selling your originals." (74)

It seemed obvious to me, that Smith was much more interested on "marketable art" and more traditional methods of pushing a business, but hopefully not at the sacrifice of the spirit of the art.

Better Choices Are Out There!
In preparation for teaching a class in marketing for creative professionals I purchased this book. Although it says it was revised in 2000, I found some egregious errors, one of which was a listing for a book that's out of date and out of print. Carroll Michael's book, How to Survive and Prosper as an Artist, is a far better reference and empowers the artist in his/her efforts. Smith tends to buy into some of the 'starving artist' concepts and, instead of cheering artists on, creates some real barriers to success.

Check it out at the bookstore before you buy it
Out of all the art marketing books available, this one is not nearly as good as, say, Carol Michael's books or Daniel Grant's books. If I were an artist just starting out, I'd look at this book at the bookstore and compare it to several other art marketing books. There are many books out there that are better than this one.

Art for arts sake
I found this book a great starting point, out of school and trying keep creating and supporting myself with my creations. This book allows you to take the next step of thinking and open your mind to selling art. Good begining book I wish I got while in school. ... Read more

Book Description

Great for the beginner and the expert, this book offers readers exercises to improve their work. ... Read more

Reviews (33)

If you can only buy one art book, buy this!
The book was published posthumously in 1941 by Nicolaides' students. Their ferver for their late revered teacher is evident in the manner in which the book is written. They developed a rigorous lesson schedule which demands consistent attention of the artist.

I first read The Natural Way to Draw in 1983. In January of 1985 I began a self study course using this book as my guide. I followed every lesson plan and read and re-read until I could recite the book by heart. Too broke to afford a nude model for the lesson plans, I drew my neighbors chickens, cows, horses and sheep, supplementing those subjects with weekly attendance at a drawing group and borrowing the local science teachers human skeleton. Whatever the subject matter, Niccolaides taught me to understand the essence of gesture. A little over a year and a half later, I finished the book. I went on to earn a college degree (BFA)in Painting and to become a professional artist. When I look back at the past 18 years of my life as an artist,this book had the most influence of any that I have ever read or worked with. I highly reccomend not just reading this book, but studying it. Devote a year of your life to studying this book and you will be a better artist.

THE Book for Serious Drawing
I bought this book in 1972 (hard cover). Glad to see it's still in print. If you have some talent, and are willing to put in the work to fulfill the lessons in this book, you can learn to draw as well as ANYONE, and drawing will never be a limiting factor in your creative process. Better stock up on cheap paper, because you will end up with a stack about 6' high. But you will never forget what you learn here. Thanks to Mr Nicolaides!! Note: I didn't have models available for all the exercises, so I just went out to a place where there were a lot of people and drew them. You can adapt the lessons to your circumstances. I completed the course, working 6 hours a day for 6 months. I still use the book when I want to sharpen up some of my skills.

Over-complicated & wordy
"The Natural Way to Draw" by Kimon Nicolaides, 221 pages

Nicolaides book is often compared to "Drawing On the Right Side of the Brain. Now I understand why. They are both complicated, overly-intellectualized approaches to drawing. Nicoliades writes the better complication however, because his book is approximately 60% wordy text/40% pictures. Betty Edward's is approximately 80% wordy text/20% pictures.

The quote from the back cover, with the full page photo of Nicoliades shows how narrow an approach he holds:

"There is only one right way to draw and that is a perfectly natural way." -Kimon Nicolaides

Anyone who knows anything understands that there are as many approaches to drawing as there are people. If Nicoliades is simply telling us that all ways of drawing are "natural ways" it is a redundant statement, because nobody is arguing anywhere that anyone's drawing is unnatural. Such tautological complications of basic drawing show Nicolaides approach as wordy and intellectualized.

The gesture drawings in the early chapters are uninspiring. The rest of the sparse illustrations seem to come from either student drawings and master reproductions. There are just too few of them. Nicolaides' approach to art is tedious and discouraging and nobody should be expected to read through 221 pages of boring text.

There are much better books on the market with less text and more illustration.

a method of learning to "feel" and move in your artwork
I just finished taking a drawing course in which my instructor taught the same concepts that Nicolaides writes about: extensive gesture studies, blind contour drawing, modeling of the form with gesture-mass studies. Honestly, as I worked in class, I had very little idea of what these exercises were for (it would have been great to have had a hold of this book then). I have always been good at rendering figures in a hyper-realistic manner, but as one reviewer described student work at his school as "well rendered work, but its flat, uninspired, and repetative," my work had no life to it. What I found was that the more I practiced seeing and feeling my subject matter through these "scribble" drawings, the freer my line and hand grew, and the more presence I started to see in what I put on the paper.

If you want a method to help you learn to "feel" your work and move you beyond mere rendering, I highly recommend this book. But along with that desire should come a commitment to practice the exercises with an open mind if you want to get the results. I have learned for myself that having a lot of head knowledge about art techniques hasn't made my work vital, nor his it given me the itch in my bones that I need to truly create. Even though this may sound silly, I used to consider myself a good drawer, but now I feel that the door to being an "artist" is opened to me.

If you are more interested in a book to help you practice techniques with less of a time/effort commitment, I recommend Bert Dodson's Keys to Drawing. It is more of a "how-to" book for beginning students. It takes a very different teaching approach, more practical, but I like it for the many visual examples, the broad range of fun exercises, and the sections on drawing faces and proportions.

It's Amazing
This book has taught me so much I wouldn't know where I'd be without. Others have already spoken to all it offers, so I'm gong to limit myself to the folks who've trashed it.

First, this is a book of exercises. You either do them or you don't. But anyone who "flips through the book at the library," then complains it has nothing to offer is like someone who goes to the gym, watches other people work out, then leaves feeling unimpressed with a gym's ability to help him get in shape. Making a judgement about this book without "working" it is exactly as foolish.

Second, there's nothing "modernist junk" at all about "The Natural Way to Draw." You'll be moving into anatomy studies and reproductions of the masters soon enough. Nicolaides is all about observing the details of life and recording them well. Again, such an ignorant comparison of the techniques Natural Way to Draw with a sloppy draughtsmanship and "modernist junk" only reveals the reviewer (who admitted he only "flipped" through the book) didn't flip very far and with little understanding of what he was holding in his hands.

Third, there's a story further down about an art school where the teacher mocks this book. Too bad. I studied at that school. And I'm glad I did: I learned a lot. But that school ultimately is not enough. Their students draw well rendered work, but it's also flat, uninspired, and repitative. "That Natural Way to Draw" gives you the tool YOU need to draw the way YOU want to draw.

Look: there's no easy path to drawing and painting really well. And this book guides you to drawing and painting really well. So, yes, it takes time; it takes effort. But at least all your effort is focused and fruitful. This book gives you the fundementals in a series of exercise. It's like doing exercises at the paino before you can play a concerto. And there's nothing wrong with that.

If you want to apply yourself and become great, check this book out. ... Read more

Book Description

Offering an exploration of Western and World civilization's cultural heritage, this book is richly illustrated, beautifully designed and engaging. Readers move chronologically through major periods and styles—from prehistoric culture to the renaissance and mannerism in Italy—to gain insight into the achievements and ideas in painting, sculpture, architecture, literature, philosophy, religion, and music. For arts and cultural coordinators, professionals and enthusiasts. ... Read more

Reviews (15)

The title and canned reviews can fool you.
This book is more about teaching art than teaching kids how to draw. More theory than fun. I rate the book 3 stars rather than higher because there are very few simple to use drawing techniques, the kind of techniques found in the "50 Nifty" and the "How to Draw" series of drawing books featuring simple characters, trucks, airplanes, animals, and monsters that grab kid's imaginations. "Drawing with Children" is more a text for art teachers than for use by classroom teachers, Scout leaders, and parents trying to help kids ages 6 to 11 learn how to draw for fun. I'll be ready for this book in about three years, but I can't start kids at this level.

Anyone can learn to draw!
Haven't yet begun the lessons, but after reading the earlier reviews I can't wait! The ideas in this book make so much sense! We don't expect children to sit down at a piano a la Mozart and belt out original compositions. We don't expect our children to learn to read without instruction. Yet if they can't draw realistically, we chalk it up to lack of talent (after all, YOU can't draw either, right?).

This book gives you the tools to teach your kids how to draw even (especially!) if you aren't an artist yourself. The author is also very generous in allowing unlimited photocopying of the exercises to elementary teachers which I think shows she genuinely cares about helping children learn. My only regret is that there is no Monart school nearby!

Love it! Love it! Love it!
I am 33 years old and have absolutely no artistic ability - or so I thought. I've always been interested in learning how to draw, but no matter what books I consulted, I still couldn't get it. The techniques presented there assumed you already knew some basics, but I didn't. My mother even told me that drawing is inherited, and since there is nobody in my family who draws, I felt I had no chance.

Then I found this book. The first thing you are supposed to do before any instruction is to draw a scene a house, person, tree, bushes, etc. My picture looked like a 4 year old drew it. Now less than one week into the book, I am on lesson 3 with 2 more to go, and I am astounded at my progress. It's simply night and day. I get so engrossed in my drawings now that 3 hours will go by in a flash. My husband is now starting the lessons because he's amazed at my drawings. Today I even started sketching my husband's face as he was eating. It took all of 5 minutes and it turned out beautifully, if I do say so myself. Plus, I hadn't yet started the lesson on drawing humans. I sketch everything in sight and just can't seem to get enough.

You may not need this book if if you already know how to draw and need more detailed instruction on technique, but definitely get this book if you need the basics of beginning drawing. You will not be disappointed. Drawing is not inherited, but developed. I am proof of that.

a little too advanced for younger ages...
I bought this book on the advice that it was appropriate for younger children, but after reading it I am convinced that it will be several years before it is appropriate for my son. It seems to be more a "theory" book than a how-to manual which is what I was led to expect.

A great book BUT YOUR CHILD MAY NOT BE READY FOR THIS!
The book is great; HOWEVER, my intelligent six year old was not mature enough for the lessons in this book. I meticulously read the directions (and followed same), but my daughter (who loves to create and draw) did not like the lessons because she has yet to perfect her fine motor skills (she likes to create stories but does not like the physical act of writing). I would suggest using this book for an older child (eight years old?), especially if your child does not have his/her fine motor skills fully tuned or does not like to sit still for very long. I admit that I was a little disappointed when the child illustrator on the front cover drew such a wonderful picture (age 5), but every child is different. Incidentally, my art skills (formerly limited to simplistic ball and stick drawings) have improved quite a bit since using the book! ... Read more

Book Description

Reviews (6)

Absolutely amazing!
I was lucky enough to meet ken at an art educator conference in NJ and he is not only an amazing speaker, but an extraordinary teacher. In this book he turns run of the mill art lessons into thought provoking challenges. They truely make students think outside, around, in and out of the box. These are lessons that i can't wait to use with my senior art students next semester.

The best book
i have rencently been lucky enough to meet the author of this book at an art educators conference, and he is a creative genius. This book is one of my favorites to use with my advanced studio classes. The ideas are innovative and thought provoking. It is a refreshing change from the run of the mill lessons done in many art classes. I highly recommned buying this book.

Seeing the ordinary as extraordinary
Creating a piece of art can sometimes be a daunting task, the moreso since a great idea for the next project is not something that can be turned on and off like a faucet. That's where a book like this becomes a priceless little gem. Although primarily targeted for K-12 art teachers it gives fascinating project ideas that any artist will find helpful. Throughout the book both 2D and 3D art projects and ideas are given and illustrated with students work throughout.

The entire goal of the book is to open student's eyes to seeing everyday things, people and places around them with new eyes and then bringing that experience to life. Things as simple as popcorn or a coffee mug find new life as transformed objects or drawings. Lessons in composition, color, sculpture and meaning are but a few things discussed in detail. Each chapter shows many pieces of art demonstrating how students worked on a particular problem posed by the teacher. A list of suggested supplies is provided so the reader may create their own work from the project discussed. For example, one project was "Expressing Music in Visual Language". For anyone interested in ideas for new artwork this book would be a worthy investment.

From simple to amazing
An excellent book with faboulous ideas and lessons. I find this book to be very helpful. Ken Vieth ideas involve not only the visual arts but the historic arts as well. His book help students to think creatively and gives them the opportunity to make their ideas come true. He gives the teacher different options and educators can take his ideas to a next level by expanding his techniques.

Works for me!
I am an Art Teacher with 25 years experience. I ordered this book because of its title. I have used several of the projects and techniques with great success so far. I can highly recommend all aspects of the book, from the logic and ideas to the famous "rubric on page 34". Cheers to Ken. ... Read more

Reviews (2)

A Very Useful Handbook
It's beyond cliché to say that a book has changed your life, but this little handbook - a supplemental art history text, of all things - ranks with scripture and great literature as one of the most personally beneficial books I've ever read. This may say more about me than the book, of course, but if you are the sort of person who finds it difficult to think about art, let alone talk or write about it, then perhaps this will give you hope.

Professor Sayre starts this handbook with a simple thesis: everyone could write about art, if only they knew where to start. To prove his point, Sayre chooses pieces that most laypeople would consider indescribable (like the abstractions of Jackson Pollock) and teaches the reader, slowly but surely, how to really look at the work. With subsequent lessons on choice, composition, and color, even the most "non-artistic" thinkers will begin to see things in a different light... and then Professor Sayre will then teach you how to put those thoughts into words.

If you are privileged enough to attend a school where the humanities are still actively taught, you owe it to yourself to pick up a copy of this book - your papers and grades will doubtlessly improve. But even if your chances of ever taking an art appreciation class are slim, if you have any interest in the subject at all, then I highly recommend this book.

Excellent for Homework
Although I am not an Art History Major, I found this book to be very helpful when writing a paper about particular artwork! ... Read more

Book Description

Reviews (6)

Easy to Understand
Good, solid, workmanlike explanation of perspective, described step by step. Plain language, no wasted words. Clear drawings. Do the assignments, it's like taking a class you'd pay $350 for. I've tried to learn perspective from other books, but they were too complicated. This is THE classic. Every illustrator needs it. I use this knowledge every day.

The one book on perspective you¿ll ever need.
For a book first published in 1939, Norling's "Perspective Made Easy" is still the authority on perspective. This concise book contains in roughly 200 pages and 256 illustrations all you'll ever need to know about perspective drawing. In twenty masterfully organized chapters, from simple to complex, the author explains the basics and not so basics of perspective drawing. He includes suggestions on how to make your drawing more simple, drawing methods for observation and space division, a Remember section at the end of each chapter in which he summarizes the most important information and principles presented in that chapter, and a Problems section with exercises that will help you apply what you just learned. One of the best rewards of this book comes in its last chapters where the author covers perspective drawing for a great number of regular and irregular figures like a sphere, a cone, ovals, circles, lamps, cars, etc. With this the author goes many steps beyond all those other books out there that only teach you how to draw cubes and square buildings.

The book may be a bit repetitive at times, but this is not annoying at all, it just makes the author sound as if he was teaching a class in school or college, and it helps you to easily remember the most important information presented. After reading this book my understanding of perspective and the perspective in my drawings have improved 100%. If you follow his teachings and exercises you will learn how to determine the perspective you need to apply to your drawing, whether you are drawing in the field or using photographs as a model, and you will soon start making your drawings look solid, deep and proportionate.

If you are only getting one book on perspective, get this one.

Excellent introduction for beginning artists!
I bought this book because Andrew Loomis (Figure Drawing For All Its Worth) recommended it. I'm glad I followed his advice. If you are going to own only one perspective book, then this is it. However, if you're an interior designer, architect, engineer or draftsman then looks elsewhere since this book's primary audiences are freehand artists.

This is one of the few books out in the market that exactly delivers what it says on the back cover. And it's a reprint from 1939!

I'd give this book a rating of more than 5.

EZ to Understand, Priceless Improvement in my Drawings
I can highly recommend this handbook to anybody who likes to draw. Through small, easy to follow steps, with illustrations for each step(!), this classic author makes this highly misunderstood topic become CRYSTAL CLEAR!

You can follow along, drawing each step, or just read through the book, (like I did), and you will still find yourself applying these techniques that make your drawings much more realistic and accurate looking.

In the introduction, the author says that we should not FORCE our drawings to fit into any rigid rules of perspective, but after reading this book, I find that I don't have to force the perspective rules, I can just subtly apply them as I go about my drawings.

The author has very nice, cute, and simple illustrations of his own, to show what he's talking about in each step of the process of understanding perspective correctly. This makes the book feel very user-friendly.

This book covers a lot of ground and information, but if you take your time and start at the beginning, you will reap big results with your own improved drawings.

Comparing price to benefit, this is easily the best value of any art technique book that I have ever purchased. Buy with confidence, this book amazing!

Very useful book
A very well written easy to follow book on what can be a complex subject. It is very inexpensive and my favorite of several I own on the subject. The Author gets right to the nuts and bolts of drawing in perspective. If you want the basics this book is for you. ... Read more

Reviews (9)

Chris Hart Does It Again!
Without a doubt, Christopher Hart is one of the most prolific and talented cartoonist around. Having worked with companies such as Disney, his cartoon style is entertaining and stylic as well. It's got personality and it will make you want to engross yourself in the book. If you've not read any book by Chris Hart, this is one of his best. However, it is a wonderful book with lots of helpful ideas on becoming a cartoonist yourself.

It covers everything from how to place the features to costumes to animals. It would definitely be a useful starting (and ending) ground for anyone interested in this art.

Excellent find!
This book is great! There are a ton of helpful tips and techniques that range from how to draw facial expressions and body types to how to draw ice cubes and water... and even how to convey wind or rain. The author, Christopher Hart, even explains why cartoon characters have only three fingers.

This book is very clear, very informative and very funny! I highly recommend this book!

Great Stuff Here!
Christopher Hart has brought many hours of both fun drawing and thoughtful learning in my atristic journey. Not only does he explain everything you need to know for beginners, but some fresh stuff for the experienced artist as well. I'm sure anyone of all ages will enjoy learning form this and all of his great books.

Good book
I have had this book for a few years now and I love it. Hart gives lots of examples of a character in different situations. He also shows how to lay out your comic and gives advice on colors and such. This book /would/ have gotten the full 5 stars, but I felt that the section on animals could have either been expanded to include a basic rundown on construction for beginners, or left out entirely. The section is mainly about the relative height of animals to others and, above that, an intermediate construction of the animal itself, plus a brief written guideline. I should be getting Hart's book on cartooning animals today, so hopefully that will be more of a help to me in the animal area. All in all, this book is great for those who are just starting out or need a refresher.

really fun book
This book will help you transit from doodling to drawing cartoons. It is great for distracting your collegues during long meetings, delighting younger children who should be concentrating on other things, and annoying your spouse who is trying to pay attention.
Get it. ... Read more

Reviews (5)

Lush and inspiring.
I want to drown myself in a vat of beeswax every time I leaf through these gorgeous paintings. Solid information about the varieties of wax and mediums and practical suggestions for studio setup and which equipment to use eliminate the esoteric intimidation factor and make encaustic painting accessible to all levels of artist.

Informative and Intriguing
Mattera very concisely defines the ins and outs of encaustic painting and provides an excellent point of reference for both beginning and more advanced artists wanting to expand their horizons on the subject. Also notable was the paintings represented in the beginning of the book that showed myriad techniques and styles employed today in modern encaustic painting. Beautifully done.

Great for amateur and pro alike
This is a great book for all interested in encaustic painting. Details and fine illustrations give great insight to an ancient artform. If you like art, don't miss this book.

Detailed information, great gallery
I have long been fascinated by the technique of encaustic painting and this book fills a void in references on the subject. It contains a vast array of detailed information on everything from making your own paints to exhibiting your artwork.

The book starts out with a history of encaustic art. A gallery section then showcases four different portfolios of art including representation, color and pattern, dimension and modular work. Captions include artist, title, materials used, size and date introduced. Artwork is displayed in a variety of sizes. Some of my favorites are a beautiful face by Tony Scherman and the organic looking "Miasma Morph" by Sylvia Netzer, made of wax with pigment fired on ceramic.

The next sections focuses on encaustic materials. It starts out with details on the wax types. A reference chart of all the wax types, their source, composition, properties, melting point, flash point, color range and average price is here too. Information on heating equipment and well as melting and fusing the wax are next. Then pigments and making your own paints is covered. Selecting and caring for brushes is also here. There is even a great section on using materials safely.

Painting preparation and techniques follow. These include information on substrates and grounds with step-by-step instructions on how to make your own. Recipes of rabbit-skin glue and gesso, as well as tips on using them are explained as well. Then techniques and tips for textured, smooth, scraped and incised surfaces accompanied by example artwork are given. There are also details on collage, mixed media, creating artwork on paper and making large-scale pieces. I loved the helpful answers common questions such as what are good beeswax mixes, what wax is best for glazing, how does one get rid of bloom and what do if you get a wax burn?

In the back of the book there are very helpful resource sections including supply sources, galleries, a glossary and bibliography as well as photo credits and an index. This book is an indispensable reference for anyone wanting to learn about and create encaustic art.

excellent reference and advise, but a little cultish
My comments are those of an amateur, self-taught, new-to-encaustic, artist.

I found Joanne Mattera's book to contain more practical information on this exciting medium than any other source so far. The sections on "Preparation and Technique", "Materials for Encaustic", and to a lesser extent "Preparing and Exhibiting Your Work" are especially beneficial.

There is plenty of help on mixing-your-own wax, tools, supplies, and ideas. It is not a Step 1-2-3 How To Paint book.

The "Porfolios" chapter leads you to believe encaustic is only for the abstract artist. She addresses this issue by stating, "Only a small percentage of contemporary encaustic painting is pictorial, etc...", and with the inclusion of a couple non-abstract images. I get the impression most works are by a select clique of fellow artists. As I paint mostly abstracts myself, the examples were fine. However, the Portfolio would have conveyed this mediums versatility more completely if works of impressionists, such as Dorothy Masom and others, would have been included.

It is a book every aspiring encaustic painter should have. Along with "Waxing Poetic:Encaustic Art in America during the Twentieth Century" by Gail Stavitsky. ... ... Read more

Reviews (2)

A very informative overview
I read this book when I was applying for a graduate program in the restoration of easel paintings. I needed to get a broad--but also reasonably in-depth--overview of types of damage to paintings and restoration and preservation techniques, and this book was great for that. It thoroughly covers all types of damage to paintings on panel and fabric support, along with corrective and preventive techniques. As I mentioned before, it covers a whole range of areas while still giving them sufficiently in-depth attention. There are tons of color illustrations that are invaluable in helping you understand what they're talking about. I didn't rate it five stars for two reasons: (1) it frequently describes the use of specialized equipment used by restorers, and if you're not familiar with this equipment it can be kind of difficult to completely follow what they're describing, and (2) it also doesn't have the most up-to-date information. Not that the information that is there is out of date by any means, but if you're interested in cutting-edge restoration theory, this book is not going to have it. But from what I gather, this book is one of the most highly regarded in the restoration field (the faculty of the program I applied to keeps it on-hand as a reference book).

Also, be warned--if you're looking for information on wall paintings, this is not going to have it. It just covers panel paintings.

An excellent and detailed text on painting conservation
This is an excellent overall and very detailed view of the conservation of paintings. Actually it is one of the most thorough and up to date books on the subject I have ever seen. Very well written and documented with many photographs and an extensive bibliography and many notes for further research. This book clearly shows the skills, knowledge, and expertise needed and in use today by professional conservators around the world and it could easily be used as a complete reference book for those interested in the subject or even as a textbook for anyone studying art conservation. ... Read more

Reviews (19)

Expensive book, and worth three times as much!
This is by far the best book I have ever seen on the subject of oil painting. Not only do you get to admire many lucious images of a modern master's work, Richard Schmid generously shares his knowlege with humour, clarity and detail. A long look at both the technical and emotional aspects of painting, written with great commitment and depth. Though the price is daunting, consider it a worthy indulgence. You could buy ten other books on this subject and still not obtain such a complete reference source as this one book. On top of the excellent content, the book is beautifully made to last a lifetime (and more!), and printed on top quality paper. Splurge on this; you won't be disapointed!

A book of uncommon beauty from the great painter of our age
This is a book for skilled painters. It is not a book for art critics and essayists or for New York cognoscenti. To my thinking, no master in the history of painting has produced a more consistently poetic life's work than Richard Schmid. Unlike current thinkers, I believe the graphic arts are a special craft in the repertoire of human skill; no more, no less. To me, a painting that requires verbal interpretation is either inadequate or cynical or opportunistic. Painting is an intelligent, not an intellectual pursuit. And this is how Schmid approaches the basics once again of his craft through beautiful reproductions and well written good sense.

The Definitive Book About Painting
With this book in hand, I could throw out all 4 dozen or so books on painting I've purchased in the past. Schmid clearly describes the factors necessary to paint well as well as his suggestions on tools with which to do it. His chapters on edges and values alone are indispensible to artists, beginners or professional.
His writing style is very easy to read and understand and there are more than a few laughs laced throughout. It's a keeper and I'll be going back and rereading until the pages are tattered and worn.

We're lucky to be able to get a book like this
Among my many many books on art (technique and monographs) this is one of the best, meaning: greatest influence, and highest quality of information. Schmid's color charts -- and his admonition to do them yourself (as well as his vehement insistence on working from life) is worth the price of admission. Complaining about the price of this book seems out of line -- if I were as good a painter as he, (and selling a painting that I turn out in a day or so for thousands of dollars) I'm not sure I would take the time to develop an instructional book at all!
We're lucky to have it. Other good books: David Leffel's and Tom Buechner's.

Not Just a One Time Read
I periodically review this book . As beautiful as this books is, I have underlined many pages of text. ... Read more

Amazon.com

In the 1960s, the American artist Lee Bontecou was heralded as one of the most important young artists of her time. Painstakingly crafted from castoffs--Army surplus and canvas conveyor belts from a neighboring laundry--her wall reliefs evoked a fearsome sci-fi world of black holes and bared teeth, a mysterious doom-filled terrain no one had ever seen before. In the mid-'70s, however, Bontecou disappeared from the art scene, declining to take part in exhibitions. Lee Bontecou: A Retrospective revisits five decades of this extraordinary artist's work. The texts include Elizabeth A.T. Smith's overview of Bontecou's career, Robert Storr's nuanced analysis of the cultural context of the work, Donna De Salvo's remarks about the otherworldly drawings, and a pivotal essay from 1965 by the sculptor Donald Judd. Especially intriguing is Mona Hadler's brief discussion of Bontecou's personal interests (insect life, model airplanes) and political beliefs. No one has much to say about the critically disparaged vacuum-formed plastic sculptures of fish and flowers from the 1970s. But Bontecou's intricate drawings and recent series of suspended sculptures, which Smith describes as "something between a helicopter and an insect," continue to explore a natural realm that combines delicacy and menace. Lee Bontecou, which contains 175 full-color illustrations, accompanies an exhibition of the same title at the UCLA Hammer Museum in Los Angeles through Jan. 11, 2004, which travels to Chicago and New York. --Cathy Curtis ... Read more

Reviews (2)

re: the photographic record
I just studied both the book and the exhibition in Chicago. The works are wonderful first hand. The book is a nice supplement in some ways, the quality of the prints is good on the surface, and there are some contextual pictures of studio environment etc. But the book is enormously disappointing in one very important way: Most of the photographs of works in the first section are taken from only one angle, head on, and lit evenly so they give *no* idea of the geometry and depth of the works. The actual works have very dramatic physical depth, but the photographs make them look as flat as paintings. It's great that there is at least an inventory presented here, unfortunately, this book missed the rare opportunity to definitively fill the need for a photographic record of Bontecou's major works. It would have been greatly improved with multiple angles or more informative lighting for the works that demand it. You still have to see an exhibition to really have any idea what her works are like.

Regrettably, Amazon guidelines do not allow me to provide the URLs to Bontecou's own press release response to Storr's statements (search for "bontecou" on ereleases.com headlines).

Catalog is a Wonderful Companion to the Exhibition
It is difficult to review the exhibition catalog without first taking in the Lee Bontecou survey at one of the museum exhibitions currently traveling the US. Unfortunately the exhibition will travel to only three museums in the three largest cities in the US, yet most of the works come from public and private collections throughout the country. Luckily, readers get to see all of the pieces in a carefully written, scholarly book full of full-color reproductions, several essays about the artist and her process, essays about the artist and surrounding influences from (and in) art history, and a detailed exhibition checklist with thumbnail photos of each work in the full exhibition. There are over 150 works in the traveling exhibition presented in a catalog of 240 pages. The photographs are standard for a catalog presentation but photographs of the sculptural works may not give accurate renderings of scale or detail; once again, this is a catalog and not a coffee table book of a few of the artist's better-known works. For just a few dollars more than the softcover, get the hardbound edition; you will want to keep this book for a lifetime. ... Read more

Reviews (5)

Its a start: you must know what you are encountering
The format of this book is not "10 quick things you can do". It is mostly a discussion, from different people, attacking different subjets. It is not uniform. There is a lot of repetition. However, being a lawyer, I find that it is a good start for people who have little concept of technical aspects of the art market.

Author recounts book's success
When I was Special Assistant Chairman of the National Endowment for the Arts, visual artists had few ways to support themselves except for grants. Apart from the special few, little hope existed for selling their art, and most artists had no idea of how to "go about it." I assembled an internationally respected group of artists, dealers, art lawyers and accountants and put them in front of tens of thousands of artists nationwide. Through questions and answers, speeches and demonstations, a distilled book's worth of unique knowledge and advice came into being. Unlike any other books that give one artist's opinion, or one "art advisor's advice" this book does something different: the straight story comes directly from the most outstanding and respected authorities in the field. No other book does this. No other authority can provide this knowledge in a single volume. The Business of Art is now the basis for college level courses on the business side of art. There is also a companion video sold by Phoenix Flms at 800-221-1274. Used together, they provide artists and art groups with a wealth of learning material for either immediate use or continuing education of artists worldwide.

Not so good
There is a lot of info in this book. However, the information seems jumbled. I say that because, one chapter seems to be more for the emerging artist and the next for the established artist. I did not care for the chapters about the dealers (ex. one chapter in New York dealer, one is Houston dealer, etc.)
I would recommend other business of art books first and save this one for last if your starting a reference collection of art business books.

Money Wasted on the Business of Art
I'd have to say I was very disappointed in this book. The title lead me to believe that there would be plenty of nuts and bolts information, when, in fact, there is very little indeed. There is one long-ish chapter on photographing artwork that contains a great deal of technical information on film, cameras,lenses, and lighting. (Most artists would be better served by hiring, or bartering work with, a competent photographer.) The rest of the book consists largely of personal reminiscences, rambling essays and opaque monologues.

Emerging artists want to know: how do you approach gallery owners successfully? how do you approach museums successfully? how do you prepare your portfolio? how does my work get seen? Well, emerging artists shouldn't expect to find useful answers in this book. The answers compiled in The Business of Art are mostly of the "If you're good enough you'll be found". "Get a magazine to write about you", "I got lucky", "Enter lots of competitions and hope someone notices you", and "Stop whining" variety.

There are a few mildly interesting, though not enlightening, personal stories about the New York art scene "back in the day", but don't look for much practical help here. I consider this as money wasted - both mine and the NEA's.

Lots of info
This book has a variety of information. Some info seems to be for the emerging artist, other info is for the more established artist. It's a good reference but I'd suggest other business of art books first. ... Read more

Reviews (12)

The BEST book. Look no further
In all seriousness, this is the best mosaic book out there that I have found. It explains materials, techniques and EVERYTHING you need to work on mosaics.

Wish I had found this before I bought other books.

First Rate Design and Technical Information!
Even though I am a beginning mosaic artist, I want detailed information about design techniques, materials to use, and errors that are common to the craft. This book fills the bill - it's got first rate design information and provides examples of the discussion topics. The arrangement of the topics in alphabetical order may be something that others find less than desirable, but if you read the entire book before making any judgments, you'll find that this is a non-issue. I'd recommend purchasing this book, especially if you only want to buy one.

From library rental to wanting to own it !!!
I rented this book from my library and am now here purchasing it, because I loved it so much. It is a great collection of basics, supplies needed, various techniques, common mistakes, ideas and inspirations, instructions, classic mosaic artworks and lots of colored pictures, (which even have my daughter asking me when we can try to do some mosaics). Hobby store: here we come!
Even if you just want a new addition for your library, its definetly a great buy.

Not for beginners
While the book does offer the standard mosaic-making advice, the alphabetical encyclopedic format makes it frustrating at times. If you are a beginner, as I was, you won't know where to start. 'Planning', 'setting up your studio', and 'equipment' are all topics, but if you don't know exactly what to look up and in what order, it won't do much good. And if you're more experienced, you don't really need big color photos of safety equipment.

The book's strength is in topics such as borders, andamenti, and design techniques. As for nuts and bolts info such as the actual direct and indirect methods, I found Leslie Dierk's book 'Making Mosaics' to be FAR more informative.

Overall I found the encyclopedia 'gimick' to not really be very helpful.

The mosaic bible
I think this is an awesome book. I don't like books with projects because I like to design my own projects and don't like to cookie cutter from a book. So, this is fantastic because it reminds even experienced mosaic artists of all the endless possibilities of techiniques and materials. It goes through EVERYTHING!! And if you are reserching a particular techinique or anything it is all listed in the back and you are ready to go. Tons of important info, might be a little overwhelming for the beginner but it is truly my bible. I recommend this book to all my customers! ... Read more

Reviews (9)

Excelente referencias
Libro indispensable para un pintor profesional que desee buenos resultados en la tecnica de los materiales. Recetas e información tecnica para elaborar cualquier medio pictórico

Its a reference book
A bulky reference book. Its useful if you want to refer something - but definitely not a cover-to-cover read as I thot it would be. To be fair, it has detailed info about all artists' materials, hardware etc - but just didn't suit my needs.

The Artist's Bible
This is the Artist's classic, and the Artist's Bible of not only what materials are but when they came into use, how they are formulated and why. Want to learn how to make your own gesso for silverpoint? Want to cut a quill pen? Want to make your own pastels? Can't remember how to make your own sizing or gesso? Want to try your hand at encaustic or egg tempera painting? Want to know which colors in the spectrum are likely to fade (are fugitive colors) in watercolor and which are not? It's here.

Artists Handbook of Material and Techniques
it was a required book at a county college. once i got it i realized it was very informative. it has very good information and i refer to it all the time. the professor said it would be our "bible for art" and he was right. it has techniques such as how to do egg tempra, suggestions on types of paints, etc. i would highly recommend it.

A great reference book for all artists.
I guessed writing review using reverse-psychology is rather easily misunderstood, considering review readers are from around the world with different ways of thinking. So, let me rephrase my comments about this book.

This book is a 5-STAR, due to the following reasons:

1) The book provides detailed discussion of pigments (pp 65-134), including both physical and chemical properties such as lightfastness (resistance to fading on long exposure to sunlight), density, vehicle compatibility, chemical class, formula, etc.

2) The book also covers other materials used in oil, watercolor painting, as well as other painting techniques such as tempera, mural, etc.

3) Readers will find formulas for preparing mediums throughout the book, as well as supports, solvents, safety issues; along with information on painting tools (brushes, knife, etc.) and other techniques (silk screening, sculpture, etc.)

4) Finally, for readers who prefer further reading on certain subjects, a thorough reference index serves the purpose.

This book targets professional and serious artists, and will serve well as a great reference book.

STRONGLY RECOMMENDED! ... Read more

Reviews (16)

Did I miss the color and light references?
Let me preface my review by saying that I am very new to painting. Having tackled a few Bob Ross paintings using the wet on wet technique, I was looking to learn more - so I got this book. I found that the first 45 pages were really the only pages that appealed to me. Discussions on color combinations, a limited palette and ways of discerning color were good pieces of instruction. However, Kevin talked quite a lot about detail in pictures when his paintings are anything but detail. His paintings tend to be a blurred vision. Nothing really in focus and nothing crisp. So after I got his book, I realized I didn't like his style of artistry. My advice is that before you buy this book, make sure you like the artist's paintings.

Great Book, Great Teacher
I purchased this book and liked it so much, I looked up where the author was giving a workshop and then took the class. Kevin spends a lot of time in both book and workshop on the 'right color' and the art of seeing. He feels that if you can isolate in your subject the correct color for the brushstroke you are about to paint, you cannot help but jump one of the biggest hurdles to having your painting look like the subject. The book is filled with his beautiful paintings, and lots of tips and techniques. I've been following his work since I purchased the book and going to the workshop, and my biggest mistake was not purchasing one of his paintings. And although the paintings in the book are more than first rate, Kevin has become even more talented in the past few years. You'll love having this book for inspiration and reference. Grade A, from the horizontal paint stroke club.

One of my favorite painting books and the best for plein air
I've read a lot of painting books and this is one of my favorites. I've read it front to back several times, and I've read through different chapters numerous times. He uses a very limited palette: cad yellow light, alizarin crimson, ultramarine, and phthalo green. I've been using a limited palette since I read his book, although I often alter the colors a bit. People say the palette is too limited but once you master it you can easily change the colors and add others as required. I found they're seldom required.

He has a challenge to do 100 starts which is great. I'm current doing this with a group of artists at WetCanvas (search Google). He also has another challenge to paint a 6x8 plein air in one hour every day for 3 months. I'm quite confident that after painting 100 starts and 90 paintings I'll be a much better plein air painter. I also like his suggestion of using a black marker to make a b&w sketch before painting. This helps to see the light/shadow patterns.

Overall this book is great. Although it's for oil, his technique will work for any opaque medium. MacPherson also gives workshops and from what I've heard they're very good. The material in the book is what he presents in the workshop!

Great How-To Book By a Modern Master
A wonderful book by an artist recently named one of "The Magnificent Seven" by Art of the West magazine (Jan/Feb 2004) in their article on artists who are carrying on the tradition of such great Western artists as Charlie Russell, John Singer Sargent, Edgar Payne, Nicolai Fechin and others.

This book is filled with information that should be of interest to beginners and advanced painters alike, including capturing fleeting light and weather conditions, color relationships, luminous shadows, color temperature, reflected color, mixing colors using a limited palette, and learning to see a subject more effectively.

An inspiring book by an exceptional teacher, whose classes and workshops sell out months in advance.

Best Plein Air Book
I have to say this is by far the most useful book on color that I own. Some reviewer claims the palette is too limited and other states there's no "light" but color. color "is" light, if you know how to use it. Also, color is relative so you don't need every color on the shelf to create an "illusion" of full spectrum. afterall, that's what paintings are, an illusion. if you like tightly rendered paintings, get a camera. ... Read more

Reviews (8)

One of the best.
A very informative and usefull book for all designers.

DO NOT BUY! it's hard to imagine a more worthless book
This book is a fiasco. As a professional in commercial space planning for many years, I picked it up based on a 'glowing review'. I find another few good ratings here on-line. The authors mother must be writing them, because no one who actually attempted to verify the faulty and incomplete information within, could ever see this tome as worth the paper upon which it is printed.

One reviewer was accurate though; it isn't a bad door stop.

Interior Graphic and Design Standards
This is a very good book. Deals with the in and out of the interior design standards

* WARNING: THIS BOOK'S BEST USE IS AS A DOOR STOP! *
...so S T O P; don't buy this book. It's Junk. Anyone who's been in the profession a while knows it because many of us received it as a Designer's Book Club intro title in the late 80's or early 90's. It wasn't worth the cost of its S&H! Ask around to people in the profession and look it over first. I received mine while having just a few years of experience in practice. Initally excited and impressed with myself having identifed a clear technical error, my feelings quickly changed to surprise and then anger as I began to realize the whole book was packed w/ errors and critical omissions. It was generally a frustratingly incompetent presentation with widely incomplete information on its proposed subjects. That the editors and publisher let this trash out, and were, I presume, making their livings with this level of incompetence was disheartening.

Interior Graphic and Design Standards
An excellent book for "standard" measurements and dimensions of both commercial and residential spaces. A wonderful teaching tool! A book that should be on the shelves of every interior designer, architect and design professor. ... Read more