Reviews (8)

A nessecary item....
If you ever wondered what a certain wood looked kie, here is the answer book. A nessacary item for every cabinetmaker.

Very Useful Guide in a Compact & Concise Format
I found this work particularly useful in designing a woodworking project as a novice who wanted to make something beautiful and lasting. Selecting hardwoods for my project was a major undertaking because of high expectations I have of the woods from which I built my dining table. I wanted beauty, durability, and contrast; at the same time needing compatibility among the five different woods I used. While the book has its critics, as a lay woodworker, it served my purposes admirably. The concise information featured for every wood was extremely useful. If the book sees a new edition, I hope a competent editor will preclude the many minor grammar errors, typos, and several inconsistencies I noted. The text fails to be consistent in always providing data critical to my own project: not all entries provide information about the stability of the wood in service.

Addendum
To prospective buyers it may be helpful to know that this is a British book: the selection of names is heavily influenced by this. For example "lacewood" is given here in the literal sense, as quartersawn wood of a species with high rays, with a "lacy" ray fleck, originally Platanus spp. Later (although the book omits to mention this) the woods of the Proteaceae (both the Australian silky oaks and the South American roupala) were also so used. The American use of "lacewood" for the Australian silky oaks, however sawn, is somewhat of a misnomer.

Overdue for a revision
The concept of this book is a good one: a large color picture accompanied by half a page of text. Unfortunately this was not well executed. Leaving aside the text and ignoring the callous mistreatment of scientific names a minimum requirement for a book of this kind is to have proper color pictures. Three steps are involved: 1) the correct wood; 2) exposing a characteristic face of the wood; and 3) proper surfacing. Although there are a number of quite good pictures in this book, it is an easy matter to find major transgressions against each of these three steps. For example the picture given for pink ivory could be replaced by a bit of copper plating for a gain in accuracy. It is impossible to tell if there is a single correct picture for a mahogany (in the wider sense) since no diagnostic faces are shown (however, at least one of these is definitely wrong). For a capital offense against proper surfacing see balsa. All in all something like 40% of the pictures must be replaced for this book to work. This book has the potential to be a handy reference, but a lot of overdue homework must be done first.

AN ASTRONOMICAL COLLECTION OF INFORMATION.
The title speaks for itself. The collection of woods displayed in this book are shown with quality and class. The information available on each wood is amazing. The quality of the book itself is of the best I have seen, thick paper, exceptional color photographs and type that is clearly legible. If you are after pictures, information on names, uses, working properties, geographical distribution and much more buy the book, you will not regret it. The time you will save hunting for all this information will recover the price paid. ... Read more

Book Description

A concise but comprehensive book about all matters pertaining to drawing the human figure, this well-illustrated and accurate guide demonstrates the interplay of structure, anatomy, design, and expression in effective figure drawing; and shows how the integration of these four factors is essential in drawing the figure in a compelling and lucid manner.Topics covered in this book are the structural, anatomical, design, and expressive factors in figure drawing. The book's text is supported by many illustrations, photos, and works of art.For professional and amateur artists. ... Read more

Book Description

An excellent beginner's book for those who want to make molds, and/or casts in plaster and rubber, but have no prior experience. Format designed to make the text easy to read with step-by-step instruction on all phases of the mold making, casting and patina process.First edition publication with 116 pages of instruction and over 200 photos and line drawings of specific methods and procedures for any mold making and casting project clearly showing everything needed to make exacting casts of original pieces of sculpture.The text also includes guidance in the repair of casts, as well as mounting for display, and the art of patina or coloring. Includes appendices on mixing procedures for plaster, troubleshooting, general information on gypsum products, enlarging, bronze casting.Charts on proportional requirements of materials, weights and measures, and a glossary of terms are also provided. Recommended for the novice sculptor, mold maker and caster. ... Read more

Reviews (3)

missed the mark
If you are already a technical person who is looking for more information...skip this book. Unfortuneatly it is vague and unhelpful. I say this technically speaking...if you are curious about the process and just want to pick up a bit of vocabulary.. have a look. They could have done a great job with this book... but once again the process falls flat. Don't let the cover fool you.

Only for beginners
While I was able to glean some marginal information from the book, I found it totally unsuitable for an intermediate approach to lost wax casting. This is a great book for a housewife who wants to show her kids how to make relief sculture or simple plaster casts. If you want to find out about the intricacies of casting for bronzes, save your money; you won't find it here. "Moldmaking" describes waste molds and latex, "Casting" is in plaster, and "Patina" is only for gypsum products. I expected more from the title, and I was disappointed.

Wonderful instruction book for a first time mold maker.
Very clear and simple instructions. Takes you step-by-step through several different basic mold making procedures, using simple latex molds and plaster casts. There are a multitude of pictures and line drawings with clear repetitive step-by-step instructions as though the author were working with you in your own home. It is a basic book and not so advanced as to confuse you. Great beginner book. ... Read more

Reviews (33)

THE definitive work on quality figure drawing!
As a practicing artist I have to say that this is the finest book of its kind I've come across. If you are serious about taking a traditional approach to figure drawing and want to produce artwork of the finest quality, this is the book to look at. If you just want to learn to do quick sketches then you might look elsewhere, since the approach discussed is time-consuming and painstaking. But it is THE way to go if you are serious about fine art. If I was only allowed to have one book on my shelf this would be it.

Beginners to expect some learning curve. Great book though!
I just finished reading this book at one sitting of several hours straight. It is a great book, and without any hesitation, I'd like to give it a FIVE-STAR. The following are my opinions to readers who have not read the book. These opinions are NOT based on beautiful works presented in the book, although they are also a strength of this book.

1) I enjoy a lot the method presented by Mr. Ryder. Incidentally, it is also my approach in life figure drawing. To me, this approach is very NATURAL and INTUITIVE, and largely based on the artist's OBSERVATIONS of the objects. This may be the key to the approach, as the author emphasized not on "how to draw", but more on "WHAT TO DRAW".

2) Figure-drawing beginners, who expect to learn from the book how to use simplified 3D shapes, such as an egg (for the head) or deformed cylinders (for torsos, limbs, etc...), will NOT see those techniques in this book. Instead, they may find it NOT TOO EASY to learn the "block-in", "contour", and "drawing the inside" presented in the book. A learning curve is expected, but in the end, it will pay off when this approach has been mastered. Readers who follow this approach would be able to draw "what they see" in a very natural manner (like a pro artist!)

3) I enjoy most the chapter about shading. In my humble opinion, however, it will be the most challenging task for beginners to distiguish and render different shading shapes and tones.

4) Keen observations seem to come naturally in the so-called "borned artists". For the rest, it takes practice. This is a good guideline for any of us artists (borned or not) who would like to sharpen our observational skills in drawing such complex (yet intriguing) objects as human figures.

Not for beginners but my best book so far!
I have studied numerous drawing books and by far this book I have owned. I often reread and reference it to inspire me, and i can honestly say my work has improved immensely.

I had been a portait artist for about a year and the face is not a problem to me but the figure was a time-cosuming challenge, that is until I was opened to Anthony Ryder's technique of envelopes, blocking-in and contours. It made drawing the figure so much easier, well proportioned and realistic. Using cylinder and blocks just doesn't do it for me.

The rendering is awesome and it already has an impact on my art.
This is not to say I simply copy his style but rather to combine his with mine to produce even more amazing results.

Lastly this is NOT your beginner basic learn-how-to-draw book. You should have sound drawing ability inorder to tackle this book. So don't complain if it doesn't instruct you step-by-step on drawing the hand or head 5 eye-widths apart(a pretty bad method anyhow). You'll learn to draw the figure as a whole and not as broken down indivual figure elements.

Hack art instruction at a rip-off price
"The Artist's Complete Guide to Figure Drawing: A Contemporary Perspective on the Classical Tradition" by Anthony Ryder 1999,
List price $24.95 ISBN 0823003035

Ryder employs a teaching method which one reviewer has termed, INVISIBLE PROBLEM SOLVING, where the book is illustrated with finished illustrations, without showing the student any of the intermediate steps it took to arrive at the final work. It is becoming a common flaw in the rush to publish some of these How-To-Draw books. Displaying finished works does not impart knowledge to a pupil.

The title term "contemporary perspectives" turns out be be little more than gimmick language for watered-down anatomical instruction.

Perhaps we should be more demanding when the title includes words like: "COMPLETE GUIDE TO..." because the book must actually BE a "complete guide" and this book is not. The art work is flat, torpid, and uninspiring, lacking in dynamism and vitality. The models are listles and possess no dynamism, no life.

It is not a book for beginners, because it doesn't begin with what Jack Hamm refers to as "simplified figurettes", and is termed elswhere as "human puppets" etc. The title claims the book is for "Artists" but anyone who is already qualified as an actual "artist" will already have covered the material in a first year of drawing instruction.

The methodology of Invisible Problem Solving is the crux of the issue however, showing that the author is out of touch with his audience. For the weighty list price of $24.95, buyers should demand better.

It does a body good ;-)
As other reviewers have said, this is a good to excellent book for those with some experience in drawing. The works presented, the methods, and the explanations are fine. There is a wealth of information in this book. However, I give this book a 4 stars because:

1. It would have been more helpful to have examples of the Envelope and Block-in techniques leading to the Contour WITHOUT overlays. In other words, to see the building blocks/steps as they would actually appear on paper while one is doing a drawing.

2. The drawings reveal outstanding technique and fidelity to the models--notwithstanding that even Ryder makes some errors in some of his drawings. However, although this is figure drawing rather than traditional life drawing (involving different levels of time and detail), I feel that the realism and technical skill draw too much attention to themselves. One goes "wow" at just about every work but there is a major aesthetic element missing--call it, expressiveness, soul, whatever.

Still this book is a MUST READ. ... Read more

Book Description

Beginning with his earliest, awkward drawings of the human figure in 1962, the book displays Feynman's fascinating development of a personal artistic sensitivity to line, form and the moods of his subject; as well as his experimentation with various styles and media.
The selected artwork was produced over a 25 year period until 1987, the year before his death. It mainly consists of black and white drawings, his favourite medium, all carefully chosen by his daughter, Michelle.
This book brings together, for the first time, a collection of the artwork of Richard P. Feynman, scientist extraordinaire and winner of the Nobel Prize for Physics in 1965. ... Read more

Reviews (1)

What a find!
This is a really terrific collection. In this book are many of the little-known sketches and paintings of the late, great physicist/folk hero Richard P. Feynman. I sought this book out after reading Ralph Leighton's Feynman biography "Surely You're Joking, Mr. Feynman!" I'm glad I went to the trouble to do so.

The book commences with a foreword by Albert Hibbs, whom many Feynman fans will recognize as Feynman's friend and co-author of "Quantum Mechanics and Path Integrals." Don't skip over this foreword. Hibbs has a lot of interesting things to say about how visual Feynman was in all his projects, including his style of doing physics.

After the foreword is a helpful preface by Feynman's daughter Michelle. (Michelle works as a photographer, and was the primary person in charge of selecting these artworks). She describes some interesting features of Feynman family life, such as the fact that many of the models for these paintings became lifelong Feynman family friends. She gives us a fun little window into the experience of "growing up Feynman."

This book also contains Feyman's wry, interesting essay "But is it Art?" from "Surely You're Joking, Mr. Feynman!," as well as a selection of biographical sketches from four of Fenman's friends, including three artists and his biographer.

The actual sketches are really pretty good, in my humble opinion. There are about a hundred pages of black and white sketches, including charcoal, pencil, and ink wash drawings. Many are quite simple and direct. Others clearly took quite a bit of time.

Let me give you a friendly warning here, incidentally. Leafing through this section, you will go through page after page of sketches of young, beautiful women, in a variety of attractive poses. This will lead you to a pleasant, happy, blissed out frame of mind. Suddenly, with absolutely no warning whatsoever, you will turn the page and be confronted by the dilapidated, craggy, wrinkled face of an anonymous, elderly male physics professor, frowning under a ponderously furrowed unibrow, glaring out of the book at you. Be warned, O reader, and try not to have a seizure. Also included among these sketches are occasional other topics, such as Feyman's dog Rufus, and a few "one minute line drawings" (a common exercise in art classes)... Personally, I think Figure 87 is pretty neat. It includes small sketches of various subjects -- a woman, faces, a plant, a sleeping dog, and more. But there's more -- the background is full of Feynman's equations! They wind all over the place, throughout the drawing. It makes for kind of a neat juxtaposition. I could definitely see that sketch making a great poster.

After the black and white sketches are a small collection of color paintings, including a sketch of a little town, and Feynman's trusty dog Rufus.

Basically, if you are a Feynman fan, this book will go a long way toward rounding out your appreciation of him. Besides, there are some really terrific pictures in here. Two thumbs up! ... Read more

Reviews (11)

Good techniques that work
This is a book of techniques to improve your sketching speed, not your drawing ability. Profusely illustrated with examples from the authors own sketchbooks, this book is above average; the techniques work and are presented logically.

The book starts with a description of basic concepts, techniques and tools. Then, separate chapters for sketching landscapes, people and animals are presented. Each chapter includes exercises for the reader as well as numerous tips and hints.

Those who are looking for a book to improve the quality of their sketching will be disappointed. This book is about speed -- capturing the essentials of your subject in the shortest amount of time. It is expected that the reader will be able to use their sketches (along with reference photographs) as the basis for later, finished works.

Techniques you used as a kid, but probably forgot!

All in all, a reasonable book that helps the artist focus on techniques that enable rapid sketching without too much loss of detail. The goal of the book is to focus on outlines, basic shapes, simple shading techniques and other methods that allow for better subject recall when the source for the sketch is no longer available, i.e., back at the studio, days, weeks or even months later.

The sketches in the book mostly look like something drawn by a child, but most are successful in conveying the basic "message" the subject was meant to relay, which is what rapid sketching is all about - to capture the essence of a scene before it changes and the "feeling" is lost.

The idea is that if the artist can retain this message (and the feeling created by it), in the form of the most basic details rendered on the scene, it will allow more detailed drawings and/or paintings in the studio. The purpose of this book lies in this idea.

The techniqes in the book seem rather simplistic and many are really not that innovative, but Fast Sketching Techniques still serves as a good reminder for techniques you used as a child, and just may have forgotten about since!

believe me do not buy it
It's amazing the effort of the author to envolve us, and make us believe that it serves for something....if you buy it, you will lost a lot of time and money giving it back to the seller. I do not konw how amazon dares to show this product, it shows nothing about sketching. Try another, there is a lot, please: Cathy Ann Johnson, Stanley Maltzman and others.

^^^ recommended book. Please ignore previous reviewer.
For the previous reviewer : Acailawen Moore from Seattle you obviously can't fool anyone of us. It doesn't take a scientist to figure out that you aren't an artist but just some insecure jealous amateur. I'm sure all experienced artist understands what the author Rankin is trying to teach. His methods are what one would call the fundamentals. You're still a long way from becoming an artist. The author was just trying to make a point. I'm sure anyone without any experience or knowledge in drawing will think Rankins book is too basic and drawings childlike when infact it is one of the most important skills an artist should develop. You have a lot to learn and should start by taking some fundamental drawing courses at your local highschool instead of lashing out at the author. I did purchase Rankins book and have found it extremely useful. Amateur artists often make the mistake of getting down to rendering and drawing details instead of developing their skills in capturing gesture, porportion, form, tone etc. This book is a must for anyone seriously interested in imporving their drawing skills. Let the artist's brilliant work displayed on his site speak for his experience and not some reviews that just lash out on the author.

An Obnoxious Talentless Author... Not Worth The Money Spent

I find it incredulous and childlike behavior for the author of a book to bash reviewers of his book for sharing their honest and professional opinion, let alone for him to assume the reviewer has no artistic talent simply because he or she found the material in it overly basic. Oh, and giving himself a "five star" rating to try and improve sales is pathetic. It speaks to a terrible lack of moral character. And, we're supposed to want to learn from him? I think NOT.

I too am a professional artist, as is the reviewer this author felt the need to bash. I purchased this book for my teenage daughter, who also found this book too basic to be worth while. The author's techniques are overly simplistic and not the least bit useful for anyone with any sketching experience. So, let me get this straight. If I don't find the author's book helpful or gush over it (its not worth it), I must have no experience or talent as an artist? I have sketched thousands of wildlife scenes and guess what, my sketches don't look like a three year old drew them!

I found little, if any, useful techniques in this book, but what I have found here is an obnoxious, rude author with little talent who does not deserve one penny of my money! Do you really want to buy a book from someone who bashes others for sharing their professional opinion? There are far better subjects on the matter, not to mention, those written by artists with some class... something this author apparently lacks. ... Read more

Book Description

Reviews (9)

Kinda hard to understand
This book is filled with pictures. George B. Bridgeman did a great job with this book. The reason I gave only 4 starts is beacuse it was kinda hard to understand. I mean I spent 20 min. figuring out the introduction and still dont full understantd it. But farther into the book it was easier to understand but still difficult. I am only 13 and this book may have been written for college students or adults so that may have been one reason I dont unerstand so well but once you start picking it up you learn a lot of stuff about the human anatomy. THIS IS GREAT FOR COMIC BOOK ARTISTS, AS WELL AS ANY OTHER ARTIST.

Still the best anatomy book around
I have nearly ten anatomy books and this is the one I grab for most when I need to solve an anatomy problem while drawing or sketching.

For the most part, Bridgman first simplifies complex anatomy problems into simple structures before exploring the muscle patterns into more complex detail. This allows the artist to see the particular anatomy problem as a proportional mass rather than a complex network of muscle fibers. For me, this makes the human anatomy much more accessible.

For instance, he will take the torso and break it down into simple objects like cubes, triangles, and planes, illustrate them in their proper proportions, and then move forward into to more precise detail.

I find this book not just educational but as a great reference as well.

best value of any book i've ever purchased!
this book is by far the best on figure drawing that i've seen. bridgman is an absolute master of the human form, and he breaks everything down into simple shapes to help even the novice. his realistic and beautiful drawings are anatomically accurate, and quite nice to look at! buy any of bridgman's books, including the brilliant "book of 100 hands", and you'll be treating yourself to an extremely inexpensive lesson from a true master.

Wow!
Lemme tell you something right now. This is one sweet little book! It gets two stars right off the bat because it's really cheap(unlike Hogarth). For a student who doesn't have an income, this really helps out. When I bought this this book, I thought I knew a little about human anatomy. Well, put it this way, I was wrong! This book is PACKED with anatomy! Thanks to it, I've been getting alot better. Now I'm starting to do a real study of this book, and I don't think I'll be disappointed.

lord loves a workin' man
Just when you think you nailed anatomy, this man ability will put you back in line, sucka. these books are small, portable and afforadable. top notch. ... Read more

Book Description

The third volume in the only comprehensive modern survey of the surviving frescoes created during the later years of the great Italian Renaissance to the Baroque.

Following the success of the previous volumes in this extraordinary series––Italian Frescoes: The Early Renaissance and Italian Frescoes: The Flowering of the Renaissance—this volume presents twenty-two fresco cycles, each representing a notable achievement in the history of art. The fresco cycles featured include brilliant works by Michelangelo, Raphael, Titian, Andrea del Sarto, Parmigianino, Bronzino, Veronese, and Carracci ––all of them still visible on walls and ceilings of palaces and churches spanning Italy from the Veneto to Rome. Here are such celebrated sites as the Sistine Chapel in Rome and Palladio’s Villa Barbaro in Maser, as well as lesser known gems.

Each of the twenty-two chapters is concise and authoritative, offering a descriptive and interpretive essay on all aspects of fresco painting, covering the artists and their patrons in the context of their cultural and political history. Each essay concludes with a diagram of the site, followed by a series of full- and double-page color plates showing the entire cycle, many reproduced from new photographs of recently restored frescoes.

No publisher until now has attempted to gather together and document all the important fresco cycles of the Italian Renaissance. While this volume is a continuation of the previous books, The High Renaissance to the Baroque easily stands alone as an incredible treasury of art and scholarship, which will be eagerly collected by art historians and art lovers alike.

Other Details: 360 full-color illustrations ... Read more

Reviews (13)

An excellent overview of oil painting by a master
I would rate this book right up there with Gregg Kreutz' book on realistic oil painting for advanced/intermediate students. It is based on notes taken by the author at a class taught by David Leffel at Art Student's League. The book is illustrated by Leffel's paintings with no intrusion by the author.

My secrets of how to read "Oil painting secrets from a maste
OK, so the title of this review got cut off. It should read: "My secrets of how to read 'Oil painting secrets from a master.'"

Anyway, how in the world that a book could get excellent reviews in some comments, yet was claimed to be a disappointment in others? Here is the truth, as I see it.

THIS IS A BOOK ON OIL PAINTING TO OWN; and I say this based on my experience reading a considerable number of art books (see my "About You Area" for your info), as well as my own oil painting experience.

To keep it as short as possible, the following are facts and my opinions.

1) The artist: David A. Leffel is a realist artist, his style will certainly reminds the readers of Rembrandt's, you know, "the Old Master's".

2) To oil painting beginners: This book is NOT meant for beginners. Instead of giving this book a poor review, readers may be better off keeping it for future reference, when their painting skills up to par.

3) To others: This is what are covered in the book in extended bullet point format:
- Artistic thinking: on seeing, the concept
- Painting process: materials, brushstroke techniques, chiaroscuro (light/dark), massing, painting procedures, planes
- Basic advice: light and shadow, values, edges, color, painting still lifes, painting portraits, painting backgrounds
- General observations: comments on painting, attitudes that can hold you back.
For the demos, close-ups (from final painting) are shown to express points in case.

Here are my additional view:
- Mr. Leffel is one of the great names in contemporary American art (read my other reviews should you wonder what other great names may be). His open-minded and humble attitude towards painting and the learning process is very easy to connect, in my opinion, to individuals who love painting for the love of it. These individuals include those who go through painstaking efforts to ever improve their skills.

- This book is very enjoyable and profound. Advice and "secrets" (for those who love "shortcuts", or as I see them, "how an experienced, professional artist would do it - there are NO secrets, THEY ARE JUST GOOD SOLUTIONS THAT FIT YOUR STYLES AND SKILLS) like those in this book are valuable tricks of the trade.

My hat off to the artist (although I rarely wear one), and above all, let's get one thing straight: this book is a FIVE-STAR!

STRONGLY RECOMMENDED!

Excellent - Not for Beginners though
I am always skeptical of books which are meant to teach you to paint. I myself am an artist and I've learned the only way to paint is to do it and do it often. But his book is excellent because it helps you learn to "see" things you might otherwise miss. It is not for beginners but for those with some painting experience. This is one of the only books on painting I would recommend, besides perhaps, Gregg Kreutz's Problem Solving for Oil Painting, another excellent book, very similar to this one. Coincidently, Leffle [sic?], whose paintings are the ones featured in this book, was a teacher of Kreutz at the Art Students League of New York.

Not for beginners
This book focusses intially on the process of thinking that should be adopted while painting and during composition, which is quite helpful. The rest of the book are filled with tips on brushstroke, color, chiaroscuro, etc which are also occasionally educational. However, the tips are sometimes confusing and not very clearly articulated. The drawback of the book is that the quality of the prints are nor esp good and the tips, though sometimes helpful, are neither thorough nor are they put down in a very orderly manner. Some of the tips do not focus on the "why" of the same, but just that they should be adopted. If a person is looking for an in-depth technique book, this is not it. Intermediate painters, rather than beginners, would find this book to be of some help. But neither does this book contain any great inputs for artists who have already attained some degee of expertise.

Very Disappointed
I was very disappointed with this book. The quality of the paintings that are reproduced in this book are so poor. I have an entire library of painting books, and I have never seen one that is such poor quality. Part of the way that I learn from a painting book is by examining the artwork after reading the copy. As with many artists, I tend to learn much better visually then from straight text. If you learn that way as well, then this is not the book for you. I can't even begin to describe how poor these reproductions look. They are blurry with poor color and very distant. What a shame. This appears to be a great artist, and I can't understand how he could have allowed such a poor quality book such as this to represent his work. I was also disappointed by the way that the book frequently will refer to a painting that the artist critiqued in a class, but then never show the painting. I am such a visual learner, that this did not work for me. I think that this book is best for artists that can learn easily from text and are not bothered by the lack of quality visual aids. ... Read more

Book Description

Discover the tantalizing true stories behind your favorite colors.
For example: Cleopatra used saffron—a source of the color yellow—for seduction. Extracted from an Afghan mine, the blue “ultramarine” paint used by Michelangelo was so expensive he couldn’t afford to buy it himself. Since ancient times, carmine red—still found in lipsticks and Cherry Coke today—has come from the blood of insects. ... Read more

Reviews (8)

The Travel History of Artist Pigments
This is a joy of a book. Victoria Finley has taken a subject that is very important, but seldom discussed - namely how did we get the colors used by artists for painting - and wove it into a personal account of her travels to find their sources. In the process she introduces the reader to all manner of exotic and little-known, but delightful facts, peoples and places. From cochineal (I might note here that as an entomologist I was somewhat discouraged by her apparent inability to decide whether to call the source a beetle or a bug- it is a BUG! - the one clinker in an otherwise well done book), through madder as a source of orange, saffron for yellow, and on to lapis lazuli for blue, etc. The book is (as noted) also a personal travel narrative with lots of side trips. I found these to be fascinating and to add interest to a book that might have been a dry compendium of facts about chemicals.

"Color: A Natural History of the Palette" is a good book to curl up with at night or to read on an airplane. The reader will find enough local "color" and interesting tidbits to make the hours very pleasant indeed. This is, I think, especially true of artists who may not know much about the colors they use in their work.

Learned so much
I recommend this book to everyone. Ms. Finlay's research into the history of paint pigments offers so many interesting facts, from the source of the color known as 'mummy brown', to the toxicity of the original white pigment, to what gives some soda its red tint.
In this book, not only are we treated to information on hues in the paintbox, but learn some interesting facts about the people, culture, and geography of the areas of the world where these colors originated.

History through a kaleidoscope
This book takes you on rollicking adventures all over the globe in pursuit of the origins of natural pigments and dyes used throughout history. The writer is one gutsy lady - she's the kind who will go to Afghanistan, twice, while still under Taliban rule, to see some idle lapis lazuli mines just to complete her story. So the reader gets the benefits of her audacious journeys minus the formidable dangers, visa and permit applications that never get approved, and the flapping boot that she had to endure.

Overall, this book suited me just fine. I am interested in color, love travelogues, and appreciate it when I can get an intelligent account of something minus the pretension, i.e. with some of the earthy details of everyday living and the real, human emotional reactions that go with it. I enjoyed reading about Finlay's interactions with people of all different colors, cultures, social stations, languages, and cuisines. I was amazed at how she would simply up and fly to a tiny, exotic place mentioned in letters or other historical documents as the source of some pigment, armed with only persistence and the expectation of good luck - and then actually succeed in tracking down a story for her book. I wonder how many disappointments and wild goose chases she omitted from the text! Prepare for journeys on the rough through aboriginal Australia, Spanish saffron farms, Monghyr and Barasat, India, Mixteco-speaking Mexico, Tyre, Lebanon, and the Dunhuang caves in Western China. You will learn why Spain worked so hard to keep the origin of cochineal red secret, how Indian farmers rebelled against forced labor on indigo plantations, about yellow and orange ochre body paint in the Australian outback, deadly Scheele's green (is that what really killed Napoleon?), and mummy brown, which really did come from mummies.

I especially like how this book draws on history that I have a passing acquaintance with and suddenly makes it feel close and real, peopled with men and women like anybody you know.

I didn't much care for the 'I would like to imagine...' parts, since once something is in print it is so easily cited and re-cited and soon becomes part of the historical canon - I think Finlay could have practiced a bit more restraint and omitted these.

I read the original UK version of this book, entitled _Colour: Travels Through the Paintbox_, and wish that books from the UK could just stay in British English for the US market, maybe with footnotes added for clarity when needed - it would help increase mutual understanding, for one thing, and it's also nice to keep the original flavor of the writing.

Order, and get ready for a heady, dizzying journey into colors with a past.

More about her journeys than the actual colors
This is a book about writing a book about colors. The actual color information often gets lost in the oh-so-charming stories of how she researched the information. The author has a fine eye for the "telling detail." And often that's all you get - a string of telling details, without a backbone. And when she wanders off into "I like to imagine that..." I just want to throw the book across the room.

I think it's a fantastic idea for a book. And if it had more substance and less chatter, it would be a fantastic book.

Mesmerizing
An incredible weaving together of science, religion, art, government, exploration... Finlay travels to the remotest places of the globe to understand where our pigments and dyes originate. She brings the esoteric to light in a empathetic and engaging manner. Recommended to anyone working with color. ... Read more

Book Description

The knowledge of perspective is invaluable to the serious artist, and it is the foundation of all good paintings and drawings, no matter what medium. This book covers it all in practical terms--how we perceive depth and distance, how perspective works, and how to render it correctly on a two-dimensional paper or canvas.

o Master the basics of one-, two-, and three-point perspective

o Practice perspective drawings with step-by-step instructions

o Find out about methods of measuring and dividing areas proportionately

o Learn about perspective in foreshortening, cast shadows, and reflections

o Graduate to complex and irregular forms in perspective ... Read more

Reviews (3)

Perspective Drawing by Ernest Norling
I am delighted to be able to order a copy of this book for my grandson -- now I can KEEP my own copy without guilt. I purchased it many years ago and found it very helpful in its explanations of the subject.

Buy this book if you want to facts, plain and simple.
This book is very good for someone who is on a beginning or somewhat intermediate level of perspetive drawing. It offers interesting tips and fun to look at pictures. If you are looking for a simpllififed way to learn about perspective at a bargain price this is the book for you!

A good introduction to the topic
This slim, amusingly-illustrated book introduces perspective concepts in an entirely unintimidating way. Lightweight, but still useful. Though it is printed as part of the somewhat lowbrow Walter T. Foster How-to series, the author is a true authority - he also wrote the article on perspective for the Encyclopedia Brittanica ... Read more

Reviews (7)

A Life Changing Experience
I stumbled upon this book while I was getting a Master's in Art. Needing to work through the issues of ego and being a good enough artist, I found myself constantly turning to the pages of Life Paint and Passion.

Subsequently I have introduced the book to my students grades 11 and 12 and the reaction was phenomenal. One of my students commented that this book changed her life. It may sound overstated, but the fact is that she may be right.

For young artists as well as old, relying on the process can be daunting. Life Paint and Passion allows one to feel free enough to trust painting in the moment.

For all artists this is a remarkable work, for teachers it is invaluable. I am now ordering copies (at the request of my students) for the entire class.

Enter the gate of creativeness!
As long as you open the book, there are warm flowing of creativenes embracing you... The book is just like a key, allow you to open and enter the gate of the wonderfull world of creativeness, which belongs to everbody on the earth. The principles are just simple, but being neglected by most of people and thus our life have missed the most wonderful parts - the great joy and happiness from the deeper parts of ourselves, and from the contacts of universe - the simple, cheerful, pure world which is full of love. It is a wonderful book bring us towards the essence of living...

for non painters
this book and aviva gold's "painting from the source" are the same. they consider the final art work not such important than the creative process itself. the book is useful as a healing therapy involving art, but can not be considered as a source of imagery and worthy themes to paint. Against painter's crative blocks, the book "the blank canvas" could be better. If you are an artist looking for inspiration, look elsewhere.

A toe in the door to personal freedom
Michelle and Stewart have a point of view that has given me a wonderful foundation of personal strength in my painting. While I still suffer the usual nagging doubts, I have learned to put them in prospective, and not be dominated by the pesky and ever present demons. Reading this book, thinking and feeling about its message is an artistic blessing that can be surpassed only by "The Painting Experience", the workshops that are run by them. I highly recommend both.

Direct access to visual expression
Michelle Cassou and Stewart Cubley have done for painting what Betty Edwards(Drawing on the right side of the brain) has done for Realistic drawing. Given us direct access to enhanced, hot-wired visual expression and the creative process. These books heal the wounds inflicted or indeed self-inflicted in the struggle for creative expression in or out of art school. That treasured page where Michelle describes her encounter with the children in the Paris artclass. Her journey from despair to inner sanctuary and healing in a moment will stand with pure contour drawing (see Edwards) as two powerful transcendent becons ligthing the path to bliss. The bliss that I have experienced painting and drawing in the presence of Mother Nature. Such a simple act, offering such tremendous rewards, so rarely performed. There aren't enough stars in a Starry Night for these books. ... Read more

Book Description

Featuring a detachable fold-out color wheel and clear guidelines, this unique book solves the problem of muddy blends, taking the guesswork out of mixing clean watercolors every time.

While the color groups of a standard wheel are shown, this wheel goes much further, organizing pigments into five categories: transparent nonstaining colors; semi-transparents; opaques; semi-opaques; and whitened and blackened colors. Detailed text explains how color groups interact, some resulting in dull blends, others producing luminous, transparent effects. Readers are treated to abundant examples, step-by-step exercises, and analyses of work by several of today's outstanding watercolorists ... Read more

Reviews (5)

Transparency vs Staining Power
Ohhh, so that's why that color mix only went to a gray scale instead of black! Kosvanec gives great tips on the juicy wash; now my $300 worth of paints actually have color. Well worth the price. Be sure to read this book; don't just look at the pretty pictures. I'm still laughing about the quote, "If tube greens were people, I'd beat them up."

Mud or magic--Kosvanec steers you safely through
Watercolor is notoriously tricky. One moment, colors gleam from the paper like jewels. The next moment, a touch of the brush to a color yields nothing but muddy results. The mixing of the pigments is a true science mixed with art because the colors are actually chemicals that interact not only by reflecting light on their own, but also by interacting with other pigments, and reacting with the paper as well.

What to do when you want a particular color effect? Well, you can refer to this book. It has a color wheel organizing the pigments according to how they mix with each other to form secondary tints. Kosvanec gives examples of mixing greys, browns, intermediate tints that are guaranteed NOT to result in a blob of disaster on your painting. He gives quotes from famous artists who reaffirm the problem; one dab of just the wrong color and disaster results. He also includes some fabulous paintings, not only his portraits of native Americans, but those of other well-known artists.

I can't wait to try out Kosvanec's mixtures and suggestions on my next painting. I know I will be referring to this book over and over again.

Great book.
Helpful for anyone interested in transparent watercolor - worth the investment!

Sparkling Watercolor
This is a great book if you really want to understand why some color combinations work and others don't. Mr. Kosvanec has developed a color wheel that goes beyond the standard color wheel. The book's color wheel is a fold out and is perforated so it may be torn out and used easily. This new wheel deals with the actual pigments and their characteristics used in the majority of watercolor paints.

He divides the paint into nonstaining:transparant & semitransparant - staining:transparant - opaque & semiopaque and finally whitened & blackened colors. The book then shows in detail the results of mixing these different types of pigments to achieve luminous paintings or why some mixed together usually result in "mud".

There is a chapter that analyzes both some of his own and guest artists' paintings for their color mixing & pigment choices and why they worked. There is a chapter on water-to-pigment ratio and keeping colors clean. There is a chapter on achieving luminous grays and another discussing various types of paper from different manufacturers and how this too can change the results of a watercolor. He shows in one chapter the difference student-grade paints make compared to artist quality.

Throughout the book there is a wealth of detail and illustrations for the book to be a joy to read simply for generating ideas. This book is not really geared to be a beginning watercolor book. But if you are ready to go beyond the many beginning watercolor books available then this book will not disappoint.

No more mud when painting
James Kosvanec is a wizard. His understanding of transparent color is wondrous. Before this book I struggled with inconsistent results. My first painting after reading this book was clean and every color sparkled. If you want consistent results get this book. ... Read more

Reviews (4)

Cover art
The images on the cover of the book are more interesting that those inside. While the dictionary definitions of many symbols are interesting, there are few images to go along with them, and those that are included are mostly crudely hand drawn. Personally, I was looking for precise images to work off and found little help here. If you are looking for verbage to accompany a design, this is pretty good. If you are looking for a design with verbage, save your money for another.

A Good Book For Background Information...
If you're looking for a book filled with color pictures and image ideas for your next tattoo, then you may want to consider looking elsewhere. However, if you want to get more of a historical background on the various images and symbols used in tattoo art throughout the ages then you won't be disappointed. The "Tattoo Encyclopedia" is an interesting catalog of all the world images, symbols and designs used in tattoo art throughout the centuries. While most of the entries are just a few sentences long, it gives facinating trivia on a wide variety of images from Chinese Dragons to the Illuminati to the Claddagh to the Triskelion. It would have been nice to have pictures accompanying all the entries but I guess that would be asking a bit too much. Useful strictly as a reference book and not as a book on design, the "Tattoo Encyclopedia" is a good buy for those curious about the origins and meanings of tattoo symbols.

interesting
This book gives interesting history on just about any popular tattoo you see around these days. It is very interesting to know that certain popular tattoo art dates back to when it does, and holds a special meaning in certain cultures. You might want to pick up this book if you are interested in finding out some important details about a tattoo you get before you get it, but it may require extra research as the descriptions in the book are very brief.

A must have!
This is a fantastic resource for anybody who's thinking about getting a tattoo. In fact, I would go so far as to say that you shouldn't get a tattoo without reading this book. You can look up tattoo symbols by name, by type, or just thumb through the whole thing looking at all the fantastic illustrations. I bought the book when I decided the time had come to take the tattoo plunge, but realized I had no idea what design I would want or would look good. This book helped me choose a design I would never have thought of by myself. Even if you're not considering a tattoo yourself, the entries make for fascinating reading. Every tattoo shop should have one of these! I'm waiting for the sequel on jewelry! ... Read more

Book Description

A fresh, integrated approach to traditional and digital drawing

This highly visual guide brings together the best of traditional and digital drawing techniques to help architects and designers generate sketches and presentation drawings quickly and effectively. It shows how to harness today’s digital power–using wire-frame perspectives, photographic underlays, digital cameras, copiers, and other computer tools–to speed up the drawing process and improve design communication. What’s more, it offers ample coverage of the basics such as composition, shading, and perspective, as well as step-by-step instructions for drawing people, trees, and cars. Full-color throughout, Drawing Shortcuts includes more than 300 illustrations and is filled with information to help readers make strategic decisions about drawing format, style, and more. ... Read more

Reviews (5)

This book was just painful !!!!!!!
Very dissapointed in this book...especially since he is an advocate of Sketchup (which is why I anxiously wanted this book). I think some of his shortcuts are ok, but I found the book very, very repetitive (almost painfully) and the authors rendering style is just simply BRUTAL! I mean, it seems as if every one of his renderings include happy,smiley 1980's rocky mountain-type scale figures and all of the scale children hold teddy bears! His library of projects lack any pizzazz and there's just no sophistication to his rendering style. The most tedious read of the year for me.

Why the hype?
I was left with the feeling from the other reviews that this book would be great for architects, which it is not. It is more for an art student. If you want a better book on architecture drawing get "Color Drawing: Design Drawing Skills and Techniques for Architects, Landscape Architects, and Interior Designers, 2nd Edition" by Michael E. Doyle

Better than chocolate!
The only way Jim Leggitt could make this book better would be to package it with a quarter pound of really good chocolates. I've chosen to overlook that omission since this book is exactly what I wanted to use in my rendering classes at the Savannah College of Art & Design. This is a twenty-first century handbook for rendering in color.

Thirty-one students (two classes) proved to me this summer that Drawing Shortcuts works for learning how to make and render drawings in color quickly, effectively and relatively economically. The final projects reflect ten weeks of increasingly stronger skills and confidence in drawing/rendering abilities. Both graduate and undergraduate students with varied levels of computer expertise found value in the Drawing Shortcuts approach of "Let Technology Do Your Dirty Work".

Bottom line: a relaxed learning atmosphere in studio, fearless renderers willing to experiment with color media and striking final projects. The studio professors are commenting on the improvement in rendered drawings in their classes, too. Leggitt's methods are weaning students from a dependence on computer-generated images. The enhanced freehand drawing skills complement the computer drawing skills. Students now have many options for graphic expression which reflect their individual needs and desires.

I teach rendering classes for interior design students in the School of Building Arts at SCAD. We'll be using this book every quarter. Thanks, Jim Leggitt. But think about the chocolates with the second edition of the book!

This book rocks!
Packed with step-by-step instructions for creating drawings more efficiently and effectively. Every technique is illustrated, every tip explained and every chapter summed up in a series of "Quick Tips". I'll be using this book frequently, especially when deadlines are looming.

Every Architect and Student Must Have This Book !
This book is an instant classic, that every architect and architectural student must get. Many of us grew up using the techniques taught by Michael Doyle in his book "Color Drawing". Jim Leggitt's techniques are even more geared toward the pace of productivity we all face. Using all the advantages of current technologies, including cameras, copiers, and printers he shows you exactly how to improve or gain the skills it takes to produce fast and effective visualizations. Some of the techniques are so insightful and helpful, as to immediately payback the cost of the book. Great color photographs help guide you step by step. This book is packed full. No one interested in drawing technigues should miss this book. ... Read more

Reviews (1)

A very cool book
I have many books on paint effects and this is one of the best I have seen. The photographs and instructions are very clear and some of the finishes I have never seen before. If you are going to buy one book on faux finishes, this should be it. ... Read more

Reviews (17)

A priceless resource on the fundamentals of drawing animals.
This book is a clearly written and easy to follow step-by-step guide to drawing animals by applying a comparative anatomy system using geometric shapes to help you understand how animals are put together. This fully illustrated reference contains over a thousand diagrams and illustrations and is structured into twenty carefully organized sections in which the author covers the basic and not-so-basic concepts, principles and techniques you need in order to produce realistic, three dimensional and anatomically accurate renderings of animals.
His topics on specific animals include: the cat family, the bear family, the horse family, the elephant, the dog family, the camel, the giraffe, the hippopotamus, the rhinoceros, the deer family, the buffalo, the cow, the pig, the monkey and the ape family, the kangaroo and the rabbit. As an added bonus he includes other topics: Odd and Unusual Animals, Miscellaneous Small Animals and Animal Interpretation and Abstraction, as well as an Introduction to Animal Drawing in which he focuses on animal simplification, structure, construction, poses, gaits and movements, comparisons and techniques on how to make animals look more natural. As a warning, note that this book only explains how to draw mammals and doesn't include mollusks, amphibians, insects, reptiles or birds.
By studying this book as if it were a textbook on a course, doing all the exercises and reviewing each section afterwards, I have steadily improved my drawings of animals in such a short time that I am now constantly rewarded with praise from my friends and family.
This book will give to the beginner the fundamentals of drawing animals, and will give to the seasoned artist and professional new principles and techniques to try. For both, this book is a must buy.

Jack does it right
Jack's book here is one of the best and most useful. Animals can be tough, admility, and Jack clears up some commen problems faced when drawing these beauitful creatures. Topics range from drawing horses, dogs, big and small cats, elephants, and bears. There are literally hundreds of clear and precise images in this book! Give this book a try, you can't go wrong. The pricetag and content are unbeatable!

The Wham Of Hamm
Jack Hamm is a solid, versatile, and fundamentally sound artist with a rare knack for organizing and presenting information in a simple and clear way. This book, one of his four classic how-tos of drawing, has already been a gift to artists everywhere for generations, and is a priceless resource of knowledge and information. Along with Hultgren's similar book, this is the classic workbook on the subject.

Hamm stresses a solid approach to the construction and anatomy of animals, but also helps the reader grasp the conceptual aspects of how animals are put together and what similarities and differences are important to comprehend. The book is very thorough in grouping animals into basic families, such as big cats, monkeys, elephants, etc., and the organization of the book is a major plus. Hamm is sharply focused on construction, solidity, and three-dimensional views of animals and how they move. A college art course could be taught from this book.

Hamm's greatest admirers have always been his peers- fellow artists will tell you that this is the right aproach to drawing animals, and this book will remain in print and in use forever.

Great Reference for Drawing Animals!
This book is a great reference book for drawing animals and is relatively thorough in showing the different types and their common similarities across, and within, species. I thought it was very good in explaining animal anatomy and smaller details such as how to correctly stripe a tiger. However, you will definitely need to see the animals in person or have your own photo resources because there are no accompanying photos.

Canned Hamm
It's a good book about learning the natural poses of animals. If you like to swipe material to use for sketches this is the book for it. It teaches you how animals look in the wild. ... Read more