Reviews (5)

An Absolutely Inspiring Book
A truly beautiful book, with rich photographs and nice summaries. Inspiring to the last page - and particularly useful for igniting one's creative juices. A small note to the Amazon reviewer: Andy Goldsworthy was born in England in 1956. He lives in Penpont, Scotland, but is English - not Scottish.

Astonishing natural art
In "Stone," as in his other books, Andy Goldsworthy takes the natural play of a child--fooling around with sticks, leaves, water, stones, mud, and more--and elevates it to something above and beyond its natural status. He uses his adult design skills to create great manmade beauty from existing natural beauty. He never falls over the line into obvious, coy, or precious art--he simply lets nature be what it is with a tiny little bit of rearranging on his part.

The results are never short of astonishing. Witness the sharp-edged rocks against which Goldsworthy has "glued" (with plain water) the leaves of brilliantly red Japanese maples, thereby making the edges look almost bloodied (p. 76). Witness the delicate, calligraphic tracery Goldsworthy stitched up by pinning together rush after rush after rush with thorns and then hanging these on a gallery wall so that it appears that either Calder or Matisse have wandered in and scribbled elegantly on the walls (p. 83). Witness the balanced oval boulders Goldsworthy lays in a curvaceous line from beach to the sea, and see how they roll and disappear from view as the tide comes crashing in (p. 101). These are but three of the many visual astonishments Goldsworthy shares in this book. The book is a never-ending source of delight and admiration for the feverish workings of one of 20th-century art's most creative minds.

breathtaking simple beauty of nature & imagination
Andy Goldsworthy's art is so inspiring. In this book, the art pieces focus on, as the title says, stone. It's unbelievable. He just unveils so much magic in the world with his brilliant thinking. "Otherworldly" is surely the word to describe how much of the art in this book feels. I keep thinking it couldn't possibly be this planet, but I suppose it's not even a planet anymore; it's the mind of the artist. Time also plays a significant role in this art. He builds pieces with the intent to photograph it when the day moves & the light hits it a certain way. Or he builds things that the incoming tide tears apart. In a piece I love in this book, he gathered ice from a lake & put it on the shade side of a rock. The ice gradually melted & was shed. I wish I could have listened & watched. Something that adds so wonderfully to this book's beauty made from such simple natural materials is that he also accompanies photographs with very Haiku-like, very poetic, short descriptions of the art pieces & how they existed in time & in the act of his making them.

ingenious natural art
Of this book, my mother said, "I can't understand artwork that's not meant to last." I replied, "That's the whole point." The beauty of Goldworthy's artistry is in its impermanence -- the sand sculptures will be washed out with the tide, the leaves will be carried away in a river current, the cairns will fall...and part of the artist's charm is that he never harms the landscape. In time, his art will vanish and so will his footprints... Nature leaves us constant gifts, and it's up to us to see them, digest their beauty -- and accept wholeheartedly that it may not be here in a few minutes, days, or weeks. A wonderful book that provides insight into the nature of art -- time -- and the physical world.

Goldworthy's art is an unfailing source of wonder, delight!
This book is a revelation! Goldsworthy's conceptual art never fails to stir a sense of wonder and delight. As I paged through Stone, which is filled with beautiful photographs of Goldworthy's work, not only installed in museums, but in the natural settings which harbor some of his best (and most ephemeral) works, I was constantly calling friends over to see. The freshness and astonishing beauty of Goldworthy's work is evident on every page. All who love the beauties of art and nature should see this book. ... 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)

Excellent! Excellent! Excellent!
As an instructor of Interior Design, I cannot praise this book enough....My students as well as fellow instructors find it an invaluable tool, not only in teaching beginning level courses, but also as a great reference manual after the student graduates....Several of us still have well-worn copies in our offices...Buy this book, you won't be dissapointed!

A Very Historical Overview of Interiors
I found this book to be loaded with information. The author did an especially good job of incorporating the political, economic, and social context into the discussion of period styles. My main complaint about this book, however, was the complex writing style. It seemed to jump around a lot in attempt to include a basic overview of everything. This became VERY confusing at times. I feel it would be most helpful to someone who already has a solid background in the history of interior/furniture design periods. There was a lot of information about specific arts and crafts of each period (ie. metalwork, ceramics, woodwork). ... Read more

Book Description

Venetian artist Carlo Crivelli (c. 1430–1495) is a painter whose individuality of style and mastery of powerful line have fascinated many, but whose life and art have remained enigmatic. This absorbing book, drawing on extensive research in Venice and the Marches, the region of central Italy that Crivelli dominated artistically from 1468 until his death, examines his paintings in depth and traces the fundamental influences of the Vivarini, of Squarcione and Mantegna, and later of Flemish art.

Ronald Lightbown, eminent historian of Italian Renaissance art, interweaves stylistic and iconographical analysis of Crivelli’s work with historical and cultural background. The author uncovers the reasons that led patrons to choose the saints that figured in Crivelli’s altarpieces, discusses the initiations of new cults and the devising of an iconography for them, and demonstrates Crivelli’s independence from clerical dictation in the symbolism of his still-life pictures.

Ronald Lightbown was Keeper of the Library and, later, Keeper of the Department of Metalwork at the Victoria and Albert Museum, London, until 1989.He is the author of the standard works on Botticelli, Mantegna and Piero della Francesca.

... Read more

Book Description

J.M.W. Turner, James McNeill Whistler, and Claude Monet created some of the most poetic landscapes of the 19th century. This beautiful book, which accompanies a major traveling exhibition, follows the three artists from the Thames to the Seine to the Venetian lagoon and is the first to explore the relationships among their works.

Friends, collaborators, and rivals, Monet and Whistler adopted and built on themes first developed by Turner, including the creation of a series of views of the same landscape under different lighting and climatic conditions. Their attempts to imitate in oil the effects that Turner had achieved in watercolor and pastel transformed their style and would prove to be highly influential. In addition, they were inspired by Turner to seek beauty in the modern urban environment. In doing so, they created visionary works that contributed to Impressionism and Symbolism, and remain among the most beloved landscapes of the 19th century. ... 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

Book Description

The market-leading text for the art history survey course, GARDNER'S ART THROUGH THE AGES has served as a comprehensive and thoughtfully crafted guide to the defining phases of the world's artistic tradition. With this book in hand, thousands of students have watched the story of art unfold in its full historical, social, religious, economic, and cultural context, and thus deepened their understanding of art, architecture, painting, and sculpture. By virtue of its comprehensive coverage, strong emphasis on context, and rich, accurate art reproductions, GARDNER'S ART THROUGH THE AGES has earned and sustained a reputation of excellence and authority. So much so, that in 2001, the Text and Academic Authors Association awarded both the McGuffey and the "Texty" Book Prizes to the Eleventh Edition of the text. It is the first art history book to win either award and the only title ever to win both prizes in one year. The Twelfth Edition maintains and exceeds the richness of the Gardner legacy with updated research and scholarship and an even more beautiful art program featuring more color images than any other art history book available.The Twelfth Edition features such enhancements as more color photographs, a stunning new design, and the most current research and scholarship. What's more, the expanded ancillary package that accompanies GARDNER'S ART THROUGH THE AGES, features a wealth of tools to enhance your students' experience in the course. With each new copy of the book, students receive a copy of the ArtStudy 2.0 CD-ROM--an interactive electronic study aid that fully integrates with the Twelfth Edition and includes hundreds of high-quality digital images, plus maps, quizzes, and more. ... 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

Book Description

In 1508, despite strong advice to the contrary, the powerful Pope Julius II commissioned Michelangelo to paint the ceiling of the newly restored Sistine Chapel. With little experience as a painter (though famed for his sculpture David), Michelangelo was reluctant to begin the massive project.

Michelangelo and the Pope's Ceiling recounts the four extraordinary years Michelangelo spent laboring over the vast ceiling while the power politics and personal rivalries that abounded in Rome swirled around him. Battling against ill health, financial difficulties, domestic problems, the pope's impatience, and a bitter rivalry with the brilliant young painter Raphael, Michelangelo created scenes so beautiful that they are considered one of the greatest masterpieces of all time. A panorama of illustrious figures converged around the creation of this great work-from the great Dutch scholar Desiderius Erasmus to the young Martin Luther-and Ross King skillfully weaves them through his compelling historical narrative, offering uncommon insight into the intersection of art and history. ... Read more

Reviews (43)

Fine Art and a Fine Tale
Rivalry! Intrigue! War! Oh yes . . . and some timeless art too.

Ross King's "Michelangelo & the Pope's Ceiling" is an ambitious work which combines artistic study, the mechanics of fresco painting and the oft-sordid history of early 16th century Europe. The painting of the Sistene Chapel ceiling provides the framework for this story but there is more to be told than what meets the eye. The author successfully spins a narrative which deftly interweaves the creation of the fresco with the events of the time.

Each section of the Sistene Chapel is reviewed in the order in which it was created. The story progresses along with the work on the ceiling. We can see Michelangelo's work gain confidence as he moves through the vault and we see how the interplay of politics and the opinions of the artist interact to yield the final product. The players in this story gather to form a veritable who's who of the Renaissance. Leonardo Da Vinci, Raphael along with the Borgia and Medici clans play a role. There are even guest appearances by Henry VIII, Machiavelli and Martin Luther.

The book also offers a detailed, yet presentable to the layman, look at the process of fresco painting. No, Michelangelo did not lie on his back to paint. Nevertheless the work was complex and these complexities are examined in full. No small detail, from the chemistry of each color to the mechanics of application is overlooked. Yet even with this fine level of detail the book does not lose focus or get bogged down by the minutia. Indeed, these details are woven back into the story in such a manner as to provide the reader with a richer and fuller sense of the accomplishment.

An outstanding historical work in its own right, this book is also a must for anyone with an interest Michelangolo's magnum opus.

A Sixteenth Century Soap Opera
Michelangelo & the Pope's Ceiling by Ross King tells the story of four years, 1508-1512, in the life of three larger than life personalities: Michelangelo, Pope Julius II, and Raphael. Mr. King's latest nonfiction historical "thriller" is, however, more than a story of the four years that Michelangelo spent laboring over the twelve thousand square feet of the vast ceiling of the Sistine Chapel. In Mr. King's able hands it becomes an early 16th century soap opera, starring Michelangelo, Pope Julius II, and Raphael, and featuring all the intrigue, passion, violence, and pettiness of a Sopranos' episode. What's so astonishing is that all that is told actually happened -- it's history.
Ross King's gift is his ability to bring us, his readers, back through the maze of time and lead us to an understanding of all that coalesced -- politically, socially, and artistically -- to create great art, great history and, for us, great reading.
According to King:
"Pope Julius II was not a man one wished to offend.... A sturdily built sixty-three-year old with snow-white hair and a ruddy face, he was known as il papa terrible , the 'dreadful' or 'terrifying' pope.... His violent rages, in which he punched underlings or thrashed them with his stick were legendary.... In body and soul he had the nature of a giant. Everything about him is on a magnified scale, both his undertakings and passions."
Michelangelo and Raphael as portrayed by King:
"Almost as renowned for his moody temper and aloof, suspicious nature as he was for his amazing skill with the hammer and chisel, Michelangelo could be arrogant, insolent, and impulsive....If Michelangelo was slovenly and, at times, melancholy and antisocial, Raphael was, by contrast, the perfect gentleman. Contemporaries fell over themselves to praise his polite manner, his gentle disposition, his generosity toward others....Raphael's appealing personality were accompanied by his good looks: a long neck, oval face, large eyes, and olive skin -- handsome, delicate features that further made him the antithesis of the flat-nosed, jug-eared Michelangelo."
The stories of these three men during this extraordinary four year period and the art they produced is the story embodied in Michelangelo & the Pope's Ceiling. The confrontations between Julius II and Michelangelo are legendary. "The major problem seems to have been that Michelangelo and Julius were remarkably alike in temperament. Michelangelo was one of the few people in Rome who refused to cringe before Julius."
For almost the entire four years Michelangelo was shadowed by the brilliant young painter Raphael, who was working in fresco on the neighboring Papal apartments. This rivalry the Pope seemed to enjoy and encourage. To help us better understand the friction between these two great artists King introduces us to Edmund Burke's treatise on the sublime and the beautiful:
"For Burke, those things we call beautiful have the properties of smoothness, delicacy, softness of color, and elegance of movement. The sublime, on the other hand, comprehends the vast, the obscure, the powerful, the rugged, the difficult -- attributes which produce in the spectator a kind of astonished wonder and even terror. For the people of Rome in 1511, Raphael was beautiful but Michelangelo sublime."
For me, reading a book like Michelangelo & the Pope's Ceiling is the way to read history. Mr. King transported me back to those four years during which Michelangelo and Raphael created art both beautiful and sublime. I was there with and among the players, engrossed in the anecdotes King skillfully wove into his narrative. This is history -- up close and personal -- and yet far, far away from the pain, anguish, anger and turmoil that pervaded so much of the lives of Michelangelo, Pope Julius II, and Raphael. As I read, I learned, I felt, and I understood. Isn't that what reading is all about? I certainly could not ask for anything more.

Good, overall - more on the topic would have been better.
I'm not a fan of historical books but the topic of arts intertwigled with the Papacy was too good for me to resist. The book is a very well written, real non-fiction page-turner, which does not have the typical hundred names and hundreds places and dates of the typical historical book. It has plenty of interesting facts about the time of Michelangelo's fresco paintings, and places the topic well in the time and place context of such an age. However, there is a relatively small proportion of the book that is specifically focused on the topic of the title. Rather, the author sidetracks time and time again on events that occur at the time when the Sistine Chapel ceiling was being painted. Although not related, the topics described are quite interesting and the overall narration flows quite well.

This is definetly not a biography on Michelangelo, neither is it a compendium on fresco painting. It is a very good historical book, which could have been complemented with plenty of more insights into the subject matter rather than delving on tangents.

Tremendously focused and comprehensive history
Appreciators of art, particularly the classics, will have a field day with Ross King's Michelangelo & The Pope's Ceiling, not just because it gives a blow-by-blow account of how one man, figuratively if not literally, could achieve a creation of such power, grace, and style that it still remains today one of the most famous works of art in the world. Add to that a complex history of the papacy and European monarchies and you've got a wonderful narrative, supplemented by accurate technical information on exactly how the whole thing was brought about.

If you've seen the film The Agony and the Ecstacy, you've only gotten a fraction of the story behind the Sistine Chapel ceiling and indeed, the perceptions of one man painting while on his back that have lingered are in large part due to tales like it. However, as King is quick to point out, while Michelangelo's genius was the driving force there were other artists involved who get the short shrift of history.

The book also gives generous space to Raphael, the rival and artist working elsewhere in the Vatican at the time and, naturally, to the amazing character of Julius II, a pope who clearly did not conform to tradition. Elements of both the Sistine ceiling and Raphael's work are given thoughtful attention and analysis.

The detailed descriptions of the methods and techniques employed by the artists were interesting, but in some instances went on for too long and took something away from the narrative flow that had been established. Even so, it was very educational and entertaining.

The best way to meet Michelangelo
King exhibits a masters touch in his descriptive writing, panache and almost daily record of the artists life. The reader is taken into the work area of the master and provided a firsthand knowledge of how the conditions of this era played upon the capability of producing artistic results. The descriptions of the personalities of King's characters reflect the detailed research this author has done with much discipline to properly set the atmosphere for the reader. The description of the diferences between Michelangel's and Raphael's use of assistants and teaching is a typical, interesting side story. " He ( Michaelangelo) was interested in instilling his art in only "noble people"....and not in plebeins"
King also is not intimidated by other authors writing on this era. In fact, it is refreshing to see his references to Condivi,George Bull, and Lehmann in much of his storytelling.
Truly a "keeper" for the grndkids to read as an into to Michaelangelo Buonarroti ... 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 (10)

Those stars are so cute!
This is the type of book you get if you are new to this AB (altered book) craze. Bev Brazelton, basically hits the hammer on the head here with her 18 ideas for altering books book, but if you are looking for something with more detail, I hear that Beth Cote's ( Another lady!) Altered Books 101, 102, and 103, are all exceptional choices, which even go beyond just books, and basically go into everyday things that you can open, like for example a cd case. But none the less, this book is worth your money. Bev's book is easy to follow, with simple little tricks like matchbox drawers, turning a book into (literally) a window to another world, Bev inspires us to turn a AB (altered book, once again) into a journal that tells a story about us. Beth Cote's book helps you take little thems and give them a vintage, colorful twist. So if you want to go AB crazy, I suggest giving both of them a try.

The Best I've Seen
I'm not understanding some of the (insubstantial) negative comments here. This book's about artistic technique, not a Theory of Everything or required reading. I am an experienced artist specializing in mixed media journals, making it all up on my own rather than getting it from books (partly because I didn't know good guides by real artists existed in the "Crafts" section of the bookstore). This book is especially interesting to me because it works well on a couple of different levels. The "how" part has easy-to-understand instructions and well done photography that make it quite suitable for beginners, but doesn't alienate artists who just never thought of that particular technique. As another reviewer pointed out, the tips are useful, rather than mere pull-quotes or boxed filler to balance the page (which I'm so used to from "Dummies" type books that I almost skipped them entirely. Don't.). The truly impressive examples of the author's altered books that she has chosen to present here showcase her personal artistic style, which, by the way, you don't necessarily have to like--and definitely don't have to copy--to benefit from the techniques illustrated throughout the book. The assumptions she makes that the reader is going to know something about composition and color, and her understanding that each reader will have a "why" that is different and personal, are assumptions more geared toward confident artists. I also appreciated the well-written, laid back presentation. It added a spark often absent in instructional material (or bestselling fiction, for that matter). As a writer, it was very refreshing to read a book devoted to the visual. It has a lighthearted and playful feel that celebrates experimentation, rather than drilling the reader on all sorts of practice exercises in the effort to summon painful memories, or analyze the thing to death in pursuit of the "why." She is not in the business of telling people what their motives, meanings or inspiration should be in creating their work. The author presents herself as an artist, rather than a pretend psychologist. Books on the writing side of this art form are just dreadfully serious. I highly recommend this book to collage beginners; to experienced artists who have not worked specifically in the realm of altered books; and to writers who want to punch up their journals. I look forward to Brazelton's next book.

This is like Altered Books for Dummies...
...and I like it! This book allows someone new to altering books to view techniques up close in beautiful photographs and get a clear understanding of where to start.

I've really enjoyed looking at some of the advanced completed projects that are shown in magazines, but I've been a little intimidated because I didn't know where to start. Reading this book alleviated those fears and gave me a good solid foundation from which to grow as an altered book artist.

Worth owning
Bev Brazelton's book walks the reader through some essential altered book techniques and she does it well. If you are interested in altering, this is a must have for your bookshelf. It is clear, well organized and shows excellent examples.

Practical Creative Freedom
As a novice to altered book making I was pleased that I had waited before I bought a book about the craft. This book was elementary in it's step-by-step instruction, yet inspiring as you follow the authors creation. The process was easy to follow, and I loved seeing my paper scraps and word musings turn into a visual creation of me. This book was well worth my $$. ... Read more

Book Description

Craig Fraser's Cheap Tricks & Special F/X is the most comprehensive and up-to-date how-to handbook on automotive airbrushing and Kustom graphics you'll ever want to own! With a range of topics from basic layout and simple fades to the most advanced airbrush effects used by the industry experts today. ... Read more

Reviews (4)

A very good book!
I've never airbrushed before I got this book, but I feel like I have a head-start after reading it. It explains things very well, like the may types of automotive paint, and demonstrates the use of stencils and freehand sheilds. He even has a computer that he can make designs with! I always thought everything was done freehand. He also explains and demonstrates how to highlight and very effective use of shading and shadows. He even shows how to do a carbon fiber effect. Very cool! I highly recommend this book. Thanks!

Imagination peaker
This book is one of the best. It motivates a person to paint-paint-paint. This book has great tips, illustrations, directions and good common-sense.

Cheap Tricks for Cheap!!!
This is one of the best books of it's kind! I absolutely love this book! I've been a fan of Craig Fraser and Jon Kosmoski for years, and they(mostly Craig) have done a wonderful job compiling information and demonstrating various techniques in the field of automotive airbrushing. Though focused mainly on the automotive genre, these techniques can be used in any field of airbrushing!! Craig is one of a kind, and he has been a tremendous mentor to many, and a terrific teacher to "airheads" everywhere. For the price of the book, you will get priceless information! It's well written, informative, and loaded with the coolest tips and tricks!!!

Craig Fraser's Automotive Cheap Tricks & Special F/X
Excellent book! Well worth the money (all the pages are nice glossy paper). This book is extremely useful and comprehensive. The photos and layout are done well, with clear numbering and descriptions. An excellent book for the novice or pro. Another useful addition is the use of a materials list for complex and invovled projects. There are to many projects to list, but some of them include, a full-sized truck graphic layout, torn metal effects, chrome effects, and nebula demostrations. This book is one of the better automotive painting books around. ... Read more

Book Description

For designers working in every medium, layout is arguable the most basic and most important element. Effective layout is essential to communication and enables the end user to not only be drawn in with an innovative design but to digest information easily.

Making and Breaking the Grid is a comprehensive layout design workshop that assumes that to effectively break the rules of grid-based design one must first understand those rules and see them applied to real-world projects.

Text reveals top designers' work in process and rationale. Projects with similar characteristics are linked through a simple notational system that encourages exploration and comparison of structure ideas. Also included are historical overviews that summarize the development of layout concepts, both grid-based and non-grid based, in modern design practice. ... Read more

Reviews (6)

A great book on handling type and layout
This is a developed look at handling type and page (surface) layout in a simple-yet-abstract way. Using grids and ideas presented in this book (with some practise), the learning designer can begin to utilise elements once thought as simple and static in ways which add dynamism to your layouts.

For a designer such as myself, a fan of Swiss and Bauhaus, simplicity, directness, Making and Breaking the Grid is a book full of idea and potential. Although not radical per se, it is a concise look at one of the most powerful aspects of communication design out there, in my opinion. Definitely worth a look.

A good supplement
As the title implies, Samara's work teaches how to both successfully apply and trash the grid system in design. In this sense, the book is quite unique, as most texts of the same topic do not put focus on the latter approach.

I found the pictorial examples of both applications to be more useful than the text itself, and keep the book around for graphic inspiration rather than an informative read.

If you are a designer, this is a good book to take a serious look at, but I would only purchase it after reading Josef Muller-Brockmann's outstanding Grid Systems in Graphic Design.

Extremely helpful
My friend designer bought this book couple of months ago. Suddenly I noticed that I can't help myself looking into that book again and again. So, despite having it not far away, I decided to buy another instance for myself.
The book covers the grid theory and usage almost perfectly. If you're engaged in brochure or booklet design, you'll find this book full of ideas and extremely helpful, no matter whether you just start with it or you have been practicing brochure design for years.

finally a book show me how to crate and use a grid
i have seen so many books talk about grid,
most of them are too dry, either only have the imagry or just the grid itself,
this is the book would totally show me how is the grid being create, use and how the break it when it comes to layout.
check it out!

Great for inspiring designers
This book is great for young inspiring designers to use as a learning tool and reference book. It shows how to make a grid system work and how to modify different styles of grids to a designers particular needs. The book is less in content and more focusing on showing images of the grid at work. This is a must have book and the price is well worth it. ... 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. ...