Book Description

A complete revision of what is considered the classic introduction to color for all graphic designers and artists. This book provides a solid foundation for the development of personal color sense, and a practical examination of the myriad effects that can be achieved with color. ... Read more

Reviews (5)

principals of color design
good condition and very fast service

Good for newbies
I haven't got any formal art background and have found this book to be extremely useful. However, it may or may not get much higher - I can't tell since I'm a newbie, but I keep in mind my experience with some other books on other subjects: while I was a beginner I found them great; now I think they're just fine for beginners.

OUTdated
This is not the best book out there. The first section of the 5 section book goes into form and shape theory, which although useful in design, is just filler to give the book more pages. The color theory sections are fairly basic. I think there are better books out there, especially for the price.

the truth about this book
It explains very well the color principle and some design techniques. It is a good book for beginning graphic artists with no formal art background (those who never studied art/GD in school). There are 5 parts to this book. Part one establishes desing principles, part 2 examines common color principles related to the use of color pigments, part 3 helps the beginner develop systematic color thinking with the aid of excercises, part 4 introduces priciples and techniques for generating colors on the computer and part 5 presents color sets and guides for attaining color harmony.

Note, however, that this book is a bit outdated. It showed when trying to explain certain design techniques using old version Photoshop tool bar.

Fabulous!
I actually perchased this book two years ago in college for an art class and have used it in almost every assignment and project I have completed there after. ... Read more

Book Description

Creative souls want and need a special place for recording and decoding their interior world a place to download all their creative ideas, a place to remember the events of the day, or a place to doodle, to draw, and to dream. This book is an engaging and intimate glimpse into the personal pages of a wide variety of select artists and journal keepers whose works not only provide visual delight and inspiration but evidence the intensity and devotion that such personal journals invite. ... Read more

Reviews (7)

A Must Have !
This is a great book, very inspiring!! I have several books on the subject and this is fast becoming my favorite. It's so full of color and fabulous art work from several favorite artists of this genre. If you love color and whimsy in your artwork, you will be very pleased and inspired by this book. A must have for your collection.

Yes, you do need this book
I don't care how many books you have on altered books, artists' journals, etc., this is a book you'll come back to over and over again. It presents material in an orderly fashion, though never in a predictable one. Not only is each technique or idea explained, but there are examples of each. The only people who might not benefit from this book are the ones who need a literal cookbook of instructions: "Take item A, place three inches from top of item B, on the left." Highly recommended both as inspiration and an easy-to-use reference work.

Art Play
I have been familiar with Lynne's art for years and have never tired of it. She has an ability to keep it fresh by constantly pushing herself to try new things. This book is a fine examole of that. I was so pleased that this was NOT "how to: book but more of an inspiring and motivating book. The book sings with color and what a treat after a sepia over dose in some of the paper craft magazines of late. I have had the wonderful experience of taking a class from Lynne and this book was able to accomplish the same feeling of renewal and excitement that her class did for me. I tell my students in my journaling and collage classes that what I like about teaching is that I get to see the world through many sets of eyes and this book provides this experience with the fine artists' work included! You need this book!!!!

Who says money can't buy happiness?
Money can definitely buy happiness. I used some to buy this book, and am I ever happy that I did. I've been carrying it around with me for a week and I haven't finished reading it all yet. There's so much to see, and such interesting artists to meet within its covers. It would have been great if Lynne Perella had just shown us her own work, but nooooo, instead she has generously incorporated work of many other artists, which gives this book a lot of richness and depth. It's very inspiring to see how simple art materials like acrylic paint and colored pencils can be used in such a fresh way--techniques anyone can learn are presented in an unpretentious, non-intimidating format. Would-be artists are going to be motivated to get out their stuff and start splashing paint around!

If you are at all interested in loosening up your own artwork, or just wondering what's up with all the current buzz about journals and book arts, I highly recommend you grab this book as soon as possible, because a couple of similar titles have sold out almost as soon as their first printing was released, and this one might too--it's that good! Buy this book--you won't be sorry!!

Exploring and Creating
Here is a book that is both literate and illustrative. Lynne Perrella masterfully writes and provides visual images of how artists journals become. The writer puts you at ease as she explores her own journal development and the work of others. She lends credence and creates excitement about a carved stamp by featured artist Anne Bagby and the advantages of using a repeat image to underscore its potential. Ms. Perrella is an extremely respected visual artist. I find her equally able as a writer. My single disappointment was not having enough, something I rarely voice in books of this genre. I'd like to see more! ... Read more

Book Description

Millions of people have learned to draw using the methods of Dr. Betty Edwards. Now, in an essential companion to her bestselling classic, Edwards offers readers the key to mastering this art form: guided practice in their newfound creative abilities.

Here are forty new exercises that cover each of the five basic skills of drawing. Each practice session includes a brief explanation and instructional drawings, suggestions for materials, sample drawings, and blank pages for the reader's own drawings. Also provided in this spiral-bound workbook is a pullout viewfinder, a crucial tool for effective practice.While The New Drawing on the Right Side of the Brain focused primarily on portrait drawing with pencil, this workbook gives readers experience in various subject matter-still life, landscape, imaginative drawing-using alternative mediums such as pen and ink, charcoal, and cont&eacute crayon.

For all those who are taking a drawing class, who have already received instruction through a book or course, or who prefer to learn by doing, this volume of carefully structured "homework" offers the perfect opportunity to reinforce and improve their skills and expand their repertoire. ... Read more

Reviews (7)

A Portable Classroom
I started out as an insecure, fumble-fingered incompetent -- couldn't even doodle. With the techniques Edwards puts forth, I've been able to learn a tremendous amount about drawing, and about looking at the world (a side-effect not to be understimated). This workbook provides a classroom experience for those who can't find or afford a classroom. For those of us with some experience, it's a great refresher course. I recommend it very highly. In fact, I'm ordering my second copy, for an insecure, fumble-fingered friend.

80% "wordy" text, but only 20% illustration
"DRAWING ON THE RIGHT SIDE OF THE BRAIN"?

Same author also wrote: "Drawing on the Artist Within".

In one instance, it is drawing on one side of the brain, and in the other, it's drawing on the "artist within". Next year, perhaps "drawing on" the cash in your wallet. Betty Edwards is an art fad theorist.

What EDWARDS actually offers is a psychological crutch, for all the drawing instruction is founded upon a singular theory. Art has never been founded upon a singular theory. Often as not, ART is the anti-thesis, the opposite, of all theorizing. EDWARDS makes the practice of ART a theory-dependent activity. I cannot recall it was ever considered beneficial that we all be bound by a confusing theory. It's a very undemocratic idea; but at the same time, credit Edwards with coy marketing.

What does one actually draw WITH? Is it one half of the human brain? ...OR... Is it the Heart? Because if it is the latter, EDWARDS' art theorizing collapses. To put this in simplest terms, I venture to state that strong artists draw from their HEART, and that is what makes Edwards' rambling intellectualizing so corny.

ART is the opposite of any such instruction that reduces itself to any kind of theoretical hand-holding. And for these reasons, EDWARDS books are a conflicting hodge-podge of New Age metaphysics, pseudo-scientific jargon, infectious ideas, the nature of which, great ART has been combating from time immemorial, for all such ideas place a crippling limitation upon free spirits. Art is about freedom, rather than the binding or crippling attachment to intellectualizations, human fear, doubt, insecurity or angst. If you are not burdened with such negativisms, there is no reason to buy Edwards' theory; no need to draw-on-the-cash-in-your-wallet.

Excellent tool for artists and non-artists
I have to disagree with the few negative reviews that have recently appeared for the Edwards workbook.

This is a fine gift for anyone interested in learning to draw. While it doesn't go into depth as "Drawing on the Right Side of the Brain" does, it does provide enough information to get started - the methods and approach of Dr. Edwards are groundbreaking and absolutely essential information if you want to use your WHOLE brain. (And yes, Nicolaides' book is important, too, but Edwards work is very complementary to it, and carries his work many steps further...)

A fine workbook - worth the price!
This isn't meant to replace Edwards' outstanding books, including the classic Drawing on the Right Side of the Brain. But it is helpful with its exercises, drawing tool, and current research. Don't expect miracles, but do expect improvement in your drawing skills! ...

A great resource!
I have loved every book that Betty Edwards has published, and this workbook is an excellent "companion" to those. If you already know how to draw and want to brush up on your skills, this book has some excellent tools and tricks to support you. If you're just learning to draw, it is a supportive guide. Buy it along with THE NEW DRAWING ON THE RIGHT SIDE OF THE BRAIN, and they will change your life! ... Read more

Reviews (2)

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

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

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

Reviews (13)

A classic of art thought (a very American classic).
Modern American illustrator Greg Spalunka calls this book the Bible for the artist. It is jam packed with wonderful insights on the "why" of painting and has quite a few great ideas on the "how" as well. The book is perfect for the browser, someone who likes to read a page or two and mull it over for a while and tends ends up next to the toilet. ENJOY!

The most important art book I have ever read
I was given this book 11 years ago whilst studying at art college and despite all the many other influences I have had and the many books I have read, this one book remains the most important. In a world in which we are pulled in every direction through media and advertising etc, Henri reminds me of what it is to be a real artist. Time and again his writings inspire me and send me off to the studio with purpose in my step. Here is one quote to give an idea of the importance of this book; 'The country is full of men who are working in the cold, or worse- too much heat- just to get enough to purchase a day's miserable existance. You are working for your character, and your pay is to last you all your life.' Buy it. It will be one of the best investments you have ever made.

A very philosophical book that applies to life in general
I thought this was a very philosophical book that applies to life in general and not just painting. Lots of his quotes are great. Like this one: "Don't ask someone for a critique until you're unable to give one yourself. Then you will be ready to receive it." The main premise in the book is to have the art spirit. That is, instead of just copying what you see, paint what you feel. I think that is something very few painters do. Have you ever looked at a well executed painting but it just didn't do anything for you? This could be why. Really I think this book is a must read for all artists, even non-painters.

Its good
It is good, but I can't just sit and read continuously. It's just one of those books you just read once in a while I suppose. But, educational.

Transcends any sort of Categorical Boundary
This book came recommended to me by my professor of theatre design at NYU. He said, in so many words. "I don't want you to read it cover to cover. Keep it on your toilet and just open to random pages when you get the urge."

One of the most fantastic qualities of Henri's book (which, by the way, is a series of quips and longer anecdotes recorded in print by Henri's students) is that it's non-linear structure allows you to do precisely that- open it to wherever you want and begin. The genius and omniscience of Henri's words saturate this book to make it not only timeless and relevant, but also convenient.

Certainly this book is a must for any artist, visual or not, but Henri's wisdom can be applied to anyone who is literate and breathes. To quote:

"If you want to know how to do a thing you must first have a complete desire to do that thing. Then go to kindred spirits-others who have wanted to do that thing- and study their ways and means, learn from their successes and failures and add your quota. Thus you may acquire from the experience of the race." (55)

Follow Henri's advice- read the book and add your quota. ... Read more

Book Description

illustrated with 12-page color photo insert and line art throughout

A revised and expanded edition of the classic drawing-instruction book that has sold more than 2,500,000 copies.

When Drawing on the Right Side of the Brain was first published in 1979, it hit the New York Times bestseller list within two weeks and stayed there for more than a year. In 1989, when Dr. Betty Edwards revised the book, it went straight to the Times list again. Now Dr. Edwards celebrates the twentieth anniversary of her classic book with a second revised edition.

Over the last decade, Dr. Edwards has refined her material through teaching hundreds of workshops and seminars. Truly The New Drawing on the Right Side of the Brain, this edition includes:

* the very latest developments in brain research;
* new material on using drawing techniques in the corporate world and in education;
* instruction on self-expression through drawing;
* an updated section on using color; and
* detailed information on using the five basic skills of drawing for problem solving.

Translated into thirteen languages, Drawing on the Right Side of the Brain is the world's most widely used drawing-instructionguide. People from just about every walk of life--artists, students, corporate executives, architects, real estate agents, designers, engineers--have applied its revolutionary approach to problem solving. The Los Angeles Times said it best: Drawing on the Right Side of the Brain is "not only a book about drawing, it is a book about living. This brilliant approach to the teaching of drawing . . . should not be dismissed as a mere text. It emancipates." ... Read more

Reviews (79)

Highly recommended! A great start for drawing newbies!
I have been drawing for a long time (since I was 4). Drawing is a major influence and passion in my life, so I always am looking for new art books, and new perspectives on drawing. I consider this book to be an excellent addition to any artist's (or aspiring artist's) library.

Also, I once attended a class taught by one of Betty Edwards' students. It was such a helpful and inspiring class, and everyone improved dramatically. It was a wonderful class.

Even though I am no longer a drawing "newbie", I found new insights and new ways to observe and see, thanks to this book. It truly can help new artists and "non" artists draw more accurately. It's amazing! Fabulous!

However, this book is not the ultimate book on drawing, and it should never be regarded as such. It cannot possibly answer every question, or provide every insight. It is only a first step. Drawing accurately is just one component to being an artist. (And I hasten to add, I'm REAL big on drawing accurately, I think it is important.) There is a lot of exploration and growth that each artist must undertake in order to fully develop. There will be further study of anatomy, color, line, etc. etc. This book does not pretend to teach everything, and no one should expect it to.

But, don't worry about that right away, if you are a "newbie". Get the book, enjoy it, learn from it, and then look into other books. This book will give you that needed "jump start" and will help you gain a great deal of confidence. You will be most pleased with the progress you will be able to make, thanks to this book.

Quite simply the best book on drawing what you see
Drawing is the basis of most art so this fundamental skill is taught first in most traditional settings. What this so often fails to do is teach the perceptual underpinnings of draughtsmanship, focussing instead on the academic, 19th century "école" practice (itself a product of the Renaissance studio system) of repetition, copying and study of master works which emphasise the mechanics of drawing. While valuable, for the vast majority of students this may only yield results after years of rigorous application and for some will never work.

Despite having taken the traditional art school route this book taught me that there was still much to learn about how to see. Perhaps more importantly it showed me how much misinformation I had been exposed to and had accepted blindly for many years, only to have my eyes opened (literally!) the first time I picked it up.

I haven't had the opportunity to check out this latest edition but if it is even better than the first then it will prove even more invaluable.

For beginners hoping to draw for the first time or more experienced artists who feel their drawing could take a step up, this cornerstone work will enable you to unlock your hidden potential allowing you to produce work that will surprise even you!

indescribable
Anyone who has anything bad to say about this book is
lost in space. There is no person on earth who cannot improve
after doing the projects in this book. Just one thing I would like to note: Try to take this class with a teacher so you don't give up in the middle. Once you get over the muscle pain in your right brain you'll thank yourself a million times over that you did it. You will see things you have never
noticed before and when you show people your drawings their jaws
will drop on the floor. One more thing: Never have a coffee (with caffeine) before doing the projects. You have to be very
calm and get into the drawing like a musician has to get into
the music.
I am thrilled that I am almost finished with the course, and
now I can draw almost ANY object I see.

[80% text / 20 % illustration ] & an historic falsehood
"The New Drawing on the Right Side of the Brain" by Betty Edwards

The great falsehood here is that by using some drawings from the Rennaissance, Edwards would have the reader believe that "The New Drawing on the Right Side of the Brain" is in the spirit of the "classical tradition"; but that is not so in the light of certain historical facts which even the most amateur of art historians can present.

FACT THE FIRST:

We must examine what is known of the classical tradition and Rennaissance Art and its view of drawing, and that means considering the historical view of Giorgio Vasari, himself a Rennaissance master, briefly apprenticed to Michaelangelo, and author of the 16th Century biography "The Lives of the Artists" our single most important source on the classical tradition.

As stated in the most recent translation of "The Lives of the Artists," by Julia and Peter Bondanella:

"Vasari's interpretation of his subject matter was documented and argued so persuasively that it has, in large measure, remained the dominant view of Italian Renaissance
art ever since".
-p. x, Introduction, "The Lives of the Artists" by Giorgio Vasari, translated by Julia and Peter Bondanella

FACT THE SECOND:

Having established Vasari as the genuine authority on the classical tradition of drawing, we must consider Vasari's viewpoint on the type of art theorizing which Betty Edwards uses.

"Vasari was opposed to any artistic style that exhibited pedantic book learning, academic exercise, or unusual, laborious effort." -p. xii, the Introduction, Vasari's "The Lives of the Artists" translated by Julia & Peter Bondanella

The same page cites another authority, Baldesar Castiglione, (1478 - 1529 ) author of "Book of the Courtier" which argued:

"True art, according to Castiglione, was art which did not reveal itself to be art and was produced efforlessly and without obvious signs of study and emphasis upon technique." -from p. xii, The Introduction, Bondanella translation, Vasari's "The Lives of the Artists".

In view of these two substantial facts, Edwards employs fuzzy New Age jargon to present a HOW-TO-DRAW book, heavy on fuzzy art theorizing, metaphysical rambling, and philosophical mythology. Ewards essentially has served up a FAST FOOD menu of New Age ramblings advertized as a classical feast. The combining of Asian religion with Western art is not timely at this juncture for it has already been achieved through 19th Century Impressionism, over a century and more in the past.

Funny how many people can't draw in art classes...
I started my art experience with this book, and to it I give much credit. For me, it was like a "light switch" had been turned on. One day I could not draw, the next day I could. I did take the lessons seriously, and completed the book. If you are new, this book delivers on it's promises. It doesn't matter if the right/left part is correct or not, the fact is - the methods work. There are many other things to master, but the ability to draw correctly is what separates real artists from the fake ones, of which there are many. Drawing is the foundation. If you want to learn how to draw, this book will take you where you want to go faster than any other. Later, when you are in that expensive oil painting class, and 11 out of the 15 students are stuck because they can't draw, you will be thankful that you started off with this book. You will be one of those who can at the very least render your subject correctly. ... Read more

Amazon.com

Anatomy for the Artist is like having your own life-drawing studio in the privacy of your home. Carefully constructed photographs of the human form allow you to see the structure and function of the skeleton and main muscle groups. Six imaginative drawing lessons, each supported with photography, show how to portray the bones, head, rib cage, pelvis, hands, and feet in perspective, from different angles, both in still poses and in movement. ... Read more

Reviews (13)

Simply fantastic!
I'm an art student taking a life drawing class, and I have looked at a number of books on anatomy and own several, most of which I find unequal to my needs. Some are geared to people in health-related fields, and some are geared to artists.

Of all the books I have seen on artistic anatomy, this is one of the absolute best. The translucent paper overlays of anatomical structures are very helpful to an artist trying to figure out how bones, muscles, and skin all fit together. Additionally, the photography is amazing, modern, and not at all cheesey. There are many different motion shots and poses depicted, and the drawing lessons and "master classes" are truly useful to any developing artist and should help people refine their skills and gain confidence in this difficult area of drawing. My only quibble: I could have done with fewer explicit shots of genitalia, but they were necessary to a book that covers its topic as completely as this one.

The bottom line is that this book is worth its weight in conté crayons.

A worthwhile anatomy book
This book doesn't try to contain all the knowledge there is related to anatomy and drawing the human figure. That would take several volumes or more. It just does a few important things well. I think the main strength of this book is that it gives you an intuitive feeling for the human body's structure. It does a lot more than just list parts. It tells you how the body works, how the parts work together, and the nature of those parts. She gives you more scientific and historical information than other books generally do. The second strength is the large number of well-lit photographs of fit, lean, muscular models in many informative, useful poses. The models are pretty good for seeing the contours of muscles, bones, and connective tissues. I think the inclusuion of a few body builders might've been good too. The latter chapters of the book deal with poses and the body in motion. They include many photographs of models. I appreciated this, and it's something not a lot of anatomy books have.
As for the overlays, I didn't think they were all that important. As for the drawings of the muscles and bones, they were useful and good, but they could've been better. I would've prefered some sort of smoothly shaded renderings instead of scratchy pen & ink drawings. It would also have been nice to have the muscles in different colors so they'd be easier to differentiate. Although vellum is nice, it tends to warp from humidity and it's not transparent enough. Therefore it would've been better to make the overlays out of plastic.
While this isn't the be-all, end-all of anatomy books, I think it is one of the better books to include in your anatomy library. I have several other great anatomy books besides this one.

Excellent photography. Average content.
This is an interesting book in that the photography is excellent. Do you like nude bodies that are in very good shape? This one has it in excess. As one who has studied artistic anatomy for over twenty years I own just about every book written on the subject. One of the things I appreciate are sources showing surface anatomy; with models that have muscle definition. The odd thing about this book is how much could have been done with it. There are about 7 or 8 transparencys that over lay the photos. All but one of these show the skeletal detail over a photo. When I am looking at the surface anatomy of a figure and trying to determine which muscles are which, I would rather have an overlay of the muscles than of the skeleton. This must have been the decision of an editor. The drawings depicting the muscles are good, no better than what has been done. Goldfinger's Human Anatomy for Artists or Richer's Artistic Anatomy are very hard to beat. The other odd note about this book is the bibliography. It's as though the items chosen were selected for their quirky nature and not their value as a source of information. Five stars for the photography, negative two stars for the anatomical content.

decent
decent book but could have had a heck of alot more poses. The book splits the body into categories which is helpfull but I would have also liked to see a whole section of various poses for study.

A must have for serious artist
This is the best reference guide for drawing people that I have found. The poses and lighting are excellent! Most artist references on the figure show the skeleton and muscles but this book uses semi-transparent overlays so an artist can see a photo of a person then, using the overlay, see how the skeleton or muscles shape the body. A must have for any serious artist. ... Read more

Book Description

In the hands of collage artist Fred Otnes, control merges with chance to create works of subtle, refined beauty that are designed with such assurance as to appear inevitable, works that are infused with a mystery that is both fleeting and eternal. Otnes’s gifts are powerfully displayed in the 126 full-color images reproduced in this book.

Born in 1930 in Junction City, Kansas, Otnes trained at the Art Institute of Chicago, where he first encountered Cubist works by Braque and Picasso. The Modernist commitment to form without the illusion of depth captured his imagination, though it would be some time before he incorporated it into his own work. Otnes first pursued a career in traditional, realistic illustration in Chicago, and then, from 1953, in New York. While working for national magazines and advertising clients, he and his wife, Fran, built a house in Connecticut designed by architect John Johansen in the International style and furnished it in classic Modernist mode.

By the mid-1960s, aware of the shrinking market in magazine illustration, Otnes made a bold change in his method of working, finally putting into play the ideas that had dictated his taste and interest for years. Using newly-honed printing, photo-transfer, and collage techniques, he pioneered a unique look: multiple images across a one-dimensional plane. This was the perfect form in which to depict some of the more complex concepts of the era such as the war in Vietnam and the Civil Rights movement. At the top of his field, Otnes received more than two hundred awards for his work.

Once again sensing a change in the business in the mid-1980s, Otnes committed himself solely to creating gallery work. Fully able to explore the art of collage on his own terms, he has continued to push at the boundaries of scale and abstraction in his work, as is clear in the catalogue section of this book. The text describes his motives and motivations with each transition in his life, especially whatartist Mark English describes as Otnes’s "metamorphosis" from realist illustrator to collage artist. Otnes also discusses some of the many and disparate artists and art forms he admires, from Piero della Francesco to Richard Diebenkorn to Outsider Art. He speaks of the challenges of work, the nearly fugue-like state he sometimes achieves when in the studio, and considers the never-ending difficulties that the medium itself imposes, as well as those he imposes upon himself so that he remains interested and the work continues to grow.

With elements as diverse as appropriations from Renaissance and Old Master works, eighteenth-century engravings, bicycle patent diagrams, sheet music, feathers, fabric, and flowers, Otnes demonstrates in image after image a subtle, elegant world where imagery and surface interact, where tonal and textural shifts delight, and where secrets and mysteries emerge from the torn paper and scraped away paint. A world where beauty and meaning hover in wordless communication between artist and viewer. ... Read more

Reviews (1)

a book for all artists
Even though you may not of heard of Fred Otnes, this is a beautiful book that any artist and especially artists that use collage should enjoy and derive inspiration from. Mr. Otnes, an award winning illustrator, has made a masterful leap into the fine art world and we view this development with work from the mid 70's to the present.The reproductions are large and very well done so that we can fully appreciate his unique vision. ... Read more

Reviews (15)

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

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

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

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

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

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

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

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

Book Description

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

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

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

Reviews (1)

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

The book has the following chapters:

Basic Painting Supplies

Underpaintings - laying the groundwork

Getting into Shapes - become aware of negative shapes!

Working with Glazes and Building Layers

Building Nature's Complex Shapes

Picture Planning Made Easy

Assembling the Pieces of the Puzzle

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

Book Description

The whys and hows of the various aspects of landscape painting: angles and consequent values, aerial and linear perspective, painting of trees, emotional properties of line and mass in composition, light, unity of tone, plus information on canvas, palette, brushes and other materials and techniques. 34 reproductions of paintings by John Carlson. 58 explanatory diagrams. Index.
... Read more

Reviews (12)

Terrific book that answers questions for landscape painters!
The author seems to have gone out of his way to write a book covering every aspect of landscape painting and has done it well. He starts with his ideas on how to approach painting as a whole, continues with the mechanics of painting wherein he discusses the tools necessary, and covering subjects such as angles and values, design, perspective,light and color. An informative book for the landscape painting enthusiast. I recommend it highly!

Worthwhile, but a little old-fashioned
This book covers a lot of important landscape painting topics that are often not covered adequately or well in other books. Although very conscientiously written, Carlson's prose at times can be old-fashioned and very difficult to read. Also, it is unfortunate that the illustrations for this book on painting are presented in black and white.

These negative observations made, I found the book to be very worthwhile reading. Carlson speaks to both the craft and art of landscape painting with a master's knowledge and the intent of an experienced teacher. His chapters cover value, light, aerial and linear perspective, color, trees, clouds and composition and contain much valuable information and tips for the painter.

A classic! A bit outdated but still useful
The book is old, but it's still popular because the advice contained given by Carlson is timeless. Unfortunately the pictures are b&w. One thing I liked is Carlson gives guidelines which help to make realistic landscapes. A teacher such as Hawthorne (highly recommend his book) would say to forget rules and just get the color right. But I find that's not easy to do. Carlson's guidelines, especially comparing values between foreground, trees, mountains, and sky are very helpful. I read his book on the beach while on vacation and I was able to see for myself a lot of the things he claims, especially about clouds. This book is so cheap there's no excuse for not reading it at least once!

Okay, but not great
I was expecting much more from this book after reading the other reviews. The images are black and white, and I personally don't like his style. Sloppy is pretty good description of his work, and I really do admire other painters with a loose style. Maybe his focus was more on color than accurate drawing (like Monet) but if so I didn't get to see it because it was in black and white. Some of the content was moderately informative, but a lot of it was filler. The all-time greatest painting book I own is Richard Schmid's Alla Prima with beautiful color masterpieces that I want to emulate, and it has much more practical and useful information. Save your money for that one.

A Waste of money
This book is terrible. It doesn't have much text in it, but what there is is awful. This book is filled mostly with emotional and philosophical ramblings instead of useful and practical information that teaches you to paint landscapes. The author says painting must be learned by practice and can't be taught. Then why did he write a book? Carlson's own paintings and drawings are of poor quality. They are crude and sloppy. I don't think such a poor artist is worth learning from. I wouldn't want to paint as poorly as he did. This is a stupidly written, uninformative book, a waste of money. There must be MUCH better books than this one about landscape painting. I was terribly misled by the other reviews of this book! ... Read more

Book Description

Designed to address the issues of how to paint and what to paint, PAINTING AS A LANGUAGE covers a wide range of information of central importance to beginning and intermediate painting instruction. The authors emphasize the value of the student's cognitive understanding of the process and potential of painting in the student's overall progress in the studio. Blending journal writing with painting and drawing exercises, they guide the student through selecting meaningful subject matter as well as becoming adept at shaping and interpreting that material through the language of painting. ... Read more

Reviews (1)

The best book on painting for student and professional
I can't recommend this book too highly. It is the only one I've ever seen written for the college level, containing both excellent technical information and discussion on why we paint and how to communicate with painting. Any painter who got his or her training (or no training) even ten years ago could use this book and become enthusiastic again about the contemporary approaches and choices, respectfully delineated here with no agenda! If you are baffled by what is going on in art or if you just need a refresher, you will like this excellent book. Please buy it. ... Read more

Book Description

This delightful book is designed for the many artists who are motivated to paint and draw, yet who find it difficult to fit art into their daily lives. It is especially for those artists who see art as a necessary outlet for their creativity.

Dory Kanter's inspirational instruction is perfect for both beginning and experienced artists alike. Unlike other books that simply try to motivate readers to be creative, Art Escapes gives readers fun, easy-to-execute ideas for building an "art habit." Inside, they'll find daily projects for drawing, watercolor, mixed media, collage and more. All of these projects are presented simply, yet none are simplistic. The concealed spiral binding makes using the book easy and accessible. Readers will increase their skill and creativity, as well as find the time to make a little bit of art everyday. ... Read more

Reviews (7)

A Jumpstart for the Creative Juices
This is exactly what "the doctor ordered" for jumpstarting the creative juices & getting out of an "artists' block"! It is filled with pictures, instructions, ideas/suggestions to springboard from...can't wait to dive in! You won't be disappointed!!!

Unexpected delivery
I got this book delivered to my door when the mail got screwed up and we did not receive a club mailing until a month too late. My book club sent it to me since I did not refuse it, which I usually do.

However, when I got the package, I was upset with the hassle of returning it. I kept it for a while and then FINALLY got the club mailing. I decided to take a chance and keep it. Boy what a TREAT!

This spiral bound book is a delight not only to read, but to turn the pages. I am tired of the bindings flipping closed on books. This one stays open no problem!

The layout is delightful. Illustrations are profuse and rustic. This book is in no way intimidating like some art books tend to be. I actually feel like I can relax while reading it with nothing to live up to and no frustration with how hard I am going to have to work to achieve desired results.

Dory writes with a warm friendly demeanor and the book is loaded with creative exercises that are easy to do, and RELAXING. As an artist, I have almost no time to paint with little ones around. Art Escapes offers a perfect compromise. Keeps me painting and going in small spatters, instead of monumental undertakings.

Think of a quiet calm day, warm cup of tea, beautiful sunshine, neither too hot or cold weather, curled up in a chair admiring life itself, and you pretty much have this book captured in essence. A delight to own and USE. For any level artist. We all need vacations and escapes!

The Art of Seeing
I have had the privilege of watching Dory paint and teach. She helps me see things in a different light, both literally and figuratively. Since I describe myself as an admirer of art rather than as an artist, I am in awe of those who have mastered their art, can practice their art with ease, and can teach it to others. Dory is a master in all these areas.

In one of our lessons, when someone asked how do you know when you're finished with a painting or collage, she spoke about simplicity. She suggested we always look at what we have done and ask ourselves 'what can I leave out'. This helps us see and stay focused on the essence of what we're doing, with no frills. A valuable lesson not only in art but life in general.

I always feel inspired by Dory's instruction and by her work. She makes it look so easy! She always encourages her students to be true to themselves, to create what comes from within. Her book is a marvelous collection of all that she embodies and teaches.

Everyone can be an artist!!
I have been lucky enough to attend one of Dory Kanter's creative art workshops. What an amazing experience! Dory's book not only lets me share her enthusiastic attitude towards making art easy for everyone, but allows me to play with more creative journaling exercises than we were able to cover in one weekend. I have seen firsthand how Dory's excellent instructions and unique techniques create artists through her journaling exercises. The funny thing is that as you make her collages, paper weave simple images into dramatic designs, try one-minute sketches, Creatively Doodle your way through staff meetings and use blends of colors to capture sensual input like smell, taste and touch, for example, Dory is painlessly tricking you into learning drawing skills, color theory, perspective and composition. Before you know it, you really understand yourself as an artist! Wow!

At the end of my weekend with Dory, every student had a journal filled with colorful memories and reflections of their unique personalities. Watching the delighted faces of artistic novices like dentists, homemakers, company CEO's and college professors light up as they explored their "surprising" talents was an emotional experience. I think each of us had a little tear in our eyes as we realized we were artists. All we had to do was trust Dory. After that we sailed on with our own explorations. Since then I have spent many happy hours with my journal at home and while traveling around the world. That is the gift that Dory is sharing with her book. Please, take her gift and see how a few minutes of inspired creativity each day can build into colorful records of the moments and emotions of your life.

Art Escapes has lots of ideas!
The subtitle of this how-to book says it all! Art Escapes is chock-full of creative ideas, hints for success, and practical step-by-step exercises for beginners and experienced artists. And the examples, both initial sketches and finished work, are inspiring and informative.
The author is so down-to-earth, encouraging and freeing that I found myself writing and drawing in the margins! This really made it my reference book for daily practice.
I also like the advice and ideas about how to jump-start my creativity each day. ... Read more

Book Description

Acclaimed botanical artist Bente Starcke King shows artists of all levels how to create artful and soulful illustrations of tulips, irises, rose hips, echinacea and more. Taking readers step-by-step through proven techniques for capturing this popular subject matter, Beautiful Botanicals:

*Provides numerous tips and 19 demonstrations for all the most popular mediums, including watercolor, pencil, pen and ink, ink wash and mixed media (watercolor with colored pencil or ink).

*Draws even casual readers in with striking, colorful illustrations set against white backgrounds.

*Appeals to fine artists, decorative painters and even garden enthusiasts with clear instruction and plentiful demonstrations.

The book also covers such practical topics as cleaning, along with signing and framing one's artwork, and it includes interesting stories and facts about the flowers and plants presented. It's a must-have for any nature or art lover! ... 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 (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

Book Description

The next best thing to working with a live model, Virtual Pose(r) 3 provides professional and student artists with an accurate and convenient method of viewing the human form--without needing access to a live model and studio sessions.

Digital artist Mario Henri Chakkour has created a CD-ROM and companion book that features models in 70 high resolution poses, images which can be zoomed in on and rotated 360 degrees. Painters, sculptors, and other artists will welcome the opportunity to study at length each detail and subtlety of the human form, giving them a deeper understanding of shape, form, and gesture. ... Read more

Reviews (1)

Model search-done
Great Reference for my art group. Love the resolution and ability to project on large plasma screen.

I look forward to another edition, perhaps with paired models. Great Job!!!! ... 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