Reviews (4)

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

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

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

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

Reviews (3)

A top-flight book of a complex subject
A truly comprehensive book, enjoyable to both read and look through. It covers the history and scope of air travel, including airport and aircraft design, corporate identities and marketing in a thorough, extensive and compelling manner. It is distinctive in how it successfully melds a global scope and a focused perspective.

Excellent
This book is an excellent overview of the history of civil aviation, terminals, and airfields. The attention to detail, both photographic and linguistic, is marvelous and provides a wonderful account of airport design. The faithfulness to the original traveling photo exhibit allows readers the opportunity to experience the cultural presentation alongside the historical reconstruction. All in all, a wonderful book for any aviation fan.

Building for Air Travel: A must have!
BfAT is one of the most intriguing books you'll find about airports. It covers a lot of airport design aspects- but it is not an engineering book. In other words, you won't have to face boring charts and graphs. All you get is interseting texts, divided into differnt issues, and many rare and beautiful pictures. If you really like airports- you should have this book. ... Read more

Reviews (9)

neither very big nor very useful
Pleasing to the eye but it surely fails to live up to the promise of its title. The instructions on constructing and throwing pots is adequate (though scanty).The sections on other aspects of the craft are more an outline than a guide. Disappointed, I searched our local community college library and found several comprehensive instructional texts on ceramics that were bigger and better than this book - though most were written 30 years ago.

Not a helpful resource for learning on the wheel
I was disappointed after receiving this book. While it gave a nice overview of different types of ceramics, it did not give the detailed information I was looking for. The summary on wheel throwing was relatively small and gave virtually no information regarding types of wheels or information on selecting one. The description of the book does seem a bit misleading...leading one to believe that this book would be an invaluable, detailed reference source. I found this not to be the case and would not recommend it for those looking for a reference document.

Very Broadly informative
This book covers all major types of clay and ceramic activities. If you are interested in only one type (for example, casting in a mold from clay slip)it may not give you as much information as you want. If you are curious about clay, generally, or want an overview to decide what you might like to try, this is a very useful book. The illustrations and directions are very clear.

The Big Book of Ceramics
I was so absolute beginner in ceramics and afraid of even touching a clay. In the same day I got the book I've made my first piece. And... was satisfied :=)
Guy is great, I've bought two more books by this author, and was thrilled even more, it's great book to begin with, but also to stick with all the time... full of good information, practical advices, things that you just can't find a person to ask and many many pictures that helps so much.
Anyway, you won't regret buying it.

Most complete ceramics book, must-have reference
This is the most complete all-in-one ceramics book I have seen. It is a must-have reference book for anyone involved in the craft as it is packed with information on all aspects of ceramic work with full-color photos and detailed step-by-step demonstrations.

The book starts out with a great history of ceramics throughout the world. Then materials and equipment are also covered including types of clay, clay mixtures and modeling tools. Hand-building techniques follow including pinch pots, coiling, hollowing out, slab-building and using clay strips. Using these techniques, you learn to make a box with a lid, a cylindrical pot, a cube-shaped box, a bowl and a vase.

Details on kilns and firing are next. This includes lots of helpful illustrations as well as advice on packing the kiln and measuring the temperature. Information is included on bonfire, pit, sawdust, wood, coal, oil, gas, electric and salt-glaze firing. Then glazing is covered including an overview of basic coloring oxides, other materials used in glazes, the Seger formula for glaze calculation, glaze preparation, and types of glazes. Several glazing methods are demonstrated including dipping, pouring, and using a brush or spray-gun.

A molding section follows with information on mold preparation, the drying process and creating waste and press molds. Projects include a hollow cast vase and a press mold plate. A great chapter on throwing is next. This includes basic techniques for making bowls, plates, cylinders, vases, and lids.

The final section offers complete step-by-step instructions for over 12 different projects. Some include a thrown teapot, an open vase with coils, an abstract sculpture with clay strips, a pinched bottle and a solid organic looking sculpture.

A helpful glossary and index are also included. Whether you are just starting out or have been creating ceramics for a while you will find much to enjoy and learn in this book. ... Read more

Book Description

Covering five major areas of domestic design, International Design Yearbook 16 devotes separate chapters to furniture, lighting, tableware, textiles, and products created over the past 18 months by both well-known designers and new names from around the world. This year's selection has been made by internationally acclaimed architect and lighting designer Michele De Lucchi.

As fresh as the millennium itself, the annual presents futuristic technological ideas, such as Ron Arad's computer-animated vases, as well as reinventions of time-honored objects, like Sir Norman Foster's light design for Artemide. This who's who of domestic design includes the vibrant, modern talent of Emmanuel Babled, Jonathan Ives, and Ettore Sottsass, and design teams from Philips, Sharp, and Siemens. The objects are lavishly illustrated, and full technical data is given for each. A comprehensive reference section provides biographies of the designers, a list of suppliers and their addresses, and an updated list of design acquisitions at major international museums. ... Read more

Book Description

Thoroughly updated and expanded, this classic handbook teaches emerging artists all the strategies they need to know for selling artwork on their own or through dealers.

The book's new sections target today's vital issues: creating a web site; obtaining copyright/trademark protection on the Internet; coping with censorship of controversial art; and dealing with the new realities of funding sources. Additional chapters tell how to find galleries, arrange exhibitions, apply for grants, land survival jobs doing custom decorative art or teaching, and other relevant topics. ... Read more

Reviews (1)

Great book!
Daniel Grant, Caroll Michell's and Tad Crawford are the names to know for any artist looking for clear, consise art advice. This book covers a broad range of art topics and offers good advice grounded in the reality of the art world. It's a great book whether you are an art student still in school or a professional looking for some new inspiration. ... Read more

Book Description

First published in 1954 and having gone through several editions, this comprehensive book remains the authoritative source in the field. This paperback edition includes all of the three hundred fifty illustrations from the original edition, as well as the complete and unabridged text.Its text and illustrations reveal the symbolism inherent in representations of religious personages, the Earth and Sky, animals, birds, insects, and flowers.In addition to a discussion of objects treated symbolically in Christian art, George Ferguson explores Old Testament characters and events and their symbolic representation in art. ... Read more

Reviews (3)

one of the best
Ferguson's book is simply one of the best of its kind. The numerous entries (far more than most) are divided into reasonable sections (animals, plants, saints, etc.). Black and white images in the outer margins assist identification. A thorough explanation of each entry's various meanings within a Christian context is provided (with few oversights). The book is a convenient, portable size and weight. Though I have found books which contain Christian symbols & meanings Ferguson overlooked, I have not yet found a text that is better as a whole, and I collect books of art symbolism.

Every art historian--student, amateur, or professional--should own a copy of this book. Art lovers will find it a substantial aid to appreciation. It's a great book to take on museum and cathedral tours, e.g. if you intend to travel around Europe. Christians may also find it a helpful meditation aid.

The only real drawback is that Ferguson is limited to Western Christian art. For help with Eastern Christian art symbolism, I recommend starting with Linette Martin's "Sacred Doorways: A Beginner's Guide to Icons." It's less like a reference guide and contains few images, but it's a great start.

I look forward to finding more gems like these.

Through Artists Eyes
I am an artist. I wanted to include Christian symbols and signs in my pottery. Many of the signs or quite common, but the reasons for the symbols and signs are forgotten by many. This book both gives detailed pictures of each sign and symbol and also explains completely what each symbol means and why the symbol came about. Each symbol was established for a reason, and it all reflects back to the Bible.

A Staple Reference for Any Library
If you've ever wondered about the seemingly strange choices of modern writers or film directors (such as the repeated reference to chocolate "mouse" in the film "Rosemary's Baby"), "Signs and Symbols in Christain Art" will deepen your enjoyment of contemporary artforms as well as antique paintings found in museums.

Built around the symbol-system of Roman Catholic Church art, Ferguson's book illustrates the ways in which medieval and rennaissance artists tried to visualize scripture and cannon for their illiterate audiences.

Compact and consise, "Signs and Symbols" serves as a perfect bring-along for your next museum trip - but since the reader can look up various saints and doctrines (such as the Seven Deadly Sins and the Seven Virtues) as well as visual symbols, this book is more than just an art reference.

First-year art students are typically required to use this book in Survey of Western Art 101, but it deserves a place on the bookshelf of any home which aspires to cultural literacy. ... Read more

Book Description

Essential reading for artists, art dealers, and gallery owners, The Artist-Gallery Partnership: A Practical Guide to Consigning Art offers a unique and thorough discussion of consignment that clarifies all aspects of this crucial art world relationship. The book presents a provision-by-provision explanation of the Standard Art Consignment Agreement, a model contract between artist and dealer suitable for use. The contract is flexible, making it ideal for establishing consignment arrangements that are mutually beneficial. It covers agency, consignment, warranties, transportation responsibilities, insurance coverage, pricing, gallery's commission, promotion, return of art, and much more.

The Artist-Gallery Partnership provides artists and dealers with guidelines for sound business negotiations as well as ideas for resolving disputes. The revised edition contains a new chapter on state consignment legislation, and includes a sample of the Standard Art Consignment Agreement, an inventory sheet/receipt for artworks on consignment, and the texts of the art consignment laws enacted in more than thirty states. ... Read more

Reviews (2)

The Best Book of Its Kind!!!
I own a small gallery because I love art and artists, but I was not prepared for the variety of business and legal headaches that this field could produce. During yet another frantic call to my attorney, she recommended this book to me and life has been considerably calmer ever since.

Let's face it: art is a business and if you are an artist or a gallery owner, you can't afford to be without this information. I use this book to maintain records; I check paperwork against it before visiting my accountant; I use its sample forms and agreements every time I get the place ready for a new exhibit; and I follow this book's advice with every sale and display we make. This book should be required reading for everyone who has anything to do with art consignment...

Ted Crawford normally writes pretty good books, but...
Tad Crawford has written many useful books for working artists. This book primarily focuses on the state laws for all 50 states. It has some info on the nuts and bolts of gallery/artist interactions and good examples of sample contracts, but overall I was disappointed.

Most of the book focuses on reciting the state statutes. I would have liked more "juice" on navigating the minefield that can occur in artist/dealer relations. Of course, a contract should allow an artist to avoid such messes, but more examples of things going wrong even with contracts would have been useful. It is a good reference book if you are past the point of no return and need to know the legalities of your particular state so you can proceed accordingly. I found Tad Crawfords other books more useful. ... Read more

Reviews (3)

QUESTION - Visual Arts "different" as an academic pursuit?!
The answer: I think so. The author changed my way of thinking about the subject of what is plausible in arts education in our time. The apprearance of total artistic freedom from judgement as formulated by postmodernists, yet the intrinsic nature of how the academy/school affects an artist, is seriously examined by Elkins.

This book is amongst the first to pragmatically question some of our common misunderstandings about the methodology involved in teaching the visual arts. The reason for this maybe due in part to modernist and postmodernist intellectualizing of art (e.g.-the endless pages of ink spilled in history books about content free Minimalist paintings and Conceptual Art). Elkins really does an marvelous job at collecting the evidence that studio art teaching and learning is fundamentally different in goals from more conventional subjects such as the sciences, languages and even music...yet, artists should have a somewhat rounded education.

To the authors credit, the book avoids the idealistic view of the arts, dispenses with the RomanticEra cliches of " the gifted talent" or "starving artist" or "outsider art" and deals with THE pragmatic reality of art instruction. Elkins' surveys are about the historical roots of art instruction: the Medieval workshops, the Renaissance guilds,the Baroque academies, and the 20th c. Bauhaus School are compared and contrasted with one another.

THIS comparison of instruction models is EXCELLENT!

The assumed historical 'reality' of the types of artists each system was capable of producing serves as a spring board for discussions on how philosophical discourse influences the instruction model. The book addresses the question of "what body of knowledge is central to the education of an artist?" Is it life drawing, technical and mechanical skills or is it a selected reading and immersion in the liberal arts(i.e.- should an artist have a classical education w/ emphasis on Greek literature -or- postmodernist and shifting in emphasis related to an artist's native culture?_)

Elkin's book fully illustrates the very real world dilemna that students interested in the visual arts face when choosing between "art schools" and small "Liberal arts colleges." "Art schools" tend to only be interested in art, with a myriad of opportunities to be exposed to the art world, with little if any exposure to core general education courses. Paradoxically, the art schools are also places where one is likely to find the latest art theory in deployment despite an 'art school'student populace that MAY NOT have the educational background to engage in meaningful discussion with instructors. The situation is the exact inverse with students at "liberal arts colleges" (and the university in general) where the student is academically armed, yet, is enrolled in significantly less demanding studio courses. "Liberal Arts colleges" and art departments of universities,while providing excellant general education for an art student -most barely engage in the issues of making Studio Art much beyond the dilettante level. Elkins makes a very fine point of emphasis on what is either impractical or too obscure to teach about art in the general curriculum of both classroom enviroments-i.e.-such things as art that uses obscure techniques, extremely radical and/or conservative methods. He deals with that rarely mentioned art class phenomenon- "the critque"- where the student presents thier work to the class to be analyized. Elkins illuminates 'The critque' of art schools (and studio art departments) in a manner that should deal with every sort of postive and negative experience that could be siphoned from such an ordeal.

Essentially the heart of "Why Art Cannot be Taught" is to illuminate what works and what makes 'sense' to teach in the pedantic school environment about art. Elkin's thesis ("that art cannot be taught") is a descriptive interpretation of the reality that art education like 'true art', the 100%creative stuff, is something unique and irrational that can't be easily duplicated at the whim of educators. A must for anyone that has interest in the peculiarities of being a student of the visual arts!

all art students and profs should have to read this
The author details art instruction through the ages and discusses the question asked in the title. Art and artists would be so much better thought of by society, and art istself would improve, if the ideas in this book were taken seriously. It is a DEEP book, not for casual reading.

Insider Conversation
Chatty and irresistable, rather than being the harsh polemic that the title might suggest, this volume is a multifaceted discussion of the issues involved in teaching and studying art in a studio environment. Anyone who has ever lived through a studio critique will find the book hard to put down. Like Elkin's earlier work, "What Painting Is," it will make any art-student readers wish that they could study with him at the Art Institute of Chicago.

Despite the provocative title, Elkins has very little interest in transforming arts education. Rather, he wants to point to both the virtues and the pitfalls of critique-based evaluation, and to get both teachers and students to appreciate just what a mysterious and irrational process it is to attempt to teach/learn the studio arts.

The author is an insider speaking candidly for other insiders -- the audience for this valuable and intelligent essay may not be huge, but within that group, it will stimulate many electrifying conversations. ... Read more

Reviews (8)

Lots of hidden jewels in the book
A wealth of information at your finger tips from some of the greatest watercolor artists of our time. There are enough practice exercises to keep you busy for many many months. Everytime I pick it up I discover something new that I had overlooked before.

Wondeful book for beginers
My experience with water colors is not broad. In fact, I just picked up painting with water colors. I found this book to cover most everything I needed to know. The book discusses paints, paint quality, demystifies the selection of paper, and spends a good deal of time on technique. The book also has tons of exercises to help you better your skill. The projects are interesting too. I liked that they used a variety of authors to discuss things, as different people have new perspectives and experiences to share.

If I could have only one watercolor book, I'd want this one!
A collection of how-to-do-it articles by many famous watercolorists. What makes this book special is the wide spectrum of approaches, from the traditional to the experimental. It's got everything from selecting material and preparing paper, theory and practice of color (selecting, mixing, schemes), basic painting techniques, collaging and less traditional techniques, artisitic principles (value, composition),perspective, and painting of textures, landscapes, figues, flowers, and special effects. Great for beginners and more experienced painters. It's simply the best, most comprehensive, watercolor book.

Unveils a Fantastic World of Possibilities in Watercolor!!!
If my experience is typical, then most beginners watercolor havent the slightest idea what an amazing range of visual expression is possible with watercolor...even with a novice's palette of nine colors.

This wonderfully illustrated anthology of techniques provides both inspiration and instruction. Starting from the beginning, with tips on choosing paper, brushes, paint, and which colors to use to set up a novice, intermediate and advanced working palette, the book then moves on to cover hundreds of well-illustrated micro-lessons in watercolor techniques. These lessons are organized in sections:

Color
Basic Painting Techniques
Textures & Special Effects
Collaging & Other Unusual Techniques
Artistic Principles
Perspective
Landscape Painting
Figure Painting
Flowers

Each section has 15 - 30 lessons, each of which is illustrated with color photographs and good text instruction, and often with a series of photographs to show how the artist progresses to achieve the desired effect.

This book shows there is a wide array of special techniques and effects that can be achieved in watercolor that you could never dream of in acrylic or even oil.

A Great Reference Tool for the Intermediate Artist
This book is a wonderful technique book, not a project book. This book shows you the actual mechanics of how to accomplish many varied techniques. It also has a lot of information about good design and color usage. ... Read more

Reviews (2)

If not this book, what else?
As the title of the book stated, "Legal guide for the VISUAL ARTIST", the book covers information that is aimed at VISUAL artists, including photographers, painters, printmakers, designers, sculptors, illustrators, textile designers, cartoonists, and craftspeople. Wow!

Wow, all right. That may be the reason some artists may have found the book full of legalese. In my humble opinion, this is a must-have for anyone that claims oneself to be one of the ones listed above. If not this book, what else?

Starting from the minute one decides to have some "interaction" with other human beings regarding the making (or selling) of one's art, this book is of big help. For instance, an artist may decide to hire a model to paint a picture, this book will guide him/her how to prepare a model release form in order to guarantee the artist benefits of the painting created, without problems such as violation of privacy in the long run. This book is also a critical line of defense for the artists in dealing with copyrights, ownership, insurance, and tax income, etc.

My guess is that if one is simply an artist, one would read through the book (or at least sections of immediate concern, for instance, a painter would not have to worry too much about sections for photographers) and scan through the whole book for information. As far as using the book on a regular basis, I believe by frequently reviewing relevant sections, as well as making use of sample forms provided in the book, any visual artist will find this book an indispensable tool for his/her art making/selling process.

Strongly recommended.

Best/Clearest Guide, Best and All-Inclusive Forms
I've bought several books on this issue and am most impressed by the quality of the information here -- it's presented clearly and fully, and includes the best forms I've seen available outside of the legal field. As I'm an ex-paralegal, I find the language of the contracts undertstandable; many of my artist friends seem to think that they are still too filled with legalese, but that's contract law and sometimes necessary. That's the only reason this book gets a 4-star and not a 5-star rating.

I'm buying my own copy since I basically trashed the studio's copy -- it's helpful enough that you'll use it on an ongoing basis. ... Read more

Reviews (2)

Oh I wonder what that means
Delve into the mysterious world, behind the scenes of symbolism.

Discover the true meaning of those curious and cryptic details
in the bizarre paintings u ponder during your latest art expedition.

This reference volume gives a more indepth explanation than many,
often the better part of a page in length.

Listed in alphabetical order, they are also cross referenced.

Excellent. Must buy!
Author: Lee Sandstead

Most great works of art are narratives or allegories that relate a story, myth, legend or particular concept, but in our era of pathetic education, most people are not familiar with the stories from Antiquity or the Judeo-Christian heritage that are necessary to decipher those narratives or allegories. The "Dictionary of Subjects and Symbols in Art," by James Hall, is a dictionary that defines the major subjects and symbols of western art. It contains numerous explanations of legends, myths, symbols, heroes, heroines and citations that show, if applicable, their original source in historical texts or literature.

In Jacques-Louis David's "The Oath of the Horatii," we see three men reaching their arms out to an older man raising three swords. To the right of them are women and children on the floor in anguish. If you are not familiar with Livy, Plutarch or Pierre Corneille's play "Horace," then the story will probably escape you, and you will be at the mercy of the title for any information regarding the painting's subject. But by having the "Dictionary of Subjects and Symbols in Art," you can read about the Horatii as a subject. For instance, you will learn that the legend is recounted in Livy and Plutarch; that the three men with raised arms are brothers; that the elderly man with the three swords is their father; that the action being preformed is an oath taken by the brothers to defend Rome by killing three of their cousins; and that one of the women on the ground is married to one of the fated cousins. By knowing this factual information, you can discern the theme of the painting-one should sacrifice all for the State-and be able to judge the painting not only for its style, but also its explicit message.

I believe that everyone should have a copy of this book in their home. Personally, it has enabled me to garner more meaning, more value and more passion out of my favorite works of art.

Best,

Lee Sandstead ... Read more

Book Description

Galleries, dealers, and artists' reps who need to understand the law to deal successfully with business issues faced every day in their field can rely on this dependable, updated edition for complete guidance. Written by an esteemed arts lawyer and lecturer, the book covers all legal aspects of a gallery business from trademarks and copyright to contracts, consignments, taxes, product liability, advertising, catalog sales, and customer relations saving the reader thousands of dollars in attorney's fees. The author also advises how to find a good lawyer if one is needed. ... Read more

Amazon.com

Rather than a project-driven craft book, Collage Techniques is an exciting presentation of the medium as a fine art. From the famous practitioners (Matisse, Picasso, Hockney) to the many accomplished artists represented throughout the book, the images are stunning, sometimes startling. A thorough coverage of materials, supplies, and basic methods lays the groundwork of the first section; chapters then focus on various types of papers, fibers, photographs, and technologically enhanced imagery that can be incorporated. The second section explores design considerations for various subjects (still lifes, landscapes, human figures, social commentary, abstract imagery, three-dimensional works). There are no step-by-step objects here, but instead an amazing collection of work that utilizes collage by bringing together painting and sculpture and provides colorful, inventive, thought-provoking inspiration for experimenting with the medium. ... Read more

Reviews (5)

#1 COLLAGE BOOK!
This is a fabulous book on the collage medium. Everything is
thoroughly covered from collage history, technique and
guidance for design, etc. This book will also inspire
you with its fine examples. I am very pleased with book
and highly recommend it to others.

Add me to the list
I ordered this book after reading reviews of collage books.
The praise of this book, I find, is well deserved. It comments
on many techniques and provides examples with color photos.
I feel I can take off on my own now, and don't need technical
advice, even though the book is not a technical read. A good
addition to anyone's bookshelf.

A Beautiful Overview of Collage
I had heard that Brommer was a highy respected collage author and teacher, so even though I am not an artist or illustrator, I figured that this book would be a good one for me to have. I was right!

Brommer covers almost every facet of collage art, beginning with its history/background, progressing to the various collage techniques, and also elaborating on the materials used to create collages. These materials include painted papers, Japanese papers, found objects, photographs, etc.

Rather than a how-to book, this is a book that presents many finished pieces in all their beauty, and explains how they were done by these very accomplished artists. It is a terrific resource and a lovely addition to any art library.

Great for inpiration and ideas, wonderful varitey
This is a great book for any collage artist looking for inspiration and ideas. It is packed with a wonderful variety of collage examples and techniques.

The book starts out with some brief history and attitudes toward collage. Then the author explains materials and tools. This includes an overview of papers, adhesives, surface media and finishes. Basic collage techniques are also covered.

In the next section you are shown numerous collage pieces using a wide variety of materials including washi, stained, prepared and found papers, photographs, fibers and fabric. Concepts are discussed from the point of view of both technique and subject matter. Although not a project book per se, there are a number of examples of artists working in a step by step sequence that can be followed.

Design elements and principles including line, shape, color, texture, unity, variety, balance, emphasis, pattern, rhythm and contrast are covered. The book wraps up with sections discussing specific subject matters such as still lives, flowers, landscapes, people, social commentary, architecture, abstract and three-dimensional pieces.

Paper suppliers are listed in the back. While suitable for a beginner, this is a great intermediate level book with much to offer for those with some collage experience as well.

This is a "must read" book for the beginning artist!
This book gives encyclopedic information on collage and art principles, and other artists as well. There are step-by-step demonstrations,that are easy to understand, yet there is enough advanced techniques for the experienced artist. Well worth the price, and inspirational. ... Read more

Book Description

Amedeo Modigliani (1884--1920) is one of the greatest-and most misunderstood-artists of the twentieth century. His incisive portraits, erotically charged nudes, beautiful drawings, and primitivistic sculpture have been admired for decades. Modigliani's work, however, has typically been examined in the limited context of his so-called "bohemian," anti-intellectual lifestyle. This groundbreaking book revises this approach toward Modigliani's art, presenting a convincing revisionist examination of the unique historical, social, religious, and cultural significance of his oeuvre.Modigliani: Beyond the Myth looks at the artist and his art from a variety of important perspectives: his proud heritage as a Sephardic Jew, whose spirituality embraced non-Western, classical, and Christian iconography while retaining his own ethnic identity; his critical engagement with the dialogues of the most radical of his avant-garde contemporaries (Picasso, Chaim Soutine, Henri Matisse, and Brancusi); the influence of tribal art and Judaism on his portraiture; the representation of the female nude in his works from a feminist cultural perspective; and the remarkable reception of his work in Italy during his lifetime. Lavishly illustrated and including a detailed chronology of his life, this fascinating book situates Modigliani anew in the history of twentieth-century art.BACKCOVER: ... Read more

Book Description

Follow the advice of this thirty-year veteran of world-renowned publications, and you will forever remove your newsletter from the junk-mail pile. Numerous examples of the best newsletters from around the country are shown, each highlighted with interpretive text. ... Read more

Reviews (3)

Useful
This book is very useful and I use it as a guide when producing newsletters for my campus. The author's tone is a bit high-handed but the information is invaluable. There are examples of styles and set-ups for very fine standard styles. Not anything cutting-edge in it, though. The author is thorough in language useage and styles. Lots of what not to dos in here.

Really old book
This is a good book with lots of tried and true design tips, but if you're looking to redesign your newsletter and give it a "current" feel, be forwarned: this book is almost 10 years old, and the sample newsletters they feature show it. I think it's a good book, but given its age it should be cheaper.

Excellent Source for Designing a Polished Newsletter
With this book plus "Producing a First-Class Newsletter" By Barbara A. Fanson, I learned everything I needed to know to produce a very polished redesign of the monthly newsletter for my company's customers. Well worth the money. ... Read more

Book Description

Harley Brown offers artists his "truths" for painting success-the stuff he hopes they teach in art school.A well-established artist, Brown has gained a large following with his frank, no-nonsense approach to teaching art.Twelve knock-out chapters include:

*What every artist should do first.Harley's own cheap and dirty way to start painting.

*Composition-who needs it?See why most paintings are boring.And why a few will knock your socks off.

*Working with color.Stay miles ahead of the person who skips this chapter!

*Going on from here.Your greatest obstacle isn't skill... it's attitude.Plus, 30 magic solutions to common problems, 15 things to leave out of a painting, 24 painting sins and much more!

Supplementing Brown's advice are more than 10 step-by-step painting demonstrations in oil and pastel.His unique offerings are sure to enlighten and entertain painters of all skill levels and backgrounds. ... Read more

Reviews (14)

Probably the most helpful art book I've ever read!
In this book don't expect to be taught every technique for every medium. No, that's not Mr. Brown's goal at all. Instead he's going to share the things that make a painting more interesting, more full of life and quite simply 'work' in a way that draws the viewer into the art. I've been amazed as page after page has been loaded with things that I never knew - that no one ever told me before! - even though I've read dozens of books on technique and have taken classes. These are the eternal truths of composition, dominate tone and color and the list goes on. I can tell that this will be a book I will refer to endlessly throughout my journey as an artist.

One of the best "how to" books on art I've read
Well, I'm only up to page 39, but I can tell that this is a gem of a book. Harley Brown is an award winning artist that works mainly in pastel--and is very opinionated in a wonderful way. Lewis Lehrman, and artist himself, is a seamless writer--bringing out the very best of Harley Brown's personal teaching style.

Though Harley Brown works mostly in pastel, the book doesn't dwell on specific pastel techniques, instead it addresses major issues of design, color, composition and lots of other wonderful "eternal truths"--Actually, I wouldn't call them eternal truths, just the "doink" I knew that, why don't I take that into consideration when I paint! I work in watercolor and find what I've been reading to be invaluable. The section on color alone is worth the purchase.

If you are just beginning, some of the content may not be of value, as beginners are just learning to be comfortable with their mediums. I wouldn't get this book if you're looking for specific art techniques. This isn't a painting 101 type book, its more a graduate level type course. Don't get me wrong, even beginners could learn from it, it has been designed so well. But if you are an intermediate painter, or even an advanced painter, looking to rethink your methods of creativity and trying to push yourself to the next level of creativity--this really is the book for you.

The writing style is refreshing, with two different colors of text, the black being the formal, complete sentence descriptions, the red is the humorous and short--but meaningful re-interpretation. Then there are little tiny footnotes at the bottom with very personal asides and running up the sides of the page, in the margin, inspirational quotes. Its pretty neat, definately something to read over and over again, and in short, about the best "art how to book" I've read. Its almost like being in the same classroom with the authors.

Great tips
There are some good tips. It is like a classroom. You just take it a step at a time. So, you gotta be patient and have to time to try out some of his techniques.

Reviewing the Reviewer
I feel badly that the "reviewer from New York," found this book slightly disappointing. Perhaps he doesn't know what to look for because the wealth of information in this book is beyond most others. If we look hard enough we could find fault with virtually everything. I like to see the positives in life. I'm sure Harley Brown doesn't worry about the nitpickers of the world, but I want to have a go at this one.

A. He's disappointed that Harley Brown is "heavily slanting his own work towards classical." Does the reviewer not think that it's Mr. Brown's right to paint and think as he pleases? The title does say Harley Brown's Eternal Truths and not Sam Black's.

B. He complains that watercolors and acrylics are not mentioned in the book. Once again, he missed the title of the book. It's TRUTHS, not techniques in watercolor and acrylic or oil. There are plenty of those technical books around. I suggest he get them. TRUTHS apply to all mediums of art.

C. It would appear that there wouldn't be enough room to go about describing, "paints, mediums, glazing, scumbling, mizing colors, choosing a palette,etc" as the reviewer had hoped. As for me, I'm thrilled that Mr. Brown kept his comments to the elements of good art.

D.The reader warns us that Mr. Brown is "focused on realism in his paintings." That's pretty evident from the covers alone. Keep your focus, Mr. Brown.

E.We are also told by the reviewer that Mr. Brown doesn't think much of "abstract impressionists." I've never heard of them; maybe he means "abstract expressionists."

F. Another quote, "He, (Harley Brown), is also against working from your imagination since inevitably you'll get things wrong." If one really reads the words in the book, what Mr. Brown means is the problems of working from memory instead of going directly to the source. A world of difference. From this book, Mr. Brown urges artists to use more of their imagination.

G. This reviewer notes that Mr. Brown is "opinionated." Don't we buy books to get an opinion?

H. Personally, I was so taken by the book that I didn't notice, as the reviewer did, "a few editing mistakes."

I. I must compliment the reviewer for the many good things he did say about the book. After all he gave it four stars out of five.

J. Another person writes that Mr. Brown is her "favorite artist and author." It turns out that the vast majority of people agree with this lady. They were able to find the great wisdom and art flowing from this book's pages. I'm one of that bunch.

misleading title, lacks depth and objectiveness
Artists working in a figurative, representational way, especially if they work with pastel and need some advice for portraits and figures (in my opinion, the other subjects done by the author are less convincing, artistically speaking) will probably find this book usefull, even though I would rather recommend "Painting beautiful skin tones with color & light in oil, pastel and watercolor" by chris Saper in this case. For the others, be aware that you may be disappointed and not find the treasure of universal "truths" within the book, as the title suggests. In fact, I don't think there are something like "eternal truths for every artist". Just compare the work of Arcimboldo, Vermeer, Miro, Mondrian and Klimt and then we are just talking about painting... Many of these "truths", for example about edges to name one, work for M. Brown's type of work, but may not always be applicable for example for abstract art. This kind of book would have gained a lot if the author had discussed the paintings of other artists, especially those from a different "school of thought". In this respect I would say the book's style is too dogmatic and lacks some sense of humility and nuance. Art has more to do with originality, emotion and the expression of one's personality than with craftsmanship, for example the quality of a drawing. Of course it is very useful when other artists are willing to tell you some tricks, as long as these "tricks" are recognised as such and are not given the status of "universal truths" applicable to every piece of art in every movement of art. I bought this book based on the reviews because I thought it would be motivational, but in fact it had quite the opposite effect, because my kind of work(ing) is just too different from the one described in the book. Still I gave this book a 3, because the book is nicely illustrated and presented, introduces concepts like value, composition, edges, etc.
So, if you are working in a figurative, realistic way with pastel, have acquired a certain ease (because the book doesn't always explain the "how-to" part of the things, for example, when merely presenting soft and hard edges, but not telling the different WAYS to create soft edges with your medium), if moreover you have had art classes or work shops (because at some points the book presupposes an academic background which autodidacts lack, without them therefore being "beginners" in their artistic expression!), but if you need strong directions to progress, this book may work well for you and actually disserve a 4. If your work is of a different kind from that of the author, and if you usually prefer to confront different points of view in order to define your own, you may remain disappointed by the content of the book (as compared to the promising title)and the unilaterality of the speech. One book that overcomes this risk of one artist overrating his way of expressing art as the only one being right is "design & composition secrets of professional artists" by "international artist", where 16 painters of different backgrounds and styles explain their way of working.
So, with a more appropriate title, with an index (to facilitate looking up specific items), with a less authoritative and clear-cut way of presenting things and with more "practical" tricks to put the concepts immediately into practice, and with a more "scientific" way of approaching a subject and constructing a book,the book would have got a 4 or 5. ... Read more

Book Description

Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology. Illustrations: 281 b/w illustrations ... Read more

Reviews (4)

Arte y Percepción Visual
Este es un libro de cabecera para los que de quieran dedicar a las artes visuales, desde los arquitectos hasta los pintores pasando por los diseñadores. Arnheim es uno de los pilares de la Bauhaus que permitieron que los conocimientos artisticos se establecieran científicamente. Se basa en los conceptos de la Gestalt para aprender los distintos fenomenos de la percepción.

Science meets art in Gestalt theory
Rudolf Arnheim is one of those rare and exceptional thinkers gifted in both the arts and science, in this case the science of psychology. This book is about the relation between psychology and art. Its value will be immediately recognized by artists, as well as by those who are interested in how the mind makes sense of the visual world. But the most interesting and valuable aspect of this book is its implications for psychology. The Gestalt theory on which Arnheim's approach is based is a minority view in contemporary psychology, but it is a theoretical viewpoint that is destined for a renaissance. For Gestalt theory recognizes the holistic, emergent aspects of perception, which are so difficult to account for in terms of contemporary neuroscience, but are so clearly evident in the laws of artistic composition. Although this book was originally published in 1954, I believe it is only a matter of time before it receives the recognition it deserves as an invaluable contribution to psychology, as soon as psychology has the wisdom to recognize it as such.

Not an easy read, but extremely valuable
Although the book isn't quite the easiest to read, the information within is crucial for photographers and painters.

This text is quite comprehensive.
As a beginning painter I have found this book quite useful. ... Read more