Artists Books

This is a great book for budding art students. I used this as my reference in my art classes in college. Very detailed and full of information. Even if you are not a natural artist, you will be able to develop your skill if you have a good guide such as this.

Physics is a science that deals with matter and energy. Physics includes light, prisms, luminosity and color. In his book, Color Theory, Jose Parramon discusses the primary colors of light and the primary colors of pigments. Parramon's primary pigment colors are correct according to the laws of physics. The harmonization, contrast and shadows of color are intriguing topics. The Uses and Abuses of Black and White are worthy of notation. Parramon uses prussian blue, a fugitive color that disappears when paintings are stored in the dark. The Impressionists substituted transparent cobalt blue to replace transparent prussian blue. This book has excellence. Use Parramon's Color Theory as a reference for further study.

Pocas veces se encuentra un libro sobre teoría del color tan sencillo y práctico como este, tiene la teoría básica del color luz y color pigmento así como la teoría de los complementarios, y también ejemplos que pueden llegar a ser ejercicios de aplicación

I paint landscapes in oil for a hobby. The other day, while cleaning all my paint tubes, and while looking at the names of the colors, I began thinking about them. I then found I had José's wonderful book on my shelf for several years, still unread. I picked it up, and found I literally could not put it down. For an artist, this book reads like a "thriller!"

One of the things I liked best about the book is that it is not necessary to read it in order, from beginning to end. I turned first to the section on shadows, as shadows are an area I am currently having problems with. José explains EVERYTHING SO WELL, and CLEARLY. When he refers to matter already covered in an earlier section of the book, he clearly states the page number, where you can go back and refer to that section. His treatment of shadows is typical of how he addresses each subject in his little book.

José opens the chapter with a brief discussion of what Van Gogh once said about shadows, and discusses how artists currently view shadows as blue; whereas, at one time, they were viewed as similar to Van Dyck brown, or burnt umber. He explains how the post-impressionists discovered that the basic color of shadows is blue, and he devotes an entire lesson to actually showing us how that is so. Next, he devotes a second lesson to understanding the local color in darker tones, which he also points out is somewhat reminiscent of an old master's painting. In the first lesson, he gives us a sample still life painting, all in shades of blue. In the second lesson, we see the same still life painting, where the shadows are not made with blue, but only by using darker tones of the local colors. The third lesson deals with the complementary color of the local color. Here, we are given a third example of the still life, painted this time in complementary colors, which are used as shadows. José also points out that the still life now looks very much like the style of some paintings by Toulouse-Lautrec, Cézanne, and especially Van Gogh, with the contrast originating from the juxtaposition of the most opposed colors, of highest contrast. He is not advising us to paint like this, only to help us understand. The fourth lesson in the chapter deals with the finished painting. We now see the same still life painted correctly, with proper use three types of colors in the shadows: blue, the local color in darker tones, and the complementary of the local color. As José carefullly guides our eye through each step of the process, we now really understand what he wants us to see!

I then read the other chapters, in order from the beginning. One of the best discussions dealt with looking at various landscape scenes (shown in photographs) and how each painter asks himself, "What color is it, actually?" He then takes us through a whole lesson, showing us his own thoughts (and sometimes, confusion) as he paints the landscape, trying to decide what color each thing is. This really helped me see that every painter is going throught the same thought processes, and having the same problems that I am.

I have several unfinished paintings I am still working on, and yet, after several years, was unable to determine, by looking, just what the problem was. After reading two-thirds of this book yesterday, I looked at my paintings this morning, and can see the solutions immediately! Now I finally know what to do. If only I had found this wonderful book sooner!

I was pleased to look on the back cover and find that José, himself, has written a number of other art books in this series, dealing with many other topics. So often in a series, each book is written by a different author. José is such a wonderful art teacher that I am delighted to see HE has written all of them. I intend to purchase several more of his books, as soon as I am able.

Although oriented toward oil painters, Jose Parramon's color theory book is enlightening and informative for anyone who wishes to understand color. He explains the theory very simply and clearly, illustrating concepts with pertinent color examples from oil painting.

As a photoshop instructor helping my students understand color both on screen (made with light) and in print, and as a photographer seeking to capture harmonious images, I found the book to be very helpful in clarifying my understanding of color. I was pleased also to learn about the color of shadows, and how colors cast their complementary color onto neighboring objects - knowledge that helps not only with painting but also in regard to touching up photographs.

Anyone in love with and charmed by the beauty of France (as I am) will love this book. The illustrations are absolutely lovely.

Already in love with Margaret Hall Hoybach's painting style, I should have known that once I opened her book, both the words and the brush strokes would carry me, faster and faster, through to the very last page. Margaret enables the reader to see, hear, smell, taste, and experience her weeks traveling and painting across France.

It's 10:30 P.M. and I just finished Colors of France: A Painting Pilgrimage. I couldn't put it down---the book is a phenomenal experience. The reader journeys with Margaret while Joan's text flows from Margaret's perceptions. Both women are exceptionally talented. This is a wonderful book.

Feasting and fasting, reflection and spontaneity, fellowship and solitude - all the elements of a pilgrimage are contained in this intimate account of Margaret Hall Hoybach's journey to paint Monet's gardens. Her sketches and paintings convey the wonder of her journey. Joan Brown captures the creative spark that propels an artist forward and the moments of conversion that await those willing to embrace their dreams. Colors of France is filled with rich, inviting textures arrayed for any traveler, regardless of destination. Hoybach's willingness to share her experience leads me to examine my own path. A good book to share with a friend.

I very much enjoyed this delightfully personal and emotional journey through the backroads of a France not previously known. The beautiful illustrations by one of my favorite artists gave the reader vivid images of this gorgeous landscape. For a non-artist, it was especially interesting to experience the journey through an artist's eye...an artist very worthy of the invitation to paint Monet's gardens. The book is a wonderful collaboration by a gifted painter and a talented writer.

Like a lot of people getting into visual effects, compositing, motion graphics and the like, I'm self-taught. Plenty of books and tutorials and trial and error, but no formal instruction. This book serves as a formal resource to help fill in the gaps of your own self-education.

"Compositing Visual Effects" is definitely as beginners book, covering the absolute basics of electronic imaging. Things like frame rates, aspect ratios, bit depths, film formats and elementary compositing techniques. Topics you may have a working knowledge of, but don't know the finer points of it all. Wright explains everything at the most basic level, giving us a more solid foundation to build upon.

I can personally say now that knowing the actual math that goes into a certain blending mode is much more helpful than just trying them all out and guessing at which one I should use.

Wright also takes us through some of the basic tasks a compositor faces (dust removal, color correction, etc...) and overviews the steps and thought process to take to accomplish them.

Again, "Compositing Visual Effects" is beginners book, although a very thorough one. After reading this book, I can't say I know all that much more than I did before. But I am sure that now I know it all better.

All I can say is that my project fees have tripled by adding motion graphics and using an ipod Touch to show clients the completed video segments to seal the deal and get a check in hand for such profesionalism.

Great book for anyone who wants to get an understanding of Visual Effects.
Steve Wright's book explains a lot of techniques that are used on many films today.

This book is valuable because it gives the reader a solid foundation in a straightforward and fun way. I read slowly and it still felt like a quick read. Readers with a background in motion graphics (for example Flash or After Effects artists) who don't think of themselves as "compositors" will probably take away much that can improve the quality of their work. The author does a particularly good job at explaining the structure and attributes of digital images. The writing is precise and well edited. From learning the basics of color correction, to gaining a working knowledge of video and film workflows, the book delivers. It comes across as an industry veteran who likes what he does, giving "Aspiring Artists" a simple and strong foundation. Well done!

I had originally wanted to get Steve Wright's other book, Digital Compositing for Film and Video, Second Edition, but read another review of this book make mention that it is geared more towards a beginner. At first, I thought this to be what I needed and when I got the book and scanned through it, it just seemed like an overview of the variety regarding compositing. I was a bit disappointed, until I started to peruse through more thoroughly.

What I liked (and am liking) is that it is geared towards more of a primer in the sense of the fundamental operations involved in digital compositing. And ironically, it was also what I did not like. I expected to have a more thorough or at least a methodical approach (not necessarily step-by-step) towards teaching basic compositing principles. That is what the aforementioned book describes. (And I say this based on the Table of Contents.)

So, I give a 5-star review to let people know that if they want to get a handle on "essential" concepts, that is easy to understand and comprehend, then get this book. Even if you have no interest in making movies or working in a VFX field, this will be a fun read to see the tricks the pros build upon to create some truly imaginative results. However, if you know what bluescreen compositing is, multi-plane compositing, premultiplication, etc., then this book might be redundant for you.

Once I'm done with this book, though, I'll be moving onto his other text and will be better prepared to absorb more detailed techniques.

Rigorous research of police archives regarding murder cases ocurred in Paris in the 19 th. century. Every case is written in a narrative style that captures the reader form the beginning to the end. This is the best book I have ever read as a journalist and crime investigator. Black and white photographs compiled in this volume are unique.

Raw real life photography, if you have a weak stomache then this
book is not for you. If you think crime is bad today this book will shock you, black and white images of death from the late 1800's to the very early 1900's. This book, though, is a must-have for the true crime buff. Whether it be for the photos, or the stories of how the people were found and how they passed. I can usually look at shocking photos, but this book made me feel like the other photos were nothing, compared to these. If you want a real conversation piece AND a piece of history buy this book. The positions of some of the people are disturbing.

This is a very disturbing book, with some extremely gruesome photographs of real-life violent crime scenes and murder victims from Paris around a hundred years ago. The author gives us the fascinatingly tragic and horrible stories behind the photographs, showing us that fact is sometimes stranger and more disturbing than fiction. From the murder of a courtesan to a limbless torso found in a suitcase floating in the river, to an infant neglected to death by his own parents, to an old bag lady found strangled in the bed of her run-down shack, to a waiter who killed a fellow waiter, to a dead body incinerated to hide its existence,--these were all well-publicized sensationalistic crimes which filled the public with titillation, fear and dread. This unique book is simply a must-read for anyone interested in criminology and the "true crime" genre.

David Rehak
author of "A Young Girl's Crimes"

I truly agree with some of the previous reviews,but let me give you an opinion on someone who knows crime photography well.this book is so well organized as far as text, bescause of the fact that it gives you complete stories behind the photos,plus early crime photos that are magnificent as well as tastefull,(believe me,I've seen some that are much worse,but still very intense photos),makes this book one of the best and most tastefully done works on crime photography I have ever owned!It's not a gore book relying primarily on shock value for it's saleability.Although the only thing it does'nt include is photo type reference,although they are all dated.Take it from a collector of early crime photography,this book is truly a gem!

If you're not interested in crime, homocide, early criminological studies, or Paris or have a delicate constitution, don't read this book. However, if these things fascinate you, pay as much as the seller asks because this is a good one. The photos were discovered in Paris by Eugenia Parry, a photography scholar. The photos she found were old Bertillon photos of crime scenes in Paris. Ms Parry then matched the photos to newspaper reports. Some are grotesque, all make you catch your breath: this is what we do to oneanother. Twelve years later came WWI, the trenches, artillery, machine guns and gas. The acts described in this book were not so efficiently conducted. This is a book you won't easily forget.

although this is a great book at a great buy, the shipping took about a month. this book seems to have a low avaliability so if you can just go the the local book store and buy it instead.

I really enjoyed this book even though it doesn't really have many words in it at all. I really like the art for Evangelion and also the other series in here as well. I also found out that Yoshiyuki also did a few album covers for some famous American singer. This book features the art of Neon Genesis Evangelion, The Wings of Hominese, and a two more I am not very sure about. This book is just a must have for anyone who likes anime and Yoshiyuki Sadamoto. I absolutely love his work because of the way it is portrayed on paper with cg, and water color. Not only that it is also because I have something that is from one of my favorite series (Eva). He is a great big insparation to me and I know what the truck I am talking about because I am a fellow Anime artist as well.

The artwork of Yoshiyuki Sadamoto is simply amazing to behold. One cannot help but be moved by it. Even Eric Clapton, who'd never seen Sadamoto's anime designs, was impressed, and asked Sadamoto to design the cover to his Pilgrim album, the art for which is found in this very collection.
It's gorgeous renderings of his work from Evangelion, Nadia, and Wings of Honneamaise, as well as some original pieces created for this collection.
It's a beautiful collection, well worth picking up.

Given one glance through this book, otaku or not, you'll find yourself immersed in this man's art! Not to be underestimated, and most importantly, to be appreciated by all, this book gives new meaning to the term Art Book.

Wow! Almost every single page has a full-color, full-page painting. No tiny thumbnails, no rough sketches, and very few works that spread across the spine. Among art books (whether English or Japanese), this is very rare. A majority of the pieces focus on Evangelion, but they are so beautiful that anyone could appreciate them even if they had never heard of Evangelion. The other works, on series like Nadia and Fatal Fury, are just as nice. The large format makes it even easier to admire. I own over 150 illustration-art books in several languages, and "Der Mond" is definitely on my essentials list.

We are very lucky that an artbook as great as "Der Mond" has been published in English, at a reasonable price. Be sure to pick this one up before it goes out of print.

I am a crazy dog lady. I admit it. I can't pass a dachshound without stooping to say hi. My husband and I have even been known to park our car down the block so that we can casually stroll down the street and "accidentally" make the acquaintance of a sprightly-looking corgi or retreiver. Pathetic, we are, completely pathetic, but we absolutely don't care.

Anyway-- this is The Pathetic Portland Pooch Lady's favorite dog book ever. You won't believe the illustrations until you see them. It's done like a sketchbook-- dozens of different images all crowding together with occasional splash pages or portraits. On a single page, you might see: a dachshund skeleton next to a wolf skeleton; a dachshund in a snowy landscape bravely facing down a boar; the same dachshund being carried off by the boar; and a light pencil sketch of the dachshund staring at a hedgehog-- "the only game I ever saw him corner," according to Poortvliet.

The book's other great strength is its honesty. It's screamingly funny at times, and of course, some of the pictures are real heart-melters, but there's nothing posed or plastic about it. Poortvliet gets all his laughs, and all his tears, from dedicated and truthful observation, and from mastery the arts of storytelling and illustration.

In other words, buy this book. It's a treasure.

The art is astohishing (as always with Poortvliet) but the book itself is a warm and sincere approach to the meaning of dogs in our lives. It is not technical or scientific but is a powerful read to dog lovers around the world.

I'm an animation artist whose medium is pen and pencil, and for me, Rien Poortvliet is hands down the greatest artist of his kind of the last 50 years, easily. Famous(almost too much so-eclipsing these other, superior and more personal books)for the "Gnomes" series of books of the 1970s, he was a man of amazing talent, terrific humor and also great humanity and sensitivity. Any of his books are worth having; this title, "Dogs" was the first I discovered, and it's also one of the very few easily available at this writing(9/05). Here are studies of many, many breeds of canines rendered in luscious oils, stunningly--but even better is the rest of the book: Poortvliet's own, intimate life experiences with dogs, a kind of illustrated diary done in pen, pencil and watercolor washes--absolutely brilliant. You'll meet and love Rien's dogs as he did, and if you've any interest or care for dogs at all this will likely become your favorite. I'd recommend this over any other coffee table or "art" book for dog lovers(I can't conceive of anyone not savoring this)...and for artists--! Wow. An absolute treasure trove of quick gesture drawings, studies and attitudes of both dogs AND people--as well as any other animal Rien feels like writing about and sketching--and there are plenty of them. This will teach the interested artist more than dozens of "how to" books of painting and drawing techniques could hope to do. Don't hesitiate--order it now.

This is a wonderful, heart warming story for all dog and animal lovers. The art work is beautiful, worthy of framing. The authors connection with dogs comes through loud and clear as you read the story of losing a fur covered child to finding another companion, not to replace but to continue lifes journey with. Great book for all the right reasons.

The drawings tells you that the author has many wonderful feelings for his models persons, animals and simple living in the countryside. Just great, it even sometimes makes you feel like crying.

Our 3 y.o. daughter is obsessed with the movie 'Cars'. One night on a shopping trip I brought this book home on a whim. Not a single bedtime has gone by since without reading this book. She loves it so much that she wants desperately to learn to read it for herself. She even recognized the word 'McQueen' repeated throughout the book and reads that word on her own now. The book is already well loved and dog eared but standing up to it all.

The pictures in the book are hand-drawn and give a high-level overview of the story. It skips many of the details in the movie but my daughter doesn't seem to care very much about accuracy, detail or that it looks different than what's in the movie.

We've read hundred of books to her but none have sparked her interest quite like this. I don't know if it's timing because she's getting older or the tie-in with the movie. I don't care even if it seems over-commercialized. Whatever keeps her interested in reading is what counts. I'll surely be buying more books in the series.

Arrived ahead of time for Christmas. Purchased as a Christmas present for my grandson. He carried this book around all night. He loved it. thank you Amazon.

both my children and found this book to be a delight and very
fun to read. also the pictures were very colorful.
thanks,

debbie pollitt

My son who is 2 3/4 yo loves this story so much that we recite it at night. I tell parts of it, and he chimes in with what he remembers. The first few times we did it, he remembered parts I didn't remember! Very easy read. I wish there were more books like this! I do caution that it gives away the story.

My four year old really enjoys this book. I wouldn't recommend it older kids though.

very useful reference book for inspirational creativity.

There was nothing written on this true master of Art Deco metalware, and this book is as comprehensive as a book can be on an artist. Written with respect, admiration and love for the Art Deco style and the metal craft. Cannot be surpassed. Nothing missing, nothing redundant.

I am a practicing metalsmith of 35 years. This much needed book covers it's subject from every perspective. It will become a valuable asset to historians, collectors and craftsmen. My only critique is that Joan did not include a picture of Brandt's stamp and other ways of varifying his work from fraud.

The author has produced a comprehensive work covering this great Art Deco artist and the exciting era in which he flourished. Joan Kahr's tremendous depth of knowledge and understanding comes through on every page of this beautiful book.

This book is a "must have" for any fan of French art deco/art moderne style. It is beautifully researched and written. The wonderful photography only made me long for more.

It's difficult to describe why Bruno Bisang's images are so exciting when many similar books are dull and repetitious. I suspect that the photographer has a really deep sensual appreciation of beautiful women, and the results show on every page.

I like this book because you can see really nice shots, technically and artistically marvellous, but you can see others in wich you just see a really pretty girl.

I think is a book of nude and glamour photography, and I prefer just the nude. If someone likes glamour pictures, this is his book

...haven't seen a good book like this for long long time..!! As a freelance photographer, I'm truly impressed by Bruno's artworks, whatever from light setting to posing or from color to techniques, I am so impressed. However, I have fewer opportunities to take pics of nude models. Personally, I really like those B&W pics on this book and you won't be disappointed with it at book..!! Well, sorry I want to know when the second book comes out coz' I am looking forward to it..!!

This is my first Bisang Book, and I must say that I'm definitely impressed. I would recommend for anyone's collection who is looking for tasteful nude photography that can be left on your coffee table and not be ashamed for anyone to look through...

I've got an entire shelf of books on nude photography, but this is certainly one of the best. No "average people are beautiful too" here -- all the models are gorgeous and well developed. The pics are in both color and black & white, and usually take up the full page. Heavy paper, large size, tasteful clear photos, and gorgeous women. Fantastic.

This collection of color photographs of flowers by Robert Mapplethorpe is stunning beyond words. Just when you thought that nothing else could be done with the overdone photographing of Calla Lilies, Mapplethorpe graces this book with eleven new shots of them, along with Orchids, Tulips, Poppies and a Rose or two. It should come as no surprise to anyone familiar with Mapplethorpe's work that some of these magnificent color shots are quite phallic in nature.

It is appropriate that the artist selected flowers for some of his last work since he like flowers was here for such a short time. (It is futile to speculate as to how many beautiful books he would have published by now had he lived.)

A short but moving introduction is included by his friend Patti Smith: She ends her comments with lines:

"A flower that grew from years of flowers./By one who caused a modern shudder/and was favored by his mother./It is the wall that conceals all the tears of a relatively young man/with nothing but glory in his grasp and what he would be/grasping is the hand of God drawing him into another garden."

For those who will never afford a Mapplethorpe, this book is a beautiful substitute.

This book deserves more than five stars. It is the finest set of flower photography that I have seen before, and presents more dimensions of what a flower can mean that I would have thought possible.

I took a course of creativity from author Dan Wakefield a number of years ago. One of the many excellent exercises we did was to take a flower and write as much as we could about what we observed during an hour. At the end of the time, I was bursting with new ideas for all kinds of things. Try it sometime!

Seeing this marvelous book by Robert Mapplethorpe (that would earn a G rating if it were a motion picture) reminded me of that exercise. I had the same feeling as I examined each image, and had a great desire to start taking notes.

The essay, A Final Flower, by Patti Smith helps put these great works in perspective. Mr. Mapplethorpe found it "as easy to hurl beauty as anything else." "He came, in time, to embrace the flower as the embodiment of all the contradictions reveling within [him]." He was inspired by "their sleekness, their fullness, Humble narcissus, Passionate zen." As such, he found flowers to be "worthy conspirators in the courting and development of conflicting emotions."

The images themselves evoke more complicated views than any others of flowers that I have seen. The closest to his style is that which Georgia O'Keeffe used in her painings. But there are more dimensions to these photographs.

For example, a single flower may evoke a part of a human body, but it will also stimulate an impression of a human emotion contained in the flower image separate from the body part. Further, the shadowed background behind the flower will add movement and context that greatly expand the meaning of the overall image. Mr. Mapplethorpe also displays a genius for using varieties of color together to express complicated rhythms that make looking at the images a lot like listening to a drum beating a distinctive tattoo. He also employs juxtaposition (to make one thing appear to be part of something else), allusions to emerging and receding, and contrasts to great effect.

The technical quality of the images is superb. The lighting, detail, and composition of each image are precisely as must have been intended. Each image is an exquisite gem. Although I liked all of the images, some appealed to me more than others. Here are my favorites:

Irises, 1988; Rose, 1989; Orchid, 1977; White Longstem Flower, 1982; Orchids, 1982; Orchid, 1986; Flowers in a Vase, 1985; Orchids, 1987; and Poppy, 1988 (second one). I would like to specially praise the astonishing Calla Lilies (1985-1988) for their amazing beauty and inspiring qualities.

Where else can something simple display so much important meaning and complexity about nature and the viewer? I suggest that you consider looking at leaves, rocks, and feathers as possible additional sources of inspiration. Try your hand at arranging tableaux that use the vocabulary of Mr. Mapplethorpe's work here.

May your heart and mind be suffused with the wonders around you . . . creating a meditation inspired by nature!

While the photos are stunning, the presentation is a little rough. While most photos are presented with a blank page opposite there are a few photos that face other photos. This is a little jarring but worse is the two photos that are printed across the facing page. The spine break really detracts from a pair of beautiful photos.
Mapplethorpe was a genius with a camera and this book gives us many reminders of his skill. The publisher, however, lacks the artistic eye that would have prevented the distractions of a few photos that are damaged or badly placed by the layout. Minus a star because it could have been layed out better

Even though Mapplethorpe is better known for his controversial black and white nude photos, this book demonstrates his careful delicacy with not only the flowers but also the controlled lighting and the subtle colors. I have loved this book since the first time I leafed through it in studio photo class.

Unbelivable intensity out of such simplicity. Here is Mapplethorpe's ultimate genius, astoundingly powerful from such simple set-ups. The colour, composition, lighting, choice of vases and flowers: All the basics but brilliantly done.
I saw Mapplethorpe's famous exhibition in Philadelphia just before he died,the exhibit that was banned at the Corcoran in D.C., then siezed for a while in Cincinnati. The flower photographs were dye-transfer prints, which made the colour surprisingly intense; some were almost 3' tall. People would stand for a long time in front of those, enraptured, sensing the work on several different levels at once. This book does a good job of bringing that to you. You can look at this book over and over again, put in on a coffe table to start converstaions or, after having not seen it for a while, rediscover it to be awed and inspired anew once again.
The edition I have is a 1990 paperback 12" in height; the pictures are presented one to a spread, so that there is a blank white page accross from the flower, which is a very classy touch, completely the correct way to do it.