Artists Books

100 Days of Monsters is a fun journey through 100 days of artist Stefan G. Bucher's life. Each day starts with a great drawing of a "Monster," and includes stories and comments from many of his avid readers. Each monster is endearing in its own way, and Stefan's unique way of creating these characters, only makes them more endearing.
I highly recommend this book. Just think of it as a really good picture book for adults!

This is a great book. Very well put together. The little unexpected tidbits of an off the wall comment here and some all but hidden messages in the the fine print there make it not your everyday, ordinary book. This one is fun in all respects. The Monsters are all distinct personalities and the stories accent their lives. I love it!!

My friend would go to the blog site and she would make up stories about the picture's. Not being as artistic as she is I thought oh well. But once I started to get into Stefan Bucher's method's and thought process I realized how great it was to read the book. Thank You Stefan Bucher. ( please look for
Sequena/Annie Nordmark in the book my friend writes great stories for the pictures )Thanks

This book was just a neat thing to check out everyday. Still. It gives me a smile every time he starts with just one blot of ink and spreads it, from there it becomes a living, personified, under the bed madness!, type creature that lurks off every new page. Its grand, most definitely worth checking out!!!

Once upon a time, a control enthusiast with a pen drew himself a monster--and the rest is history.

You can test-flight this book at Bucher's site, www.dailymonster.com, where all 200 of the monsters he eventually released still live--going to their jobs, having their babies, reading and writing and dancing and taking over the world--doing all the things monsters do. I encourage you to do so, and then buy this book.

Someday someone you are talking to will rail against the web, talk about all the terrible things on it, all the bad people. Then you can point to 100 Days of Monsters, and you can say, "Things like THIS--people from all over the world sharing a creative moment, interacting to make something beautiful and funny and playful--how would you make something like THIS happen, if not for the internet?" And if not for, it goes without saying, Stefan G. Bucher and his band of authors.

I came to the game too late to be part of the book--but oh, it was a lovely thing to have my child come downstairs every morning and say, "Mom! Did you monster yet?"

What a wonderful time. I thank you, Stefan. You did good. You didn't just talk the talk, you walked the walk. You followed your heart, and it shows. :)

beautiful drawings...no matter how self critical mr. ware was back in the day. the book really allows the reader into the head of a master illustrator. if you're looking more for a graphic novel, don't start with this one (try his first real freshman work jimmy c, or his ACME novelty library, probably my favorite - you get a real sense of what ware is all about - clean lines, insane, or better put, anal details). anyway, back to this one...great book, if you're a fan of ware, there's no reason not to get this one, and if you're not yet convinced, this is a nice piece just to have - these same drawings and doodles that once inspired ware himself, now get me thinking. love it.

Chris Ware is an amazing artist--one of the best in the comics industry. His books are something I treasure like a sweaty gold miner. He published this sketchbook in "response" to Bob Crumb's sketchbooks. In the intro, Ware states how influential those books were on him. The variety of styles Ware is capable of using is amazing. You'll also gain insight into the characters we've come to know and love (Quimby, Jimmy Corrigan, etc). If you're a Ware fan--get this book. If you are new to Ware, I'd probably start somewhere else like Jimmy Corrigan.

**The one caution I would provide is that Amazon states that this is the 1st volume. However, the picture above is of volume 2. The 1st edition has a black cover and the 2nd edition cover is blue. The two editions cover different periods of Ware' life.

I didn't think I would like this one. But after owning everything else the man ever made, I asked for this one for x-mas. Wow! I love it! There are spontaneous portraits of people on the bus, views from friend's rooftops, the rudiments of strips like: God, Jimmy the robot etc...
If you are a Chris Ware fan YOU WILL LOVE THIS BOOK! If you are not familiar with Chris, best to start somewhere else.

I just finished reading this, and it's a real treat. Fans of Jimmy Corrigan or Acme Novelty Library will enjoy drafts of these but expect differences in style. This gives a better look at Chris Ware than his other publications that I've read. You can really feel his frustrations in this work. I reccommend this to both fans and non-fans.

The book is a record of an absolute monster drawing talent!
It collects tentative investigations, as a scrapbook of ideas and odds and ends. The amazing thing about it is its vitality.
Anything and everything becomes a source of inspiration and investigation into the nature of drawing. A coffee cup, a telephone in a waiting room, a washing machine, such mundane things seem to begin as notations but are transformed by Ware's observation of line and tone into their inner vitality - much like Van Gogh's peasant shoes. There are beautiful portraits. And beyond the observed notes, the book is positively brimming with characters, mutations, and cartoons from his eccentric imagination. The fantastical musings and the observed notations blend, merge together, separate like DNA strands through the book, adding up to a rich record of creativity

There is no doubt this is a nice book, but the material is abundant elsewehere and a LOT less expensive. If you are a completist or money comes easy to you, by all means get this. If five hundred dollars seems ridiculously expensive even for a limited run, you can buy Wallace Wood books in bookstores, comic stores, and online very easily.

I recently purchased this volume, along with Starger & Spurlock's "Wally's World," and this is by far the superior of the two books. Rather than attempting to write a biography, as S&S do, Bhob Stewart has assembled some 35 essays about Wood, including four by Stewart himself. These range from one page to 46 pages in length, and from breezy to scholarly in tone. Some are more interesting and better-written than others, but collectively they add up to a fascinating portrait of a uniquely talented artist whose life ended far too soon.

As you'd expect with any book about Wood, there are copious illustrations, including 16 pages of full-color reproductions on glossy stock in the hardcover edition. (The paperback omits these.) The quality of the reproductions is generally good, although there is just the tiniest bit of bleed-through in the black-and-white pages. I wish they'd used a better grade of paper!

If you are a hardcore Wood fan, you should probably get both this book and "Wally's World." If you have to choose, this is the one to go with, assuming you can find a copy at an affordable price.

I came upon this book while browsing a comic shop in Cambridge, and soon realised it was the long promised comprehensive survey of Wood's art and career. I applaud Bhob Stewart for his perseverance and obvious passion in bringing this book to publication. Any fan of Wood's will want to read this book. It contains tons of great art ; some of it obscure and previously unseen, and the biographical information it presents is thorough, and illustrated with great photos. A blurb on the back of the book proclaims, "Hooray for Wally Wood" and sure enough the vivid and imaginitive genius of Wood is on full display between its covers. This is the triumph part of his story, and it makes it a must have art book. But this book bravely explores the person of Wood as well,including the negatives, and the price he paid for his obsessive genius. It's a tragedy that anyone who knows Wood's story is familiar with, and it speaks loudly to the American culture at large, and how we have in the past, sometimes treated our heroes like throwaway commodities. After seeing some of the gorgeous art in the book, it seems incongrous to imagine the same Wood staying up for 3 days on Dexdrine to ink a Wonder Woman comic, but it happened, and frequently. A giant like Wood routinely worked on mediocre jobs just to scrape by. This warts and all approach is as honest as it is heatbreaking, and in my opinion transforms the book into a work of art of another variety, in its portrayal of a gifted but tortured individual. Attention, Hollywood!
Assistants Paul Kirshner, Nick Cuti and others contribute amazing , written tributes to Wood that say just how much they loved the guy, all the while dealing with his difficult personality. For these heartfelt rememberances alone, this book is a welcome, if sobering addition to the legacy of the great Wallace Wood.
I don't know if the author's intent was to produce anything more than a beautiful art book and tribute to his friend, but the fact that this book also functions as a cautionary tale that provides insight into the creative process and inner workings of such an American icon as Wood, is a facinating by product that should be of interest to any general reader.

"Against the Grain" is an excellent collection of artwork by the late comic book artist Wally Wood, accompanied with essays by his friends and associates.

If you've never heard of Wood, you are in for a major treat here: Martians, robots, other-world landscapes, elves and dinosaurs have never looked better before or since Wood's time. Wood's crisp handling of pen-and-ink, his superb attention to detail (which fans called "beautiful clutter") and his extraordinary use of shadow and light are here for the reader to behold. The illustrations cover the entire range of his career, including his work from the 1950s with EC comics, his illustrations for Galaxy and other sci-fi magazines and his final masterwork, "The Wizard King".

Whether it was a grotesque monster from an unknown planet or a parody of Superman, a complicated machine from the 24th century or a fighter jet battle, a lush female in a tight-fitting spacesuit or a caricature of a contemporary politician, Wood could draw it. He could have you reeling in terror from space aliens or laughing out loud with "Batboy and Ruben." His influence on future generations of cartoonists was extensive, and some of them pay tribute to him in this book.

He had both friends and fans, some of them aspiring artists who probably would have paid him just to work in his studio. He could play guitar and entertain a group with his conversation, which tripped from art to politics to science.

Thomas Edison once said that invention is 1% inspiration and 99% perspiration, and Wally Wood must have understood that perfectly. His creations were the result not just of skill but of hours of labor. This is obvious from the fine details of such pieces as the spaceship interiors of "There'll Be Some Changes Made," his use of high contrast lighting in "Atom Bomb", the precisely-falling raindrops and slanted spears of "Joan of Arc," the exact movements of a medieval duel in "Trial by Arms"...

Phew! It's hard to know where to stop.

As a teenager and amateur cartoonist, I would imagine Wood as living in a Manhattan penthouse (for surely someone that talented would be rich) overlooking the New York skyline, working at his drawing board and surrounded by futuristic machines, while gorgeous women lounged about his bizarre-looking furniture. (He depicts himself in that manner in "My World", a tribute to science-fiction artists.)

Nothing could have been further from the truth. Despite his talent and his fans, Wood became a life-long alcoholic who worked in dank basements, spending weeks at his drawing board, half-wishing he could enter the fantastic environments he was creating and flee all his problems with publishers, bills and imperfect women. It was as if all his emotions had been bottle-necked and could only come out on the drawing board. (One of his three wives was a psychiatrist who concluded that he just had to control everything or else.) In the end, he just walked away from it all, putting himself to sleep with a handgun in 1979.

Still, his fans and associates have assembled this superb collection and hopefully there will be more of them.

Although it had been promised to be a "definitive biography" by the publisher, Against the Grain: Mad Artist Wallace Wood continues the piecemeal format of everything that has been available about Wood and his contemporaries (Severin, Elder, Ingels, Crandall, Williamson, Craig, Davis, et al) for the last 40 years. -Which is to say it's a rambling book of personal essays/reminiscences, panel discussion excerpts and brief, fan-flavored interviews. The books one undeniable saving grace is that it is very generously embellished with samples of the artist's work. But overall, it feels like a blow-out issue of Squa Tront.

This will scratch the itch of the diehard and casual fan who wanted a coffee table browser on the subject. For those, like me, who hoped, finally, to see the subject's life drawn in one cohesive portrait by an insightful Boswell, it's a letdown, or "more of same."

I hope the book does well. It is, perhaps, an urgently needed Wood intro for newer generations who lack a sense of history. It is a welcome public reminder/declaration of Wood's place in The Comic Pantheon, where he clearly stands shoulder to shoulder with the likes of Roy Crane, Milt Caniff, Walt Kelly, Al Capp, Chester Gould and, dare one utter it, the Great Charles Schulz. Honest, it's not a bad little read. But I wish it had offered something new on the subject, or at least somehow extended the genre of fan appreciation/criticism established by Squa Tront during the 60s and 70s. As it is, this book has an odd way of making me feel that an entire generation, my generation, never really grew up.

This book is a joy to read and is written in a very clear and concise manner, it's almost like taking a class with a knowledgeable easy to understand instructor teaching you, any artist even not one interested in animation would apreciate the information contained in this book, I know I will use this book as my main guide in my pursuit creating animations with camera angles and keyframes and such, this book is filled with great pictures that serve as examples as the writer explains in short paragraphs what is required to achieve objectives as an animator. It starts with writing and character creation, progressing to storyboards and staging scenes with different camera angles and explains everything you need to know about the aspects of animation from beginning to end. Although the information is mostly for traditional animation made with hand drawings, cells and so forth it can be applied to computer animation with a 3D or 2d animation program, this book seems to get overlooked by looking at the number of reviews compared to other animation books. I can't say enough a must have book for an aspiring animator.

I found this book really by luck and was thinking I had too many animation books already - until I opened it and took a look. I realized I didn't! This is the most comprehensive and detailed book on the art of 2D animation - and can directly be used by 3D animators as the principals are the same. It is deceptively simple looking, but that is because it is one of the most well-designed books I have ever seen. If you are learning animation, brushing up on your skills, or even already doing animation this is the best book I have seen so far. Get it! Your library will thank you!

This book is amazing...it's a resource that any student of animation should not be without. It not only outlines in detail the process of drawing out the animation, it also explains to some degree every aspect of producing the piece. It is an easy read and a great reference, and I wouldn't want to be missing it in my collection.

As an animation teacher, I went through a lot of books as support for my 2D class; this one is on my top list and I would recommend it to any animation student new to the field who want to learn about the process and the principles of animation.
The book is clear, with beautiful illustrations. Many animation books use styles that often turn me off as being too cartoony or dated but this one is very appealing. Each chapter is well documented with simple explanation and visuals. I was particularly impressed by the clarity of the layouts and X.sheet section, as those are usually a nightmare to explain to students.
It offers a wonderful overview of the fundamentals of animation and covers all the aspect of the profession, from storyboard to animating to editing. Even if this is about hand drawn traditional animation, those principles can be applied to 3D and computer animation.

As an animation artist, I am familiar with the author's work and eagerly awaited the arrival of this book. It did not disappoint!
It is good for beginners and seasoned veterans alike. The sequential animation drawings - along with their respective numberings and spacing charts - are worth more than the price of the book. They are an excellent way for the student of animation to see how the drawings are spaced to provide the true 'spark of life' so necessary in the success of the animated image 'coming alive'. The book ranks up there with the Preston Blair books, Thomas and Johnston's ILLUSION OF LIFE, and Richard William's THE
ANIMATOR'S SURVIVAL KIT. The chapters on Storyboarding, Layout and Background, along with many other animation gems, are there as well. A true tour de force!

Haven't had a close look yet but based on the authors other book "Human Anatomy for Artists," I'm sure it's amazing. Only disappointment was a tare in the front cover from the way it was packaged by Amazon. Disappointing when your book is over $45. Wasn't sure how to contact them to have the opportunity to fix the problem.

Excellent reference book. 5 stars from the first to last page.

This is a very detailed book and a must have for those that need to know more about animal anatomy. This book does layout the skeletal and muscular design of the used animals very well. One thing that it does not give you is a detailed description of exactly how the joints move or muscles work. But overall a must have if you are doing an animal study for sculpture or 3-d modeling.

I got Goldfinger's human anatomy book, but in comparison, this is even better. Great multitude of drawings and diagrams of different species of animals, from bones to muscle to final skin with great angles. Highly recommend it.

And many of the reviews here were very helpful.

Artists who plan on focusing on animals had better pick up a copy of Animal Anatomy For Artists: The Elements Of Form: a virtual 'Bible' of animal anatomy, is features over five hundred original drawings and over seventy photos which painters, sculptors, and illustrators can use to understand the underlying anatomy of a range of common and wild animals. Forms created by muscles and bones provide artists with a three-dimensional figure of the final surface of the animal, while Goldfinger provides discussions of how each piece of animal anatomy interacts with another.

My son who is 2 and half years old loves this book. In fact, he wants us to read him this book over and over again. What a great and humourous way to introduce the very young to the world of art!

SAKE. NO FAME OR FORTUNE FOR ART DOG....JUST HIS LOVE OF PAINTING THE WORLD IS ALL HE DESIRES! It's really a beautiful book visually and meaningfully. ART DOG makes the world beautiful for others . Isn't that a wonderful thing to teach a young child?

I've read this to my six-year-old since he was a five-year-old - he doesn't get tired of it, and mercifully, neither do I. The idea of a hero who uses _painting_ instead of punches to win the day is so cool it makes me wish I'd written it.
Also, I take my son to the children's floor at Berkeley Main Library, where they have a kid's size version of the Brushmobile (you'll have to read the book to know what that it) that he's loved to 'ride in' even before we'd found the book. The day he no longer fits behind the palette, I think we'll both cry.

By day, Arthur Dog, Dogopolis Museum of Art security guard, and lover of paintings by Vincent Van Dog, Pablo Poodle, Henri Muttisse, and Leonardo Dog Vinci. By night, Art Dog, masked grafitti artist painting the city in beautiful color. "No one knew who Art Dog really was... until one night at the museum." Yikes! Someone has stolen the Mona Woofa! After being falsely accused, Art Dog paints his way out of jail, lifts his nose in the air..."I can smell art a mile away," and saves the day in superhero fashion..... Thacher Hurd has authored an entertaining, wacky picture book that's sure to tickle the funny bones of young and old alike. His delightful, high-spirited text begs to be read aloud, and is full of terrific sound effects, wordplay, and dog puns. But it's his bold, bright, and splashy illustrations that really make this book stand out and sparkle. Perfect for youngsters 4-8, Art Dog is a funny, engaging, rip-roarin' adventure you don't want to miss. "Who was Art Dog? Who was this painter in a Brushmobile, catcher of crooks, bringer of light to the Dogopolis night?" Only readers will know!

"Art Dog" is a wigglin' fun story book about Arthur Dog, the security guard at Dogopolis Museum of Art. He lives a secret life as a graffitti artist who finds himself being blamed for the stolen "Mona Woofa". However, he is able to paint his way out of...well, I can't give away the story here! (This detective dog sure is smarter than Scoobi Doo!)

The story is very short, quick, and barkingly fun. Not only will kids love it, but adults will love the depictions of Vicent Van Dog, Pablo Poodle, Henri Muttisse and others. It is dog-gone worth the few bucks for this book. This sure is a good book to sniff out.

Wow! Anyone who is a fan of Chesley's art needs this book. Lots of great biographical info as well. Quality of lithography is top-notch. Expensive but definitely worth it.

If you were about 10 years old in 1950, there was very likely a moment of absolute epiphany in your young life. In my case it occurred in the Junior High library in about 1950. From the shelf I pulled a large dark blue book about 8 by 11 inches in size. Even the end-papers were stunning, color plates of the surfaces of Mercury and Jupiter. But, thumbing through, I actually began to tremble when I got to facing pages 132 and 133! It is safe to say I have never recovered from the sight. I now have two copies of this book, one at home which I purchased in about 1951 and one in my office, which I purchased a few years ago. It was THE CONQUEST OF SPACE, by Chelsey Bonestell and Willy Ley.

Who was this incredible artist, Chelsey Bonestell? Although I collected books illustrated by Bonestell throughout the 1950s and 1960s, I knew little about him personally until I found a trade paperback about him in the late 1970s or early 1980s, which gave a broad overview of his life and work.

The present book is a greatly expanded version of that earlier work, 256 pages versus 133 in the trade paperback. Since that paperback came out, both Chelsey and his wife have died, but I think it is safe to say Chelsey's work is more appreciated than ever. Here you'll learn of his childhood, his work as an architectural renderer and movie matte painter, and his entry into space art at an age when most men are thinking of retirement. Chesley lived to be nearly a hundred, and was able to compare many of his painted visions of other worlds to actual photos taken by astronauts and robots. But none of these photos have the incredible artistic validity of Chelsey's own vision. As many have commented, where Chesley's vision disagrees with reality, it is generally Chesley's vision which is the better.

For several generations, whenever anyone thought of space travel, or explorations of other worlds, it was Chesley Bonestell's vision they recreated in their mind's eye. Few artists have ever had or could ever hope to have such an impact.

Whether you are an old fan or are discovering Bonestell for the first time, this is a rich feast of his art, which ranges from architectural renderings to recreations of long-vanished Spanish missions of California.

"The Art of Chesley Bonestell" is an extremely high quality Science Fiction art collection that comes around once in a decade or two. The last Chesley Bonestell collection of this calibere, "Worlds Beyond: The Art of Chesley Bonestell", was published in 1983. Chesley Bonestell's art goes back to the golden age of Science Fiction of the late 1940's, 1950's and 1960's. His work was displayed on the covers of SF periodical magazines, SF paperback books, and Space Science books of that era. His style is realistic and his work is breathtaking! His concepts of other-worldly-visions are naturally realistic and have a Zen-like feeling of mystery to them. The color plates in this book are of awesome quality. I guarantee this book will increase in price, as the 1983 collection has. The 1983, "Worlds Beyond: The Art of Chesley Bonestell", sells for around $100 or more. Buy this 2001 book, "The Art of Chesley Bonestell" now, because it will only cost MUCH more after it goes out of print.

I bought this book for the space art but found out there are many other excellent paintings to go along with them. Bonestell's art makes you want to be at the places he's painted except for places like New York under nuclear attack and ancient Egypt being bombarded by comets. The space art is incredible. I only wish I could get large prints of some of the pictures to frame them. I'm even considering buying another book and cutting out some of the pictures that are barely large enough to frame.

I am among the hundreds of thousands -- perhaps millions -- of people who owe their lifelong interest in matters of astronomy and space science to a childhood discovery of the art of Chesley Bonestell. I remember vividly pawing through the pages of The Conquest of Space at the age of about ten, my mouth open as I saw the marvels of the universe displayed.

It was thus actually rather nerve-racking when I opened this new book for the first time. Could the reality of his art possibly match my childhood memories? Could all of that vividness and excitement have been magnified in my mind's eye over the succeeding decades? Was I in for a disappointment?

I most certainly was not. If anything, the fabulous art inspired and excited me even more than it had way back then.

And there's a lot of that art here -- a real feast of it, superbly reproduced. And I discovered as I kept turning the pages, hands quite literally trembling as I discovered treasure after treasure. Even more excitingly, I found that Bonestell had worked in areas of art I'd never suspected before: fabulous landscapes, stunning sketches ... I have perused many, many art books, but I've never before reacted quite as strongly as to this one.

And it gets better. There's a long, beautifully written and utterly fascinating illustrated biography of Bonestell written by Ron Miller. It's almost as if one's getting two books in one.

An earlier reviewer (who cannot spell "Chesley") talked of this as if it were an expanded version of The Conquest of Space. He was talking through his hat. This is a completely new book covering the entirety of Bonestell's career both visually and textually; it contains a big selection of illustrations from The Conquest of Space (all the best ones), but they form only a small part of the huge and sumptuous collection on display here.

This is a gorgeous book, and an extremely valuable piece of work -- the authors/compilers deserve the highest praise for having brought this treasure to us.

I've seen some of his other works posted on the web, and he needs to publish another book!

A great collection showcasing his style, from intricate dollhouses suspended in nature, to cascades and showers of rainbow elements, to stony vines, this is a great book. Again, I've seen other pieces of his on the web which add a new dimention to his volume of work--so he hopefully will publish again!

i found myself in a world i only dreamed of when i strolled into an art museum one evening visiting san fran, i fell in love...i was trancended into architecture ,love ,hate all the emotions of something familiar,yet far away...now all i do is daydream of actually owning a piece of artwork by merriam..i hope that it doesnt stay a dream for me forever...Love you Daniel
-mykelle

I was given this book as a gift, and I was in awe. I'd never seen soo much done with water colour before. I've owned the book for a few years now, and have two tattoos based on excerpts from two of his paintings. I've been searching for another book of his art but have not been successful, so hopefully someday!

I have fallen in love with this wonderful artist. His imagination must be a fantastic place to be and you can get an insight into it with this beautifully done book. Of all the art books I own, this is the one that I find everyone loves...even children. His work is light and airy and enchanting one minute until you realize there is an underlying darkness to his work which just makes it even more interesting. His world is a fabulous place to visit.

I am an aspiring illustrator and am always looking for great art and illustrations to inspire me. When I first saw The Art of Daniel Merriam i was awe struck. It was amazing to see so much color and creativity packed into each piece. This book is loaded with images to stimulate the mind. Each piece has a story to tell in itself with so much detail and symbolism. I truly commend this artist on his style, skills, and creativity. I am always eagerly awaiting a new book by Mr. Merriam. This book takes you to a whole new world in your imagination, I suggest you take the trip...truly amazing.

I'm a school art teacher. Teaching perspective to students is always a challenge. One has to think of examples to illustrate the different kinds of perspective.Phil Metzger's book has finally help me in this aspect. There are ample examples where I can draw from to make my explanation clearer to students. His Part 3 on "Special Problems" touches on perspective of complex structures and what he has shown are very informative and valuable to me as an art teacher.

The "Art of Perspective" is an impressive and very useful guide to achieve a convincing illusion of depth in drawings or paintings. PHIL METZGER shows outstanding talent presenting his techniques with simple and easy-to-follow explanations. With his guidance we succeed putting perspective into the picture- no matter how special our eye-position or view-point may be. And he does not leave out any complementary subject, like atmospheric perspective, light and shadow or reflected light as well as many other effects that contribute to the illusion of depth. Moreover his fine watercolor paintings stimulate us to contemplate, having adopted now the ability of showing what we see in a very convincing way.

This book is incredible. I highly recommend it.

The writing is detailed, clear and simple. The accompanying photographs, line drawings, sketches and paintings are numerous and clearly show what is being discussed.

The discussion is comprehensive but written in a way to make the subject clear without unnecessary clutter.

The author starts with "Natural Perspective" including the elements of size, spacing, tone, value, color, overlapping, placement, etc., then moves on to the rules of Linear Perspective.

I have a burgeoning collection of art, drawing, sketching and painting books and this ranks at the very top.

The discussion of Natural Perpective in the first several chapters is - by itself - worth the cost of the book.

I can't recommend this highly enough !!!!!

So many books fall far short of their promises. This one delivers.

I am an art teacher who has spent years teaching perspective, linear and atmospheric...and I have never found a very good book until this one!!!! The Art of Perspective: The Ultimate Guide for Artists in Every Medium

Illustrates and explains the right way to draw roof angles, shadows and reflections, as well as stairs, tile floors, wheels, etc. Uses many diagrams, photographs, painting examples (watercolor & some oil), and written suggestions for different methods to try in figuring out how to draw something correctly. Briefly touches on focus, reflected light, scale, etc; some step-by-step demonstrations on drawing houses. Some prior perspective knowledge might fill in some small gaps in information (struggled through Rex Vicat Cole's Perspective for Artists, a helpful 1920s textbook-like reprint) but this book goes to great lengths to illustrate perspective in a way I can understand.

I tend to do things without paying as much attention as I should, like buying this book without researching it's details.

I bought the book because my 5 year old daugher loves to draw, and because she's nuts over the Lion King at the moment. I figured it would be great for her to see not just finished work (like what winds up on television) but to also see sketches, concept drawing and paintings, and the like.

So I bought it. When I received it and saw it's pocket size I was so happy! It's absolutely the perfect size for a little kiddo like her, but the content is professional, serious and mature as I had expected. It's hard cover, totally full of pictures, and has glossy pages printed on high-quality paper. Some folks might have been put off by the size but for my purposes it was more than perfect!

We have great fun looking through it together and looking at all the different styles of artwork. If you or your kid likes to draw or paint, and likes this movie, You'll really be sorry if you don't buy a copy. No I don't work for Disney or Amazon. I just like to encourage and support my childs love for art any chance I get, and boy was this a great addition to her library.

"The Lion King," Disney's 32nd animated film proved to be a smashing success, appealing to young, old, and those in between. As it filled movie houses, Disney mania swept the country again. The breathtaking visual effects that fascinated so many are brought to stunning life in "The Art of the Lion King" by Christopher Finch.

This lavish folio-size volume traces the creative process utilized in making the film, from black and white sketches to glorious full-color reproductions and even splendid fold-outs, one exhibiting the surreal beauty of the African natural world.

Actor James Earl Jones, the voice of Mufasa the Lion King in the film, contributes the foreword, while the text is by Christopher Finch, author of "The Art of Walt Disney."

Those fascinated by the art of animation and those touched by the story of Mufasa, Simba and Scar will treasure this color and fact filled memento.

- Gail Cooke

Apart from the fact that my copy was close to pocket size, i thought that this book was fantastic. Not only does it come filled with amazing concepts, it also is accompanied with the Lion King Storyline. As an illustrator and student animator, it is a wonderful addition to my resources. The sketches through to the complete full colour images are for any Lion King fan, artists or just someone wanting a beautiful coffee table book. If your from overseas like myself and cannot get these kind of books in Australia, i reccommend Amazon and their associate stores. Buy this, its great.

I received this book as a birthday present last month. To say the least, I was overwhelmed with all the artwork in this book. I love it! The artwork and production animation is breathtaking! It's a really awesome book, I'd get it if I were you! You can't go wrong with "The Art of The Lion King"!!!

This book is one of the most exquisite things to come out of The Lion King. The graphics are beautiful. Most of the pictures are ones that are used for the storyboard and layout scenes. I reccommend it to anyone who loves The Lion King, or just Disney in general. Order with confidence - the book is worth much more than its price tag. It is also much more convient than the larger, more expensive version which I believe is no longer being produced.