Artists Books

This is the best guide for artists I have found. It is not like a scientist's manual, which is far too detailed to get the visual sense of an animal. And it is not like so many artist's manuals, which are far too superficial. Instead it shows several levels of detail, from the skeleton to muscle on up to the outside appearaance. It also shows how a specific animal moves, which alone reveals so much about its anatomy. And it shows some lovely brush and other drawings for inspiration and perusal.

This book is one of the best book on animal anatomy I have ever read. A perfect companion to Ken Hultgren's The Art of Animal Drawing.
If you need any additional one (besides those two), check out some of Joe Weatherly's titles on the subject.

Again, I find Gottfried Bammes really good at finding ways to explore the form of figure, in this case it's animals. There are many diagrams of geometric illustrations for horses and carnivores such as the big cats. The problem with this book is that it's somewhat unbalanced. While I find what Bammes covered helpful, there are no pages on avians or reptiles. I'm not expecting Bammes to cover every animal in existence, because that is a huge undertaking. (You might have respect at how many animals Veterinarians need to understand) I do expect at least a small section on birds and reptiles at least. Besides that, I like his diagrams on comparisons between the lower mammal and human form.

Bammes is still worth the purchase overall, but I do have to admit that the book needs a title change.

I was quite pleased with this book. I found that Bammes can be a difficult read, but the illustrations are well worth the investment for the artist studying animal anatomy. He presents a systematic approach of understanding the bones, muscles and surface planes of the torso, front legs, rear legs and head of some iconic animals. Animal anatomy understanding wouldn't be complete without the gestural freedom of Hultgren as well. I recommend Hultrgren for your right brain and Bammes for your left brain.

Absolutely one of the best books on sketching I have in my library. It contains not only the "how to" of things but a spirit an attitude that when embraced makes sketching a life long joyful expression. This book (if you can get it) is a must have!!!!

This is a great book. It is an excellant guide to sketching and what to look for in a subject. It is also an absolutely must have for any fans of James Gurney or Thomas Kinkade. Both went on to have fabulous careers. This book gives insight to their thought processes and their lives when just beginning as professional artists.

University art programs should require their students studying drawing and sketching to buy this book. The Artist's Guide to Sketching is essential to the artist's library and is a must for people just starting. After checking out this book from library at the university I attend, I knew that I had to own a copy for myself. The sketches are beautifully executed and each has a lesson along with it. This book will inspire you in one way or another. Thanks and praises to the authors.

Yes, this book has great (and I mean really great) sketches, apparently done on a marathon road trip in the '70s or '80s. Dynamic, free-flowing, expressive, two talented young dudes having a blast and amazing themselves with their own virtuosity. BUT- is this the same Thomas Kinkade who later trademarked the name "Painter of Light" and churns out the [...] treacly-est fantasy landscapes featuring "charming" cottages decorated with sprinles of sugary highlights, with quasi-religious titles designed to appeal to the Born-Again crowd in shopping malls everywhere? .... They ought to re-issue the book, though, it's really something to gaze at.

Once again Joseph Slate has captured a sweet story of this wonderful kindergarten class. I highly recommend this book to anyone who has children from ages 2 through 7.

I found our first Miss Bindergarten book by chance one day in the library, and soon my daughter, who is a voracious reader, had become obsessed with it. We have now read four Miss B. books, and this one is the favorite. What is it about the books that is so fun? I think it's the bright colors, the occasionally wacky action, the school setting (my daughter has learned so much about how school works through these books; almost everything she's encountered in her first year of nursery school has been previewed in these books). I also think that parents can enjoy these books, too, because each child in the books represents both a letter of the alphabet and a species that begins with that letter. My wife, who teaches elementary school and has taught Kindergarten says the writer and illustrator really know what goes on in school. The details are excellent, the teaching tools up-to-date, and both the behavior of the kids and Miss B's handling of problems are realistic.

There's so much detail that my daughter was noticing things I didn't, including things not in the text that occur in the drawings themselves. This is also good clean fun, lacking in violence, but very physically active the way kids like it to be. You can't beat the combination of fun, healthy/clean, and educational. We even bought the Miss B. doll from an Amazon seller, and my daughter immediately set up her own school for Miss B. We highly recommend this series as a fun way to teach children without turning it into a stressful lesson.

eye popping illustrations that the whole family will enjoy. A delightful story about how to handle a day filled with mishaps and small children. So entertaining and helpful in recognizing that bad things can happen but with patience and experience you can handle them.

Miss Bindergarten is back and OH!, what a wild day she is having. "Danny tends his droopy beans, Matty checks a chrysalis, and Jessie drops the bug jar." The kindergartners are growing and learning about the life cycles of plants and butterflies in the midst of one of the most hilariously hectic days the school has ever experienced. The whole "school village" from Mrs. Simpson, the secretary to Mr. King, the principal, to Carl Cox, the custodian, lends a hand to get Miss Bindergarten and her class through the day. An accurately portrayed and fun way to introduce and teach kindergarten science standards.

I am an arts lawyer, and art lover.

The US copyright law protects an original work of an author for the artists lifetime plus 70 years. The law anticipates the value of those copyrights and how those will exceed the lifetime of the artist for years to come. Even without consideration the copyright the body of work of an artist is only valuable to the public only if that work is valued and is appreciated. This book is filled with many stories of how an artist's work was cared for after the artist's death by individuals, family or friends, foundations or museums, which made sure that the work was treated with respect after the life of the artist was over.

If you are an artist wondering what will happen to the body of work you leave behind this book will inspire you to take steps to make that happen. If you are a museum, gallery, advocate, family member, collector or fan and you are concerned about managing the body of work of an artist this book will give you some stories about how others have handled it and what steps you might take. It might encourage you to come forward and take responsibility for the artist and while you can do it with the advice and consent of the artist.

`The good that artists do lives after them ...'

Rewriting the Bard of Avon has become a fashionable pastime, although that is not my intention here. With the benefit of hindsight, it is possible to examine the legacies of most artists and reveal more of their character and commitment. Once the carefully selected brushes remain in their appointed place, the crushed and distorted tubes of paint lie undisturbed and a colourful palette has dried out for the last time, it is for the inheritors to consider the question - `What happens next?'

The paradox of a painter's life is that the legitimacy of the work can only live on if it is guided and sustained by others. This superb book, elegantly written and beautifully crafted, is a tribute to the diligence of the authors who, with courage and foresight, have succeeded in addressing the relevant question. They have done this with discipline and sensitivity. And together they have produced a most remarkable book, worthy of the task they set themselves, and now most commendably published by the Rutgers University Press.

In her personal introduction to the book, Magda Salvesen reveals something of her own journey alongside the American Abstract Expressionist Jon Schueler. Sharing in his joys and his frustrations on both sides of the Atlantic, she came to know at first hand what the spiritual struggle of the artist is all about. The book builds on that perception and carries the theme forward in a well-structured dialogue with the others - the widows, partners and friends, the foundations and trustees - who continue to hold the reputation of an artist in their care.

Confronted by a blank canvas, the artist has to continually restore and refine a belief system that somehow leads to the act of creating an image in colour and form. Hopefully, with the necessary critical acclaim, this may endure across the generations. In that sense, all paintings convey a message to future viewers of the work. The work can only come alive and continue to live in the presence and imagination of others. And it has to be focused memorably on discovery of the new or on acceptance and confirmation of the past. For the artist at least, time's arrow can move in either direction.

A visit to any of the great collections - to the Uffizi or the Louvre, to the Metropolitan or MoMA, to National Galleries or the Tate, is a chastening reminder of the complex iconography that is the history of art. And yet the survival and sustainability of the work of each and every artist requires immense care and devotion and the dedication of a myriad of diverse individual skills. The estate of any artist deserves to be managed creatively and the many different approaches to this task are admirably described in this very far-sighted book.

Definitely a `must have, must read' book for all art lovers!

This book provides a fascinating look at both some of the better known and some of the more obscure deceased artists of the second half of the 20th century and the efforts of heirs and dealers to maintain interest in the artists' work. It is fascinating and informative to read about the mismanagement of David Smith's estate by Clement Greenberg or of David Park's estate by his widow's second husband. (In both cases, the children finally stepped in to rescue depleted bodies of work and help rebuild their value.) Equally interesting are the efforts of Elmer Bischoff's and James Brooks' widows to continue to promote their late husbands' work while also trying to selling their own.

Many of the artists profiled are far more obscure, but their names come up over and over again in Stevens and Swan's wonderful de Kooning biography which provides an incredible overview of the same period. While top dealers fight over the estates of Smith, Diebenkorn, Porter or Avery, all discussed in the book, there is also an emerging group of dealers who are focusing on working with the estates of lesser known artists. They work with heirs, attorneys and archivists on the issues of conservation, documentation and promotion that are involved in boosting the value of artists who in many instances received limited recognition in their lifetimes but whose heirs (widows in most instances) continue to honor and promote their work, sometimes from financial need but always due to love of their deceased spouse. These stories are the core of this well written book.

Attorneys, dealers, conservators and archivists (such as the important Archives of American Art) are interviewed along with the heirs. This new breed of dealer effectively becomes a partner with the estate, sometimes building a position in the more obscure artist's works before making the investment, usually along with the heirs, necessary to promote their work.
In addition to several such dealers mentioned in the book, Thomas McCormick and David Findlay Jr. come to mind as galleries which have made a commitment to show lesser known artists of the '40s, '50s and '60s, for example, including some of those mentioned in the book.

Anyone interested in the art world will find this book highly interesting with its dozens of interviews and many black and white photos of the artists, their work and their heirs today. And, frankly, the gossip is great too!

Despite being an outsider to the art world (and what you would call a total amateur!), I found this book completely engrossing: the widows and children interviewed in this book all have very interesting and varying ways of dealing with the enormous responsibilities associated with managing an artist's estate - their voices come to life in this book. It's fascinating also to read about the interaction between the various players in the art world and their different agendas - galleries, widows, families, museums etc all have views on what is in the best interest of the artist and their careful dance is rendered most interestingly here. Very good read.

as i am an admirer of atelier van lieshout, the book is very interesting, amazing - you can read and look in it, whenever you have a couple of minutes, re-read it, re-look at it, there is always something new you can explore

Great artist, great book. Nice format. It actually includes a manual and plans to build fiberglass structures according to Joep Van Lieshout's desings. You also get a detailed step-by-step guide to pickle pork meat. His conception of art, installation, color and life are all equally interesting. Get it if you can.

brilliant vision. impact realization. one doesn't know whether it is a joke or to take it all dead seriously. the power lies in this double edge.

(horizontal format paperback) A nice range of photographs and essays describe the activities and products of Lieshout and his camp. Includes photographs, plans, and do it yourself type instruction for sexy camper units, toilet fixtures, kitchen furnishings, skinning and perserving pork, and weapons- BRING ON THE APOCALYPSE!

Augustus F. Sherman worked as a clerk with the Immigration Bureau of Ellis Island, photographing over two hundred families, groups and individuals as they passed through customs. Augustus F. Sherman: Ellis Island Portraits 1905-20 represents the first published collection of his work, featuring a hundred of his best photos of peoples from cultures around the world. A historical essay by Peter Mesenholler places the period of time and photos in perspective, providing both a critical analysis of Sherman's work and this collection, and lending important background to the portraits. An outstanding presentation of historical portrait photography.

Augustus F. Sherman's book of many portraits is a glimpse into 15 years of daily life at Ellis Island. Due to his office position at Ellis Island, Sherman had both time(remember these shots took a long time to set up and take) and opportunity to capture the many interesting clients Ellis Island served.

If you are looking for a portrait of your grandmother/father who came through Elllis Island, this is probably not the book you will find them in.

Rather, these portraits focus on immigrants wearing unusual native clothing/costumes; religious or military outfits; large family groups; ethnic groups; and even those suffering from congenital birth defects. Included also is a group of deportees whose crimes range from anarchy to being a stowaway.

Sherman sort to take as many photographs as possible in natural light, so the reader sees children playing in the Ellis Island "playground" - located on the roof; or a group of ladies from the Caribbean standing on the front "lawn"; a family from Africa; and much more.

A delightful glimpse at Ellis Island's early history - one wishes there were many more photographs the reader could view.

into what it must have been like to go through the process on Ellis Island. I had visited Ellis Island earlier this year,on a trip to New York and was struck by the atmosphere and history. The photographs in this book catch the essence of this landmark and the diversity of the people. There is also an explanation of the process that the individuals had to go through before being allowed to enter the US.

Augustus F. Sherman was simply doing his job when from 1904 to 1920 he photographed the individual arrivals of multiple nationalities at Ellis Island. It was his duty to document those new immigrants who were detained for further investigation before they were allowed to step onto the Great Hope that was America. But what resulted from this duty is a portfolio of portraits of world peoples that is as tender and as touching as any ever captured by professional famous photographers!

According to essayist Peter Mesenholler, Sherman was interested in anthropological documentation of the different physical characteristics of these Eastern, Western and Southern European proud folk. He captured the inherent pride of origin of these people who often donned their finest native folk costumes as they entered New York harbor. Sherman was sensitive to the psyches of his 'sitters', knowing that in addition to the overwhelming urge to enter America, the Land of Dreams, each of these people brought with them the memories both sad and happy of their native lands, 'heroes' if you will who were brave enough to leave their roots and aspire to higher dreams and goals.

These one hundred portraits are some of the more wrenchingly beautiful from this important time of mass immigration into America, images of the folk who would comprise the melting pot that we so cherish as our national treasure. All of this art is gained by the honest eye of a non-professional photographer who took the interest and care to pass along that rarefied moment of our country's history. And there is much to be learned from slowly perusing the faces and honest captions of these important photographs.

The quality of the reproductions in sepia-toned presentation is superb as is the accompanying wise essay by Peter Mesenholler. There are few books of photography that can be more widely acclaimed than this. Very highly recommended. Grady Harp, July 05

The book is compelling, especially for its target audience: people aspiring to careers in the creative arts. One message comes through loud and clear from those who have succeeded: be persistent; never give up. I have a few friends who are trying to write the Great American Novel or become the next famous director or screenwriter who I'd like to give this book to. It's also a completely engaging and interesting read for anyone who picks it up. Recommend it highly.

This entertaining, insightful, fun book is a must read for anyone aspiring to greater heights. I loved the cast of characters, what fantastic stories, very inspiring. You really got a first-hand, insiders look at what these people had to go through in order to pursue their dreams. A triumph of the human spirit, writer Joel Eisenberg has got my vote for another installment.

As you read "Aunt Bessie's How to Survive a Day Job While Pursuing the Creative Life," you feel like you are on the inside of a great discovery. In the bookworld, the author, Joel Eisenberg, is a virgin. This is his first, yet he's received contributions from so many A-listers it would take too much room to recount here.

I agree with an earlier posting about the cleverness of his introduction, where he turns into this 'Aunt Bessie' character, crossing Ann Landers with Eminem, who then proceeds to introduce each chapter. Could definitely be a film.

It's a fun read, and it's also an education about persistence and strategies necessary to endure a day job, while following your bliss, as Joseph Campbell would say.

I especially liked Clive Barker's segment, who somehow never worked a day job, refusing to be a 'wage slave.' It's perspectives like this that make this book different. A prior poster mentioned that this may be The Second Coming of "Chicken Soup for the Soul." Maybe, but this one has edge.

This is one of the year's out of nowhere surprises, and I can't wait for the next one.

Aunt Bessie is the alter-ego of self-proclaimed frustrated writer Joel Eisenberg, which is made clear, hysterically so, in the clever intro. I picked up a copy of this at San Diego's Comic Con International, on the last day, where there were only two books remaining. I have to say, my husband and I were astounded on the train ride back.

This is only a first book by this author, yet he received contributions from such notables as Clive Barker, Larry ("JR") Hagman, Laurell K. Hamilton, Stuart Woods, Brad Meltzer, "ET's" mom Dee Wallace Stone, former heavyweight boxing champ Larry Holmes and so many others. They all have such interesting stories.

But what makes this book even more compelling is that he has a section about everyday people - non-celebrities - that are surviving the process now en eroute to reaching their goals as a singer, actor, writer, etc.

Anyone that has ever hated their day job, or resented the fact that they could not pursue what they wanted to in life may just rethink their strategies after reading this immensely inspiring book.

At the end, more "Aunt Bessie" volumes are promised. This could be something. I think we just read the second coming of Chicken Soup For the Soul.

Bernard Krigstein is most famous as one of the pantheon of extraordinary artists working for EC comics in the Fifties. However, this volume shows that EC was just one facet of this comics genius. This is a thorough biography, plus a wonderful analysis of Krigstein's life's work. This book, along with the companion volume "B.Krigstein: Comics," belongs on the shelf of anyone interested in comics history and sequential art.

Greg Sadowski's biography of Bernard Krigstein, who possessed one of the most innovative minds---and pens---in comic book history, is a labor of love that is revealed as such on every page. From the high quality of the paper to the superb graphic design, from the sharp reproductions to the text that details his life, career, and reputation, B. KRIGSTEIN is a book that would grace any library. But it covers not only his comic book work. For here are also his many book illustrations, his World War II field sketches and paintings, his canvases and gallery works (among them portraits of his wife and family), urban vignettes and rural landscapes, even greeting cards, gum cards,
and advertising art. He was truly a modern-day Renaissance man, fully deserving of this highly focused, incredibly beautiful tribute. There have been many innovators in comic art over the decades (George Herriman and Art Spiegelman, to name just two), but none of them had Krigstein's range of powers and depth of creativity. His was a name that the centuries will remember.

This book will show you all the reasons for my title. Mr.Krigstein was truly a master at pacing and design on the comic page.
His art speaks far better than I can write so I'll just tell you if you buy this book you will not be disapointed.
The comic Master Race alone is worth the price of this book.

the world was not ready for the work of bernie krigstein when he hit his stride in comics in the early 50's. a fine artist at heart, he became obsessed with the art form of comics and the possibilities that it held. few were attempting to take comics so seriously and in those days, they were just above pornography as far as respectability goes. he produced some brilliant works, but the book reveals just how much of a struggle it was to get these masterworks in print. the artwork speaks for itself, but i was really drawn into the text which details the inner workings of the comics machine of the 1940's-50's and how ridiculously it was run. although he begged and pleaded with management, he was never able to bring a story out further than 9 pages, and had to threaten leaving in order to even ink his own work rather than have it butchered by someone else. considering the roadblocks that constantly stood in front of him, it was amazing that he was able to experiment as much as he did.

among his more famous experiments was panel subdivision, breaking away from the standard 6-9 panels per page and, in one instance, producing some 75 panels in 6 pages. this brought an entirely new dimension to comics, introducing the break down of time and space within the page. he also brought a style of cinematography that was never thought of in comics before that must have influenced filmmakers years down the road.

greg sadowski has assembled a truly staggering biography. he had direct access to the artists collection and publishes for the first time many works that have never seen the light of day. rare artist photostats of pencil artwork that went on to be mutiliated by someone else's inks. original panels that were ordered by management to be covered up with different artwork. exhaustive research with coworkers, friends and family, as well as unbelievably wise words from the artist himself given in various interviews many years ago that gives a definitive look into the workings of this man's artistic mind.

it must [stink] being the pioneer, you never get to see the fruits of your labor. but all who charged through the door that b krigstein kicked down acknowledge him as the man who started it all.

THIS BOOK IS ABSOLUTELY ESSENTIAL FOR ANY COMIC ART FAN, AS WELL AS ANY ARTIST OF ANY TYPE. IT IS VERY INSPIRING AND IS A GREAT READ.

I read an article by Edward Said during the December 1998 bombing of Iraq which mentioned this great book. I bought it thinking that I will read a simple diary of the hardships of war. I was wrong. It is a beautiful mixture of everyday events, which Al-Radi makes humourous. It is only humourous because our tears have dried over Iraq's suffering. It is a book I recommend for Iraqis because it states all that we hear about from visitors of Iraq. I recommend it to others because the media never shows these aspects. Perhaps it will help to make people realize that the distant pictures of green lights broadcast on T.V. are much more damaging than "degrading weapons of mass distruction". That is not to say that Saddam Hussein is not a dictator who must be eliminated. The final part of the book 'exile' is particularly moving as the suffering does not end with leaving Iraq. A great book, please read it.

This is a memoir of a middle-class Iraqi artist in Iraq - during the sanctions (i.e. after 1990).

Nuha Radi presents a much needed voice from Iraq.

Ms. Al-Radi gives an amazing play-by-play of how the war (the massive bombing campaigns by the US and allied forces in Baghdad and neighbouring cities and the ensuing embargo) unfolded before her and the people of Iraq. I couldn't put it down.

Ms. Al-Radi has a knack for turning a seriously tragic situation into an almost funny account through her matter-of-fact statements. Still, somehow she manages to not lessen the impact of the tragedy.

Ms. Al-Radi does not paint an "Oh woe is me," picture but she invites the reader to walk by her as she takes us through the experiences of the people of Iraq, (her friends and neighbours, and even her dog Salvador Dali and his "friends," etc.). She paints vivid images of the various stages of the war. For example she describes, in the beginning of the war, how the Iraqis had filled up their freezers to the hilt with meat and vegetables and anything they could fit in there fearing the onset of war. But, as the first bombs hit taking out the electical plants and leaving Iraq without power, in total darkness and every refrigerator and freezer unfreezing, the Iraqis are left gorging themselves as their food begins to rot inside their quickly defrosting freezers.

Ms. Al-Radi then takes us into bowels of the war itself describing the massive bombs that obliterate and take out innocent human and animal lives by the hundreds (at any given time).

She finally steps into the final blow of the war (pun intended) -the cruel and unusual punishment of the embargo and the ensuing anarchy that it creates, in addition to the odd occurrences in nature. Her trees die, her vegetables don't grow, strange insects never before seen take a hold of the trees and shrubs struggling to live, birds die by the thousands for no "apparent" reason, the cancer rates go up immeasurably, etc.

This is a much needed book. The human face of Iraq has all but been eliminated and replaced with the menacing one of Saddam which in turn justified/s the punishment that the people had to endure(are still enduring)as a result.

It is a wonderful book. It is sad that a book of this sort had to be written in the first place.

Ms. Al-Radi gives an amazing play-by-play of how the war (the massive bombing campaigns by the US and allied forces in Baghdad and neighbouring cities and the ensuing embargo) unfolded before her and the people of Iraq. I couldn't put it down.

Ms. Al-Radi has a knack for turning a seriously tragic situation into an almost funny account through her matter-of-fact statements. Still, somehow she manages to not lessen the impact of the tragedy.

Ms. Al-Radi does not paint an "Oh woe is me," picture but she invites the reader to walk by her as she takes us through the experiences of the people of Iraq, (her friends and neighbours, and even her dog Salvador Dali and his "friends," etc.). She paints vivid images of the various stages of the war. For example she describes, in the beginning of the war, how the Iraqis had filled up their freezers to the hilt with meat and vegetables and anything they could fit in there fearing the onset of war. But, as the first bombs hit taking out the electical plants and leaving Iraq without power, in total darkness and every refrigerator and freezer unfreezing, the Iraqis are left gorging themselves as their food begins to rot inside their quickly defrosting freezers.

Ms. Al-Radi then takes us into bowels of the war itself describing the massive bombs that obliterate and take out innocent human and animal lives by the hundreds (at any given time).

She finally steps into the final blow of the war (pun intended) -the cruel and unusual punishment of the embargo and the ensuing anarchy that it creates, in addition to the odd occurrences in nature. Her trees die, her vegetables don't grow, strange insects never before seen take a hold of the trees and shrubs struggling to live, birds die by the thousands for no "apparent" reason, the cancer rates go up immeasurably, etc.

This is a much needed book. The human face of Iraq has all but been eliminated and replaced with the menacing one of Saddam which in turn justified/s the punishment that the people had to endure(are still enduring)as a result.

It is a wonderful book. It is sad that a book of this sort had to be written in the first place.

A wonderfully rich book on batik, including valuable contributions by Indonesians. This will become a classic. Lively, sophisticated, and informative, as well as gorgeous in its imagery. This is the kind of writing we need on textile arts! A splendid addition to my library!

As a batik lover...this is a great book. Ever since I travelled to Jogjakarta in Java and saw my first batik mask hanging on the wall in a restaurant I was hooked. I'm traveling back to Yogya this month and plan to take a batik class. As a result of my travels to Indonesia, I decided to start my own business importing batik and other items. So 7 years later, I have manufactured and import tons of batik to the U.S. and love it all. Especially the traditional batiks. Warning...shameless promotion to follow: check out our site 1 World Sarongs for our beautiful collection from Java and Bali or you can even find us here on Amazon Market. Anyway, this is a great book with loads of beautiful pictures and articles. I'm still reading it but so far it's very good. I'm biased because I fell in love with batik.

This book is essential for anyone interested in batik and its history in the Indonesian island of Java. It also provides Java's religious background and how batik was affected by Buddhism, Hinduism, and Islam. The pictures are outstanding, showing to the reader the complexity of batik and the great talent of Indonesian batik artists. I would recommend this for anyone, especially those interested in art or Indonesian culture.

This book is eye candy. The fabrics shown in this book have amazing detail, sophisticated designs, and the colors are beautiful. The fabrics are lovingly photographed. I would recommend this book for anyone who is interested in design, patterns, or textiles. And the book itself is beautifully produced.