Illustration Books

This is a very well researched book with high quality scans of the original artwork. The price tag is a just a bit high for a softcover coffee table book.

The other reviewers have done a great job highlighting the most important reasons this book is great, so I'll just add that what makes it an other books like this a great buy is the price tag. It is a cheap way to get a good look at many Kuniyoshi prints without paying the asinine price of the hardcover museum editions. Its a book of great art to be enjoyed by fans of Ukiyo-e but also should be a center piece at any good tattoo shop.

I have nothing to add. It's a very good quality title. If you now "Water margins", and you like it, you will have a fun with this book.

The prints in this book are fantastic, large with great color reproduction. It also an excellent read for anyone interested in japanese woodblock printing. An all round excellent book.

The cover even makes me kind of wonder. Its paperback although the pages are pretty durable. I like the little stories about each character. The pictures are breathtaking and beautiful.

Just but this book. If you have even the vaguest interest in illustration, you should own this! The work speaks for itself, just fantastic, and the work in progress sketches are also a really nice touch. The print quality and finish are high quality, and you are treated to large images of James Jean's work. Highly recommended.

Because you're so brilliant. This book is full of some of the most gorgeous art you'll see out there.

Im from Brazil, but I recived the artbook whithout problems!
In the time!!
I luved this james Jean's artbook!

This is a great book because it really shows the artists process/technique, from rough pencil scketch to final pencil, to ink, to base color to final tonal illustration. The artwork is beautiful. This is definately a book that should be a part of every artists collection.

I feel so lucky to have been able to get my hands on Process Recess 2. This spiral bound edition has a very sturdy feel and is printed in vibrant colors on very thick cardstock-like paper. Jean also has a key at the beginning of the book which labels the different types of materials he used in creating his final images...I especially liked this as an artist; it was nice to see his sketches and his transitions before looking at the final pieces.
This is perhaps one of the best art books I have ever had the honor of owning and I plan on treasuring it for years to come.
If you've ever seen James Jeans work online or his covers they just can't compete with the images reproduced in this book.

I heartily concur with the estimations of Rackham's value to the area of children's book illustrations. Look for Rackham's Mother Goose and Alice in Wonderland from Chancellor Press to introduce your little ones to his illustrations is book form, as well as Favorite Tales From Grimm. But my desire here is to point out the true color found in this collection of Rackham's illustrations. Beware, as some books republished with his pictures do not capture the subtlety of his use of color. He used dark colors and gently colored objects in all of his pictures. This book, along with Dover's other Rackham collections show his work in all its glory, the subtle and the grotesque simultaneously. A delight for any collector of Rackham, suitable for framing.

I just received this as a gift, and I am so thrilled. I think this particular artist has a wonderful gift of emotion in the art that really draws us into the story. I love the use of colors and the unique perspective. I am very pleased to add this to my collection of fairy tale items.

This thin volume is filled with some of the most enchanting drawings and paintings ever to grace childrens' books. There is an element of style in Rackham's work that reminds me in many ways of Japanese woodblock prints of the 19th century. And like a quality Japanese woodblock print, a Rackham plate is a feast for the eye.

Fairy tale subjects can range the fair to the hideous. Often illustrators are biased towards one end of the spectrum. Rackham is one of those talented artists that can simultaneously capture the beauty of a fair maiden and the brutishness of a foul giant in one composition. I especially like the vitality of his figures and the whimsical and often grotesque facial expressions of his fairies and giants. I would recommend this volume to anyone who is fond of fairy tales and fine illustration.

very pleased with the book.have always hoped i could draw like him but my life took me down another road

Indeed a grate collection of various fairy tale illustrations. A must have if you are a Rackham or fairy tale lover regardless of your age.

My three year old loves this picture Bible. It has a selection of 24 stories from the Old and New Testament that are told in pictures. The style of drawing is similar to current animated movies. I like the fact that I can tell the story the way I want to since the only print in the book is a short sentence at the end of each story along the lines of "It feels good to be forgiven." or "Jesus did many miracles." So I can pick the extra details I want to emphasize or leave out as I tell the story. My daughter likes to "read" the stories herself too, and since it is a Bible really designed for pre-readers, every event in the sequence of the story is illustrated, sometimes very creatively.

I got this Bible for my daughter in Jan 05. She was 3 then and she has loved this Bible. She takes it out all the time and it is wonderfuly used. It has held up very well considering the heavy use. She really looks at it carefully because the illustrations are so expressive.
Kudos on the best angel illustrations I've ever seen a a children's book. It is also a good size, not too heavy, bright and colorful.
Now our 2nd daughter is 3 and she wants it but it is so treasured by the oldest that we will be buying another copy. The best part is seeing older daughter teaching the younger Bible stories using the book.
Our only disappointment is that it is not longer with more stories illustrated. The oldest is now, 3 years later, noticing the stories that aren't included, but its a great Bible to start with.
It has been a great value.

My 2- and 3-year olds already have three or four Bibles. This one is by far the favorite. The pictures clearly tell the stories. The illustrations are truly incredible.

I have noticed as I read with my children that I am meditating on the Bible stories in a way that is beneficial to me as well as to my children. These pictures highlight emotions of the Biblical characters or other details that I may have glossed over in my own reading.

The pictures also convey much more of the story than is generally included in a Bible for this age group. I was looking for a Bible that would keep my children's attention and that they would enjoy. It's one of the books they pick up to "read" on their own. They love it!

We love this book! My firstborn (3 1/2 yrs) always loves going through the pictorial table of contents to choose stories before bedtime. It's great that there are no words except for a little one-liner at the end of each story because you can make the story as short or as long as you want, or just talk about the pictures, or ask your child to tell you the story!

There's plenty of detail in the pictures so you often see something new each time. The caricature-like drawings mean that the exaggerated expressions are easy for a toddler to interpret and give rise to some discussions about emotions. And, there's humour to boot. One of my favourite bits is the sequence where Jonah is about to be swallowed by the big fish and he tries (in vain) to prevent this from happening.

Buy this book, unless you're one of my friends and I managed to buy you one first!

I bought this for my boys ages 3 and 6 and they enjoy this a lot. They can tell themselves what's going on in the story as kind of a reading comprehension exercise after hearing or reading the actual biblical account at church or from us. I can't say enough about the illustrations, they are so expressive and active and dynamic! There's nothing "boring" about this Bible. I like that it makes the Bible exciting and relevant to kids.

I use this book frequently, especially when studying art books of Christian art as well as during a recent Bible study of the Book of Exodus. This was an invaluable guide to the symbolism used in art and the various meanings. For example, when studying the symbolic meaning of the priests robes of the Old Testament, the meaning of the pomegranate for the OT and NT is significant. In the OT, the pomegranate stood for the 613 Mosaic laws (the pomegranate was thought to contain 613 seeds). In the NT, the pomegranate is the symbol for the resurrection of Christ. The Hebrews believed following the law led them to God. For the Christian, belief in Jesus' death and resurrection leads to God! Enjoy this read.

When I bought this book, I needed a quick and dirty reference to religious symbolism in western art--I was pleased and surprised to find out that it's small, lightweight, and therefore portable when I visit museums. (Why don't more publishers consider weight and size when they print books for travelers? Lonely Planet and DK, I'm looking at you.)

Its easy size belies the incredible amount of useful information it contains; there are fourteen sections covering everything from the significance of certain animals to religious garments to a brief hagiography for commonly portrayed saints. About one-third of the book is a set of reproductions (sadly b&w in this edition) of famous renaissance religious paintings. There's no discussion or explanation accompanying the paintings--which is the only thing I don't like about the book.

And if you read one of the earlier reviews and are wondering about the chocolate mouse in Rosemary's Baby, it's a reference to mice as a symbol of evil because of their destructiveness.

Although not encyclopaedic, this book, first published in 1954, is indispensable to the art history, religious art, iconographic, and religious lives student. The essays are of significant depth without excessive volume, and the illustrations, although of a limited period (Medieval through Renaissance), are pungent enough from which to learn. Two limitation I will remark:
There are no representations from Eastern- or Byzantine- iconography.
The illustrations are all black and white.

I study Art history, and christian art. This book primarily focuses in on Renaissance paintings and thier symbols. I found it to be useful and detail orientated. A very good reference book.

If you are an art history student, this book is an absolute must. While there are many books that contradict one another when it comes to symbolism, this book is one that commonly agrees with others I have read or consulted.
For as inexpensive as this book is, you cannot afford NOT to get this book!

ok, ill admit, ive yet to purchase this...im ashamed or myself for not owning it yet.
i dont have an intimate knowledge of Arts collection of works, but the man is a goddamn genius.
i know this personally, since i was privileged enough to experience a several hour long presentation by the man himself, about a year ago.
my idea of design will never be the same, hell my life will never be the same.
whatever anyone else here says, BUY IT.

Nothing can beat the "raw power" of Art Chantry. This book is a must in every graphic designer/student bookshelf!...

i really wasn't too familiar with Art's work before getting this. i've only seen mentionings in random other books about how influencial he is. but after seeing this i can see why. he combines the rough aesthetic of punk and shows that it can be acceptible in mainstream graphic design. it shows that there's hope for punk rock artists like myself.

In a similar manner to Paula Scher and Charles Anderson, one of the main themes of Art Chantry's work is to take old images and give them a twist. While you can see an echo of this look in almost every graphic design award annual today, Chantry has been working in this style since the late 70's. And while many have borrowed his approach, few have been able to imitate it with the same sense of grit, humor, color and power.

True to the title of the book "Some People Can't Surf" there isn't one website design to be found, but that may not be a bad thing as Chantry is a master within his medium. A very large body of work that spans three decades is showcased which includes everything from his very first poster design for a school concert to promotional work for major Hollywood record labels. One pleasant surprise is seeing quite a bit of logo design work which involves the charm and craft of hand lettering. In end Chantry reminds one of a later day Milton Glaser with a punk rock point of view.

At some points the book can become too crammed by trying to jam several posters onto a page by shrinking them down to matchbook size, however the work holds up pretty well under the strain. This volume would be valuable to any graphic designer looking for inspiration or anyone who is a fan of the Seattle music from the 90's.

...is that Art Chantry's groundbreaking artwork (and yes--unlike some snooty traditionalist art-weenies--I DO consider graphic design to be "art"!) is more often than not gobs more compelling than the work of the people who have directly benefitted from his work (i.e. most of the so-called grunge bands from the Pacific Northwest). Yet almost nobody outside of Seattle, Tacoma or underground graphic-design circles knows who the hell he is, even though almost everyone has seen his work in one form or other (The Sub Pop logo is one example that immediately comes to mind).

In early 1991, I discovered and became obsessed with underground garagepunk & instro-surf music, the most exciting of which was coming out of the Pacific Northwest, and specifically Estrus Records, in Bellingham, Washington. It was the Estrus label that started my appreciation, and later, reverence, for Art Chantry's ir-reverent style of graphic design. When Nirvana's "Nevermind" was released later that year, the wall that previously kept mainstream riffraff from crashing "our" underground party came crumbling down, and as a result, grungy Northwest music had become suddenly (and inexplicably) marketable. The sudden onslaught of new bands inspired by this alleged "rebirth" of punkrock quickly caused the quality of Estrus' releases to assume an inversely proportional relationship to the quantity of records they put out (well, that's MY theory, at least...). Simply put, the really good music on Estrus soon became a rare commodity. Thankfully, what didn't change was the brilliant package design that thier slabs o' vinyl and silver frisbees were encased in. Art Chantry was responsible for the bulk of these designs, and is the only reason why a big chunk of my record and CD collection isn't fermenting in some used-record store somewhere. His artwork transcended the actual product it was emblazoned on, and made it worth keeping even if the music it promoted was supremely lame.

Chantry's work led me to notice and gain an appreciation for artists such as Stealworks' John Yates, Frank Kozik and even Roy Lichtenstein. But as great as those artists are, Chantry's work is the perfect amalgam of irony, humor, subversion, obnoxiousness and kitsch, and no one that I'm aware of has yet to outshadow him in this regard, even though he is without a doubt a man with many imitators. In fact, many people directly point the finger at him for popularizing the now passè movement in "grunge" design and layout. Whether this is actually true or not is debatable (although it certainly makes sense), but "Some People Can't Surf" is interesting in that it showcases a non-"grunge" (god, I hate that term) side of Chantry that most people would be very surprised to see. The same man responsible for some of the most outrageous and iconoclastic posters and album covers in music history was at the same time designing nondescript logos and brochures for boring, faceless corporations--biotech companies, architectural firms, airlines, etc.--and it's extremely interesting to see this real-world dichotomy brought to light in this book.

Another notable section of the book recalls the time when Art creatively attempted to get around a draconian 1994 Seattle anti-postering ordinance by posting up 'zine-like tabloids to telephone poles instead, ostensibly daring the city to attempt to fine him for what is fundamentally a First Amendment issue. As someone who firmly believes that graphic design and traditional "art" are not mutually exclusive, I found it refreshing to read this shining example of how designers can use their talent to actively influence and challenge the cultural status quo, instead of simply generating pretty pictures for passive consumer consumption.

When I first saw Art years ago in the documentary film, "Hype!" (which I also HIGHLY recommend), talking about the early Northwest music scene, and then proceeding to chop up his super-rare (and super-expensive) posters with a paper cutter, it completely validated what I always thought--this man is an ironic and wonderfully irreverent genius. "Some People Can't Surf" bolsters this fact even further, and I enjoyed reading this book's narrative at /least/ as much as looking at all the cool, full-color images of his brilliant work. I highly recommend this to any graphic designer who is tired of all the c.r.a.p. that tries to pass itself off as "cool", "grungy" or "retro" nowadays.

The debut monograph of photography artist Thomas Allen, Uncovered: Photographs by Thomas Allen presents surprisingly lascivious images from pulp paperbacks of bygone decades, constructed into humorous and witty scenes (utilizing no digital aftereffects at all!). For example, in "Thirst" a sexy woman reaches her hand toward a man with a bottle on an adjacent volume, while in "Teeter" a man losing his balance is about to hit a precariously stacked set of paperbacks. A board book with a die-cut cover, Uncovered lets its twenty-seven four-color images speak largely for themselves. A treat for anyone who fondly remembers the trashy novel covers of yesteryear, featuring a wealth of creativity and re-imagining of bygone themes.

I really liked the approach the artist took in preparing this book- it was really interesting! Turned out to be a great gift, but the cardboard pages make this book deceptively skimpy. Still quite enjoyable, especially to see that child-like expression of glee on that pulp fiction fan in everyone's life.

I always knew that someday, if I flew long enough, I'd read a worthwhile article in one of those dreadful inflight magazines they stick in the pocket of the seat ahead of you next to the sick bad. My eureka moment came in December when I read United's latest issue of "Spirit" (I think it was) and an srtist called Thomas Allen was featured in quite a slick spread. I must have been exclaiming over it out loud, for later on i found out that not only had I gone ahead and ordered a copy from Amazon, but my wife did too, thinking that aha at last she had found a good Christmas present for hard-to-shop-for me.

Some of you may be wondering by now is the book worth it, or is Allen a one trick pony? I have no idea how he does the things he does with a razor blade and a steady stack of old, sometimes crumpled up paperbacks, but they say a documentary is coming and will soon be on public TV to show the artist at work. You can see in UNCOVERED how, in an effort to keep the sliced out cover image at least minimally attached to the book itself (what a curious, seemingly irrational restraint), he has been known to carve out a single line--one here shows a line of smoke mounting moodily from an unfiltered cigarette, so slim and tenuous you wouldn't think anyone could get in that narrowly.

Are they suggestive? And how! It's an Oulipean art practice, born of subtraction, that nevertheless extends itself into eros and beyond. The campy aspects of the original covers seem to dissolve under the application of all that rigor and man meets woman, woman meets woman, man meets man, and undresses right quick, just the way the Lord meant it to happen. The sensual just pops right out, almost like a physiological reaction. Just as his name, "Thomas Allen," seems to have been leached of personality, UNCOVERED clarifies the intents and purposes of one of America's favorite guilty pleasures, pulp fiction of the 40s, 50s, 60s. Wish I could see the Dallas exhibition of Allen's work at Light and Sie (the gallery has a nice slide show so you can sort of see the dimensions of his work and mind).

Wow! I'm between pays, but one look at this ripe book, and I dished over
whatever they asked. A babyboomer who found Dell Mapbacks all over the
house---and have since collected a few of the best-----
I had that instant feeling of "fullfillment" as I turned every page.
The essence of time/place perfectly realized.
Could Thomas Allen's accomplishment here be loosely called "RETRO" ?
It's totally transformed, and playful, yet retains the originality
and period flavor of that long-ago-era. And yet still modern. A winner.
(But I agree with those critics who expect the original artists to be
prominently credited.)

What a treat to get a book, open it and immediately be grabbed by the contents. 'Uncovered' did that for me. Mr Allen has been scouring pulp paperbacks for years it seems, his fight photo 'Red' was done in 2002 and used by designer Chip Kidd for the cover of James Elroy's 'Blood on the Moon'.

The twenty-eight photos in the book actually turn out to be a varied selection, a sort of template for Allen to go and explore other print media besides pulp paperbacks from past decades. 'Swell' shows a galleon tossed on the wave pages of an encyclopedia, the delightful 'Uplift' has two children on a swing or 'Migrate' with two birds having flown from a spread but leaving their shape so you can see the text on the previous and next page.

The book's production is rather intriguing. The thick cardboard like pages, round corners on two sides and a sepia tinting for an aged look on some pages are suggestive of children's books from yesteryear but the violent and suggestive nature to many of the photos seem at odds with fun and frolics of children's playbooks. The cover is brilliant though. The sexy blond is actually on page three, her shape has been die-cut from the cover.

'Uncovered' will delight anyone who opens its pages. It all looks so obvious yet it was Thomas Allen who seems to be the first person to realize the creative potential of the cut cover tableaux.

***FOR AN INSIDE LOOK click 'customer images' under the cover.

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. :)

My wife asked for this for her birthday. She absolutely loves it. So much so that we recently purchased 7 more as gifts for her friends in different crafting groups. She insists that 4000 Flower and Plant Motifs has inspired her with tons of quilting/craft ideas. This book is a great gift.

Sam Hendricks, author of "Fantasy Football Guidebook: Your Comrehensive Guide to Playing Fantasy Football" and "Fantasy Football Almanac"

I'm an avid embroiderer, always looking for the perfect design to embellish a cardigan or pillowtop. McCallum's collection offers plenty of ideas and serves as a springboard for some of my own. I imagine this would be an equally essential tool for many other types of hobbyists. This one is nice just to leaf through, too -- it's very well arranged. I'm tempted to order his other books right away, but there's plenty to work with right here.

I have a collection of books on designs and historical motifs. This is one of the most useful. I'm using it to create designs for decorating pottery.

This book has found a permanent spot in my home, namely, on my desk, where I do all my hobbies. It has loads of great ideas that I've already used. Can't wait for the author's next book --apparantly its a sourcebook on animal designs.

I love this book for the quilting designs it inspires. If you're stuck for ideas, open McCallum's book and start drawing.

Wonderful, wonderful, wonderful....not only because I'm in it, (brother used me in one of his shoots for Village Voice campaign)...but, buying this book is a great way to see innovation and artistry normally slated for galleries...

Warren is the best there is when it comes to reviewing the current Ad scene. However there are some factaul errors in the book. i.e. He talks about the breakthrough work that PKL did for Smirnof vodka in the sixties... It was'nt for Smirnof, it was for Wolfschmidt Vodka. Even more important was the work PKL did to launch the first Xerox dry copier, with the famous "Monkey" commercial.
However, the most dramatic ommision was that there was absolutely no mention of Jack Tinker Associates, the InterPublic think tank that kick started Mary Wells into Wells Green Inc.
Otherwise, a great book.
Warren, email me, Ive lost your phone number.
George Parker

Hardly anyone outside the industry itself has a high opinion of advertising, and I'm probably no different -- most of the time. However, I've long appreciated the occasional high degree of originality and wit of which ad writers and artists have shown themselves capable, especially since the late 1950s. This fat volume brings all of them together, beginning with Volkwagen's groundbreaking "Think Small" campaign. There are chapters on the influence of European copywriting on American ads, the development of a new "visual language," the rise of backhanded "oddvertising," the growth of advertising as a reflection of (and finally an agent of) social change, and the advent of guerilla anti-advertising, each of them an entertaining and instructive mix of graphics and text. There's even a separate chapter on the ups and downs of the famous and long-running "Got Milk?" campaign. This gorgeous book will keep you studying the artwork and reading the discussions far into the night.

This isn't just a book for ad students and insiders, though I imagine they'd love it. I'm not an ad junkie myself, but I happen to love this book because it's a very different and interesting coffee table book, that you can spend hours looking at. The ads featured in the book are amazing - funny, clever, intriguing, sometimes works of art in themselves. And the captions explain what's going on, all that sly thinking and logic behind the ads. I find it's the kind of book that really gets people talking. But be forewarned - it's a huge book, so make sure you have a strong coffee table!

As the proud author, just wanted to share w/readers some of the recent press reviews for Advertising Today:
"An amazing book," says Esquire magazine; a 4-star rating from Maxim magazine; Village Voice says "media archaelogists will pore over it for decades to come"; praised on ABC World News; on her radio show, Joan Rivers called it "fabulous" & the hot new coffee table book; J. Walter Thompson pres. Bob Jeffrey says, "Never has a book captured the heart and soul of advertising as much as Advertising Today."