Illustration Books

Krazy and Ignatz are unique in the history of the comics and highlight the Golden Age when "Little Nemo," "Maggie and Jiggs," and "The Yellow Kid" were right up there with this strip, George Harriman's salute to wit, whimsy, and the English language. Did I mention Jewish and Italian dialects from New York City? Anyhow, language and imagination all worked together in a desert landscape with Turner skies above and some of the most marveous comic characters walking the sands below. Who else but Herriman could do a daily comic--for years--about a cat with a bow around its neck, a cat that was either male or female depending on what happened in the life of the reader that day, a cat in love with a mouse whose only aim in life was to bean the cat's head with a brick, then to be arrested by Officer Pup! It's the stuff that dreams are made of but, unfortunately, those dreams have faded away.

What can one say about Geo. Herriman's "Krazy Kat"? The wonderful, colorful world of Coconino County is captured beautifully in this all-color Fantagraphics collection of Sunday pages. Geo. was a true poet and his words and art join together (like Chinese calligraphy/poetry/painting) to create an self-contained universe of wonder, humor and all-too human foibles and desires. Let's see - Krazy (cat) loves Ignatz (mouse); Ignatz despises Krazy; Offissa Pupp (dog) loves Krazy but Krazy is unaware and Offissa Pupp's love is unrequited. It's all so krazily wonderful I really kan't deskribe it!!!

It's probable that anyone considering the purchase of this book is already familiar with Krazy Kat, but just in case...

The entire strip is based on a love triangle, with a gender-ambiguous cat (Krazy) that is in love with a mouse (Ignatz) who is irritated by the cat and throws bricks at his/her/its noggin. The cat takes the bricks as a sign of love, however. A dog (Offisa Pupp) is in love with Krazy and tries to protect him-her-it from the mouse and the bricks, frequently jailing the mouse.

The strip has a fairly small cast of characters, mostly animal, and the goings on take place in front of ever-shifting landscapes. The effect is surreal: from one panel to the next, two characters could be talking without much change in their positions and posture, yet the background changes completely. The art is probably a love it or hate it proposition. It is scratchy and might resist some readers' esthetic sense. On the other hand, I know many people who automatically exclaim "I love Krazy Kat!" and the art is part and parcel of their appreciation. At any rate, the price of this full-color book is low enough to take a risk. Personally, I love the art: Herriman conveys surprise, movement, force and speed better than most or all of the comics masters, including Caniff, the superhero artists, Uderzo and possibly Hergé, with an apparent ease and simplicity of line.

Complementing the art is a patois (especially Krazy's) that is, at times, sheer poetry. The title of the book is drawn from an utterance within. There are deeper messages, such as the law of the excluded middle, or some gentle jabs at our lack of color blindness or cultural references that can slip by us because they are from an era now 70 years old.

There are two introductions. One of them, "The Kolors of Krazy Kat" on Herriman's complex ethnicity, is particularly apt in this, the book of the strip's first color Sundays. The other is by a fellow named Bill Blackbeard, whose efforts have saved portions of this and other strips from oblivion and in some cases from outright destruction. His work has rescued an important part of our cultural heritage.

In addition to the introductions, there are photographs as well as reproductions of beautiful Herriman water colors featuring his characters and backgrounds. The book was put together very conscientiously - even lovingly.

Krazy Ignatz is the sixth volume of the Krazy Kat reprint series - but it's the first volume to appear in full color, representing the comic strip's color appearance in June 1935 after being a black-and-white Sunday strip. The new color format has been digitally cleaned for sharp appearance - better than the original strips - and harvests a wealth of Krazy Kat and non-Kat materials from Herriman archives from 1935-36. Krazy Ignatz is a 'must' for any KK fan.

Many comic strips rely a lot on variations on a theme. The classic example would be Peanuts. There were dozens of Peanuts strips that involved Charlie Brown trying (and failing) to kick a ball that Lucy was holding. Even though the idea was the same in each, the execution differed from strip to strip. Years earlier, the same could have been said about Krazy Kat; how many different ways can a mouse attempt to hit a cat with a brick? As it turns out, many ways, each interesting in its own way.

For those unfamiliar with Krazy Kat, the three main characters in the strip are Krazy Kat, Ignatz Mouse and Officer Pupp. Krazy loves Ignatz, who in turn, dislikes Krazy. In fact, Ignatz is constantly beaning Krazy in the head with a brick, an act that Krazy interprets as one of affection. Meanwhile, Officer Pupp loves Krazy and hates Ignatz, constantly arresting the mouse for assault. (While Ignatz and Pupp are definitely male - Ignatz is even married with children - Krazy's gender is much more indeterminate, occasionally referred to as male, sometimes female, but usually left completely uncertain. Personally, I think of Krazy as male, but mainly so I am consistent in what pronoun to use.) Of course, just as not every Peanuts strip involved kicking a football, not every Krazy Kat strip involves Ignatz's efforts to obtain a brick and throwing it at Krazy, but usually the idea is at least lurking in the background.

What makes Krazy Kat special? It's hard to describe exactly. It is certainly different from any comic strip around nowadays: it has much less of an emphasis on punchline humor and instead relies on pure absurdity (or should I say "kraziness"). Even in its time, Krazy Kat was mainly successful due to the patronage of William Hearst, as well as the praise of such well-known figures as e.e. cummings and Walt Disney.

This particular volume covers the Sunday strips of the latter part of 1935 and all of 1936, the first period in which Krazy Kat was in color. Despite some obvious errors by the original publishers seventy years ago - such as times when Ignatz is blue or green - Krazy Kat works as well in color as in black-and-white. There are supplemental materials as well, most notably an essay on Krazy Kat's creator, George Herriman, the controversies regarding his racial background and how it was reflected in his work. Although interesting, you can skip this stuff if you want and go straight to the comics: Krazy Kat is kompletely kaptivating!

I enjoyed the artwork in this book. And the creativite that went into the letters.

My daughter and I love reading about fairies and this book was delightful. It is creative and beautiful to look at.

I am a big fan of Lady Cottington's work, and this is another great installment in the series.

The artistry is amazing - the amount of work required to not only paint (or "squash") the fairies is immense, but then to paint a "mirror" on the opposite page, and have it look like a fairy really was pressed between the pages - I can't even begin to imagine how much work it took!

The authors clearly had fun putting this together. Although there is no "plot", you get a sense of a story - Lady Angelica is plaqued by fairies, and is also missing her mother, so she writes letters to famous people and collects the responses, with further tauntings by fairies.

The books is extremely amusing! There were moments when I laughed out loud - for instance, on the inside back cover, there is a list of the letters and their authors, as well as a short bio on the author. W. S. Gilbert is described as being "...the very model of an English playwright/lyricist."

First off, I'm very biasedly a huge fan of Brian Froud and ADORE the Lady Cottington books. This book is so far my absolute favorite. I love how it's set up, the different letters are so greatly written. My favorite letters/notes are those from J.M. Barrie and Wendy Darling. I think that reading the other Cottington books s pretty much a must before starting this one, but it's really quite lovely. This album tells a story without using a regular narrative. Imaginative, beautiful, everything I expect from Froud and the Cottington albums.

This book is so nice I bought one for my mom for her birthday! Of course it was part of a huge stack we took to have Brian Froud sign - which makes it even more sweet! Very funny reading and the drawings are just fabulous!

The first time I hear of either Mingering Mike or Dori Hadar was when they both came to Amsterdam. Dori Hadar gave a lecture in the Academy of Architecture in Amsterdam, following the series theme "Amateurism". This book not only tells of a person's amazing power to create beatiful and original art, but also gathers material which is in itself a world to visit over and over again. I was very pleased to have bought it.

I have been following Mingering Mike's intriguing story from the beginning since Dori and Frank discovered Mike's hidden gems. Let me say, I am still nothing short of amazed on this diggin' phenomenon.

Top quality stuff here, so don't sleep!

I was so excited to finally see Mingering Mike's work in detail- as well as the scoop on this fascinating story. This book delivers- and features all of the charming words and whimsical creativity of a true outsider artist. Much like Henry Darger and his mystique- Mingering Mike's appeal lies in his dedication to his dream and the crafty ways he set out to acquire making it in the music business. The New York Times story on this kept me captivated and now I'm proud to own the final product of all this hard work! Kudos to Hadar and pals who made it possible...and of course mingering mike!

an unbelievable discovery which almost seems too incredible to be real. a socio-cultural time capsule of american history which gives us an incredible collection of work as well as the incredible story of it's discovery. this is outsider art at its finest! so earnest, heartwarming, and real. an AMAZING book! thank you dori and mike!

What an amazing book! Mingering Mike is a true superstar and Mr. Hadar has done a great job chronicling his (imaginary) career. Can't wait to hear the songs!

"Nature Illuminated" is wonderful collection of illuminated manuscripts from the Getty's extensive holdings. Perusing these pages shows that the chasm between (representative) art and science is really not so great.

If you want to see colorful manuscipts that show a varity of medieval insects, plants, flowers, fruit, sea shells, initials, designs, and even a few animals, then this is the book for you. There are 41 full color manuscripts to choose from. At the end of the book, are discriptions of each manuscript, listing the medieval name for each. Example: The identifications of specimens proceed from top to bottom and from left to right. Common names have been provided whenever possible. In the case of the insect identifications, British English common names have been used, since most of the specimens represented do not exist in the United States. Where a different American common name is known, it has been included following the British Name, seperated by a slash. The names of higher taxonomic groups (families and orders) have been printed in roman type, while genus and spicies names appear in italics.Folio 1 Rotunda script in "trace letters"Vinca minor L,: Common periwinkleMalus domestica Borkh,:Common appleLacerta(?):LizardFolio 5 Antiqua scriptMatthiola incana (L.) R. Br.: GillyflowerEphemeroptera: MayflyDiptera Cyclorrhapha Heleomyzidae (?):FlyPulmonata Helicidae Cepaea sp.: Garde SnailEnd Example.A great sorce of Medieval Nature.

Years ago, when I was primary school (1960)2nd class student our teacher made us a special note -book: Everybody wrote an alphabet and every friend painted them whith natural ornament. I remember that years. This book is illuminated us with conservative knowledge. It's a pattern for humans and for our child. Ewerything in the world can place in same frame. Thank you Emperor Rudolf II and AMAZON.

I have never seen such an amazing compilation of manuscripts and calligraphic examples. I was blown away. The only problem is that the dang pages are so small!! It seems like some detail is lost. This is a big problem for anyone who wants to master some the writing techniques. The Mira calligraphea is the same dang size so no help there either. If anyone knows where I can find larger views please let me know!!!! vinson.gracia@gmail.com

This is a great book for those who appreciate beauty in nature. I find that just paging through the gorgeous artwork of natural objects and flowing calligraphy is very soothing. The book is smaller than I expected but its content does not disappoint. Makes a wonderful gift for special friends. I bought my copy for myself but I might buy others in future as gifts for friends.

This book is filled with fabulous designs and ideas. Definitely refreshes the mind when stuck in a rut with old ideas. Like taking a nice, cool shower after getting dirty doing yard work!

I must say, as a graphic designer I'm always looking for inspirational objects all around me so, this a collection you'll never find disappointing. All of the posters listed inside are in every range of design trend and illustration techniques and so are fantastic at any level: creative, conceptual and symbolic. Every featured designer is given an introduction and a light analysis on their work so you can get an idea of who these guys are. I gave 4 of 5 stars only because I wanted at least the double of pages and posters but it's a fair trade.

I am in love with this book! The posters are fantastic, the layouts great. I often refer to this book to get inspiration for my own art. Worth every cent.

I found the collection of posters in this book to be amazing! It has such a wide range of artists and designers. Anyone who is a fan or a pro would love this book.

This is a very up to date collection of poster portfolios from graphic designers around the world. Besides the overall quality, the interesting point is the diversity (of origins and approaches) and the texts about the creation process of each piece. A must have.

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.

Of all the superb books published by Hotei on the subject of Japanese woodblock prints, Inge Klompmakers' "Of Brigands and Bravery: Kuniyoshi's Heroes of the Suikoden" is far and away my favorite. This reflects not only my enthusiasm for the 19th-century artist Kuniyoshi but also an appreciation of the rich symbolism embedded in his treatment of the "Suikoden" heroes.

The "Suikoden" (the term is the Japanese rendition of the original Chinese title of "Shuihu zhuan") is a epic Chinese novel that is known in English as both "The Water Margin" and "All Men are Brothers." The novel, which lionizes an outlaw band of 108 men who commit crimes on behalf of the common people, was first translated into Japanese in the late 18th century. In the 19th century, a reworking of the novel brought it to an even wider Japanese audience, and at this juncture a number of leading print artists--including Hokusai and Yoshitoshi--illustrated it. However, it is the treatment of the bandits by Kuniyoshi--who depicted 75 of the 108 heroes--which has enjoyed the most enduring popularity and influence.

In the original Chinese novel, six of the 108 bandits are described as tattooed. In Kuniyoshi's series, covering just 75 of the bandits, that number was expanded to 15, and Kuniyoshi's "Suikoden" series became the leading evolutionary influence on Japan's complex style of tattooing.

Recently the "Suikoden" has enjoyed a major renaissance of popularity. Kuniyoshi's prints are revered by the international tattooing community, and the novel itself has inspired a series of fantasy games. Beyond these considerations, it is worth examining Kuniyoshi's accomplishment within its historical context. In the late 19th century, the Japanese enjoyed increased access to literature from abroad, had an urbanized population that supported a vigorous publishing industry, and perfected the technology of woodblock printing. These three developments jointly produced an extraordinary marriage of text and art, a marriage that enriches us all today.

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.

As you might know, Japan was closed off from the rest of the world for around 200 years (Up to 1868!). One of the few countries that kept up close economical ties with Japan throughout that time was Holland (Europe).

That is probably one explanation why in Holland you will find large collections of Japanese Art, and also why the University of Leiden (a city in Holland) has got a very good reputation world-wide for all Japanese-related studies.

The publishing company of this book, Hotei Publishing (www.hotei-publishing.com), is also based in Leiden and has over the past few years managed to create an excellent reputation for itself regarding Japan-related publications. I have about a dozen of their books, and can wholeheartedly recommend all of them.

My interest in Japanese woodblock prints started because of my love for traditional Japanese tattooing. Doing a little research on Japanese tattooing, one will eventually come across the great ukiyo-e Master Kuniyoshi, on whose prints most of the traditional tattoo designs are based.

If, like me, you want to delve deeper into the history of those designs: this book is a must-have. For the untrained eye it will at first be difficult to see the connections between the prints and the tattoos - but after a while you will understand better.

If, on the other hand, you are "only" interested in Kuniyoshi and/or his Suikoden prints: this book is also a must-have for you! The prints are re-produced in large size and full colour.

Besides, you get background information regarding the technique of woodblock prints, Kuniyoshi's life, his work, how the Suikoden prints came about, and a lot more.

If you would also like to see how some of those prints where "transferred" onto human skin, I can recommend the following books to you: 1. Takahiro Kitamura, "Bushido - Legacies Of The Japanese Tattoo", Schiffer Publishing, (over 200 photographs of works by one of today's greatest tattoo masters: Horiyoshi III). 2. Sandi Fellman, "The Japanese Tattoo", Abbeville Press.

I am Jael... and I'm so thrilled with the overwhelming success of my first book, _Perceptualistics_! This book, packaged and designed so beautifully by Paper Tiger, contains not only wonderful samples of my illustrative work through the last twenty years, but the "now discovered" Perceptualistic pieces, that I've been painting throughout my entire lifetime. I thank everyone who has supported this, my first publication, and encourage you to keep traveling within your mind. Dream your dreams of worlds and journeys that are real, but perhaps as yet unexplained. Nurturing, personal, comforting realms in which to retreat, are very much needed for us in this world today. Jael

"Perceptualisitics" is a magnificent gift to the reader. But beware, you "won't find a banana in the middle of each painting..."

That quote captures the essence of a Perceptualistic painting, if such an exercise is even possible. There is nothing literal about these paintings, and a casual observer, expecting to "see" a clearly defined image or a pictorial story in them will be challenged. And that, dear reader, is exactly why you should own this book and drink in the intoxicating visions it contains.

But let me segue for just a moment, for while the Perceptualistic paintings alone are an experience that will engage and enthrall you, there is so much more to this book that make it a compelling "must have."

It is eminently readable. John Grant's prose is both succinct and lyrical, and his biographical rendering of Jael invites one into her world in a way that is palpable and enjoyable. Rarely does one find oneself wanting to finish the text in an artbook before viewing the illustrations. Reading about Jael through Grant's eyes and ears made me want to know more. If there is a shortcoming here, it is because one finds onself wanting an even more intimate and extensive portrait of the artist.

Jael's paintings, regardless of the genre, are superb. Those seeking to view her Science Fiction and Fantasy illustrations will not be disappointed. Her work is among the best in the field and begs comparison to no one. Jael stands among the pantheon of "great ones" in the SF&F area.

However, dear reader, Jael stands alone with her Perceptualistic paintings, and she stands on a lofty plane indeed.

Each Perceptualistic painting beckons the viewer to explore. That exploration might be an inner vision, a transporting to another world or level of awareness, an opening to endless possibilities and insights. In a way, these paintings are gateways to perception, and that perception may change with every viewing. Can you think of any other artist who can offer you such a journey? I cannot.

I thank John Grant for his warm and vibrant words, obviously written with much caring. I thank Jael for this incredible gift to the public, and for opening her heart and her life, if only for a glimpse, to those of us who can only dream of such creativity.

Final thanks must go to the publishers, not so much for having the boldness to go beyond the trite and conventional nature of many "artbooks," but for recognizing creative genius and giving the world an opportunity to share in it.

Jael is a genius. Her genius comes from the heart, the dwelling place of all true genius, and that is a wondrous gift to us all.

Open your heart and prepare to expand your universe, dear reader, and buy this book!

As a former webmaster for the Association of Science Fiction and Fantasy Artists, I had the pleasure of working with Jael to produce one of ASFA's Chesley brochures. This led to my becoming her webmaster. Until that time I thought she was a very talented illustrator having only seen the images that she has painted for covers and interiors of science fiction and fantasy publications.

While putting together her webpage she introduced me to examples of artwork that were unlike anything I had seen with the SF/F genre. These images cannot be considered illustrations. They are more than that as they evoke emotions and thoughts that transcend the physical plane; transporting one into higher planes of existence and depicting mindscapes of such vast and incredible beauty that the mind finds itself at a loss for words. These vistas can not be described. They can only be experienced.

With the publication of this book everyone can now own reproductions of these of these pieces of 'Fine Art', painted by one of the finest artists alive today. A must own book for every collector.

I've been familiar with Jael's super illustrations for a long time, but nothing prepared me for this book of her work, which concentrates largely on her fine art -- fabulously imaginative paintings that have almost all never been seen in print before. It's nearly impossible to describe them, because they don't obey any of the inhibiting rules that other fantasy artists tend to adhere to. This is a real breakthrough book, and the kind you'll want to buy extra copies of to give to your most special friends. It's lovely!

This book may be your only chance to see an extraordinary body of work from fantasy and sf artist Jael. Well known for her bookcovers, Jael (who goes by only her first name), had been doing an series of personal works over the last 40 years while she fulfilled the demands of motherhood and a busy artistic career. Not abstracts, not realistic paintings either, she calls them "meditations" or "journeys". They are unlike any other major paintings done in the 20th century; and while this book is beautiful, it doesn't do the original works complete justice--I had the privilege of seeing a couple first-hand, and they are stunning. Since Jael considered these personal works and "too odd" for public consumption, she had never publicised them before or even kept good track of the occasional times when she would sell one of these amazing works. The reproductions on page 40 and 54 hint at the splendor of the originals, but many of the illustrations of the perceptualistics were re-created from small slides, though Jael herself worked to restore them to something close to the original. The text is also delighful, since Jael has had a long, interesting (and rather inspiring) life. My hope is that this book will inspire a sequel, and that some of the owners of the perceptualistics will come forward for new scans of the treasures they own.

I can't say I'm overly well versed in composition, namely because most books on the subject are so dense. But in Picture This, the author has found easily understandable way to show the basic fundamentals of art.

Rather than teach composition with diagrams drawn over old master paintings like some books, Molly Bang uses simple bits of paper to demonstrate how shape, color and placement can affect the mood of a picture. And once you understand these principles, it's easy to see how they can be applied to more complex artwork.

Bang's pace is very deliberate. Every change to her construction paper compositions is well documented and explained. It's that simplicity and directness that allow her to communicate such a large amount of knowledge in only 96 pages.

And don't let the short page count and the fact that this book is recommended for grade schoolers fool you. This is a book every artist should have her shelf.

Don't be misled by the simple pictures and storybook style into thinking this a just a book for children. I have given this book to several adult friends, including some who are professional artists. We all learned something from Molly Bang's clear and compelling explanations of the principles of visual composition.

I love this book and using it for teaching basic design ideas...a fellow teacher uses it in Psychology! The simple story of Little Red Riding Hood serves as the basis for discussion how line, color, shape, etc. work in art. Such a great idea...wish there were others of this type. I will be using it to teach the elements of art in Art History this fall.

Using the story of Little Red Riding Hood this book is focusing on the basic principles of composing images.

Reduced to the maximum and using simple colors and arrangements of basic elements like circles or triangles, the drawings as well as the short, precise text within this book are pointing out, how simple and complex arrangements within pictures work, transfer obvious (and hidden) messages, how philosophy and psychology witin pictures works. Therefor its a book telling the story why pictures may lie, may influence, may manipulate an observer even though obviously just showing "reality".

Whether you are taking photographs, drawing or designing - this book is a absolute must! A photo/image tells more than thousand words - here you will find the answer how and why. Great to read and watch, easy and fast to understand - even though dealing with a most complex matter.

Finally a personal statement and hint for an esthetes: if you like to possess a book with an outer shape and appearance that promises, what the contents keeps, than you have to buy the nice hard cover version instead of the cheaper soft cover version - it will pay off for sure.

This book is amazing...the illustrations are simple, clear and compelling and the narrative approach to understanding the art elements and principles makes this rather dry topic into a fascinating tale. I have purchased several copies of this book for friends and plan to use it in my middle school art classroom.

This is a whimsical book - as much for adults as for children - great to read aloud to children - and wonderfully illustrated.

If they could talk, what would God's "other creatures" say? Read this book and find out. The author's imagined, unspoken expressions of as yet unrecognized intelligence in the animal and insect world will instill new sensitivity in those who previously took these fellow beings all too much for granted. Read this and realize that the earth belongs to them as much as to us. Hear their voices and understand their world. A must for every child - for every adult.

This book is funny and heart breaking. It captures something in nature that most of us never take the time to notice. Do creatures comune with God? Why not? Who are we humans to think that only we can speak to our Maker. Even if you are not an "animal lover" this book has something for you.

I found this in a used book store's remainder bin, and I was so touched that I nearly cried on the bus.

Bernos de Gasztold, who lives in a French abbey, has written some very simple prayers by animals. Rumer Godden is an inpired translator.

PRAYER OF THE (ROOSTER) Do not forget, Lord, it is I who make the sun rise. I am Your servant but, with the dignity of my calling, I need some glitter and ostentation. Noblesse oblige... All the same, I am Your servant, only...do not forget, Lord, I make the sun rise. Amen.

PRAYER OF THE CAT Lord, I am the cat. It is not, exactly, that I have something to ask of You! No -- I ask nothing of anyone -- but, if You have by some chance, in some celestial barn, a little white mouse, or a saucer of milk, I know someone who would relish them. Wouldn't You like someday to put a curse on the whole race of dogs? If so I should say Amen.

THE PRAYER OF THE MOUSE I am so little and grey, dear God, how can You keep me in mind? Always spied upon, always chased. Nobody ever gives me anything, and I nibble meagrely at life. Why do they reproach me with being a mouse? Who made me but You? I only ask to stay hidden. Give me my hunger's pittance safe from the claws of that devil with green eyes. Amen

THE PRAYER OF THE OLD HORSE See, Lord, My coat hangs in tatters, like homespun, old, threadbare. All that I had of zest, all my strength, I have given in hard work and kept nothing back for myself. Now my poor head swings to offer up all the loneliness of my heart. Dear God, stiff on my thickened legs I stand here before You: Your uprofitable servant. Oh! of Your goodness, give me a gentle death. Amen.

PRAYERS FROM THE ARK was written and published first, and the poems are in the form of prayers. THE CREATURES' CHOIR was written quite a few years later and these last poems are more like letters to God, where the animals refer to their daily problems. The author did not write sentimental verse. The poems of the animals seem to radiate with truth.

I was first introduced to PRAYERS FROM THE ARK in 1977 by my sister, Susan who lent me her book. Since that time, I've purchased two copies myself, and have given several as gifts. The original book was written in French by Carmen Bernos De Gasztold, and published in 1947. The famous author, Rumer Godden discovered the work and was so impressed with the poems that she translated them into English.

There are over fifty beautiful poems in this book where each animal speaks to God in his or her own voice revealing their individual traits and personalities.

The Dove--"The Ark waits, Lord; it has endured. Let me carry it a sprig of hope and joy."

The Dog--"No one but You and I understands what faithfulness is."

The Ladybird-- "Thank You for having made me so that no one is afraid of me."

This is a charming book for an adult to read and a wonderful way for a child to learn that every creatures' life has dignity and purpose.

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.

This is a must buy for any inspiring artist! I've been interested in JJ's art since I've seen him doing "Fables" covers. This book doesn't dissappoint. All the art is printed on high quality paper so you can frame it. There are several pieces that show a peek into his strong sense of imagination. The "Sex-Ed" and "Succubus" linger in your mind long after you have looked at them. Great book! Support great artists!

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.

The book consists of a collection of very high quality reproductions of James Jean's illustrations, and they are certainly beautiful works. The images are printed on thick stock, and the book is large enough that pages could be mounted in a picture frame comfortably (indeed, the book appears to have been designed with this in mind). A few larger works are printed on fold out pages which might not be so suitable for framing, but are a joy to look at nonetheless. The works are masterpieces of subtly (or not so subtly) disturbing imagery and texture.

On the back of each illustration is a collection of one to three elements related to the process. Sometimes there are initial sketches, or even alternative sketches that weren't used. Sometimes there are initial roughs, uncolored pencil drawings and selected Photoshop layers. As an amateur artist, I find these initial sketches are almost more interesting than the finished works. My only complaint is that sometimes the choices of what to include are eclectic, and certain elements almost seem like teasing, for example a "shade and fill layer" offered up with no more explanation of how this related to the process of creating the finished picture.

If the book was going to show this much of the process, I would have liked a little bit more text, perhaps, or more images showing how the pictures were put together. As it is, while the initial sketches are interesting in their own right, I almost wish some of them could have been traded for a few more completed artworks. The book almost seems too short.

Although I appreciate the large format for the art, it also makes the book difficult to shelve, and I end up treating the book very carefully because of the spiral binding, which seems prone to damage to me.

These negatives aside, it is still an incredibly beautiful book, well worth the (very inexpensive) price.