Illustration Books

HELL BEASTS: HOW TO DRAW GROTESQUE FANTASY CREATURES is for any would-be comic or graphic novel artist: it tells how to create and draw monsters, how to make selected monsters even creepier, and how to draw upon imagination to create new monsters. It's a pick not just for graphic novel and comics collections, but for any general-interest lending library reaching out to young would-be artists.

This is an extremely well illustrated, and well put together manual on how to draw hellish fanasty creatures. Jim Pavelec's representations of abstract and chaotic beings such as the Demogorgon, Leviathan, and Basilisk (to name a few) are quite phenomenal. His creations are not typical of the common how to draw monsters, dragons, etc.-type books. His hell beasts are one-of-a-kind, carefully crafted works of art. It is very reminiscent of Frazetta. One feature that I especially love about this book is the mythology behind each creature. Jim pulls many of his beasts from Japanese folklore, European folklore, and Greek and Roman mythology, and provides detailed descriptions of their origins. Jim Pavelec is definately a master of his art. I highly recommend this book!

"Hell Beasts" by Jim Pavelec represents a book filled not only with original and entertaining illustrations, but with information on many mythological creatures, some not so well known. I enjoy reading about these creatures, and will use the book as resource for my own artwork.

Mr. Pavelec's book is an excellent resource for anyone in (or interested in) the fantasy art niche (though, the lessons is just as valid for any type of art, I believe). Though the book is loaded with all sorts of tips about making convincing and interesting creatures, I'd say the underlying focus is on the composition of a figure. Jim displays in many examples how to focus on the primary action or energy of a pose, even if the pose isn't inherently dynamic. The viewer gets to see many paintings evolve from thumbnail sketch to a completed illustration, along with a side commentary about why he makes his choices.

When I was starting out, I would have begged. borrowed or stolen to get my grubby paws on this book. Even as a reasonably seasoned professional, there are still a number of pearls residing between the covers.

I'm not much for the entire fantasy genre and neither do I have the imagination for such macabre concepts. With that being said, let me continue and make you understand why I am writing a review, and a positive one at that!

Jim Pavelec is an amazing artist. I've read instructional art guides before and I never really got much out of them. Out of this one, I received way more than I bargained for! He covers the basics and the tools that you'll need to do what he's about to cover. At the end of the book, he says that he has many inspirations and that it is okay to use that inspiration from other artists to create something of your own. In finding your niche, you can go through many. That may or may not make sense, but it did me a hell of good! I never knew these monsters had names!

It was 18 bucks well spent, thank you very much. It made me want to become an illustrator and offer services to paint nasty aquatic on bathroom walls. I could write another page on how happy I am that I bought this book and the nightmares that Mr. Pavelec's creations dwell in, but I have walls to paint.

This is a great book. When I wanted to learn about computer coloring back in '95, I had the pleasure of corresponding with or talking directly to two influential individuals in the industry. The first was Brandon Petterson and the second was Brian Miller. After finding out that he was from my neck of the woods (the midwest-St. Louis to be exact), we had a very pleasant conversation at Wizard World Chicago.

The Millers touch on so many points, from hardware and software to the coloring process to the business of coloring and working as a freelancer. This is a valuable resource to any colorist who is serious about getting into the industry.

I was searching for something like this for the class I teach and this fit the bill perfectly. Loved the scripts, brushes and actions on the CD!. The information on rendering is excellent.

I'm hard pressed to find anything wrong with this book. The lessons are thorough and well put together in my opinion. It's the first book that showed me what can be done in "Screen Mode" for gradients and brushes. This book also goes into steps for the fundamentals of rendering a figure or background scene(knowing the basic shapes in a scene or figure). For anyone new to coloring comics...this book will not waste your time if you give yourself time to practice.

This is a GOOD Book!!
No a GREAT book on HOW to color comics, line art etc.
It addresses the mechanical, production and well as asthetic side of
rendering and coloring sequential art.
The chapters are laid out in an effecient manner.
And make lots of sense in the way the subjects and
areas of concentration are sequentially laid out.

The only problem I'm having is gettig a handle on
the "Color Holds" section of the book.

But the CD-ROM is FULL of actions, scripts that are
REALLY helpful. Tips, techniques that I learned on my own
through trial & error, experimentaion and advice from others
are all laid out once the actions, scripts and brushes are
loaded on your computer.

Other than that my work has improved 100%!!!

This book will give understanding not only to animation but drawing all together and will allow you to elevate your understanding of composition

A complement to the earlier editions of this series, this book teaches you how to draw mecha's (daily machines), nature and animal characters, rounding off on how to put together a short story. There are helpful tips such as time-savers when drawing effective backgrounds even if there is less detail. The book is geared towards the aspiring mangaka, showing how drawings begin in sketches, inked, and toned in a step-by-step manner.

All in all, this book is more for the person interested in drawing manga. Not recommended for the average learner who just wants to draw manga style and not interested in creating a manga.

I loved this book the moment I cracked it open. Lots of great tips on how to draw houses (inside and outside), trees, clouds, water, rocks, and all sorts of nature things that I couldn't draw before. I highly recommend this book to any artist. Some drawing skills are needed for this book to be very effective, though.

this book is the BEST
because when I reed this book,
there were hundreds of infomation that I didn't
Know before...

This is one of the best HtDmanga books.The book cover and name isnt all.The book is full off nature drawing like trees, sea, fire, cat.It also have about drawing houses and cars.

I bought this book and Patent Pending in 24 Hours. The latter was a complete disappointment (read my review of it). This book however, was fairly detailed and answered quite a few questions for me. I am trained as a Graphic Designer. So I was very interested in doing the drawings myself on the computer. While the book focuses on traditional drawings for the most part, the information is still relevant for computer drawings. The book tells you what parts you need to draw and what to leave out. It also talks about how to shade the different elements. Which is one of the major things the examiner uses to differentiate the parts of your invention that connect or are attached. The book also goes into detail about how to label your figures and numbering of parts.
The one thing that did bother me about this book is that more than once they tell you to reference Patent It Yourself for more information. I bought this book because it implies that it will tell you everything you need to know about making patent drawings. I thought it was ridiculous that they spread the information out into their other book as a ploy to make more money. Luckily, there is enough information here to do what you need to do.
Overall I thought the book is a good collection of information. Despite the references to their other book.

I found this book to be excellent. Lot's of information and concisely written. A MUST reference if you are planning to make your own patents. Some good info on CAD drafting software, also.

Where can you find other book like this that explains you everthing about the subject in really plain english.

Alex

On the last couple of patent applications I submitted, I ended up doing 90% of the drawings myself because it turned out to be easier than continuously having to correct the mistakes of the draftsman. My attorney said that my drawings just needed to be shaded and cleaned up a bit, and have the legends applied, but otherwise what ended up going into the applications was essentially my drawings with a few more bells and whistles. His draftsman had just put them on a light table and copied them as is. But I still had to pay for the drawings!

This book was able to get me the rest of the way there by detailing the regulations that the USPTO puts on drawings. They're not really difficult, but they ARE specific. Don't be intimidated by them. The very simple drawing style specified by the USPTO is to allow clear reproduction and printing. My attorney charges $295 per figure, and one page can have 2 or 3 figures on it! The last application we submitted had about a dozen figures total. Some of the expense is the work of integrating and describing the drawings, but it is guaranteed to save you money if you do your own drawings. Besides, this ensures that you will be satisfied with the quality and accuracy. Don't forget you can also have the draftsman do the difficult 3-D "Figure 1" bit, and you do the simpler stuff. Like me, I'll bet you'll find it easier than you thought!

I have all of David Pressman's books on patenting, you know why? Because I filed my own patent using these books. That's how good they are. They really do have step by step instructions. He also has software that helps you prepare the docs. I sort of used that as well. Again, reasonable priced, and useful. I strongly recommend these books for anyone that wants to File a Patent. They will allow you to do it yourself without an attorney.

This book helped me out so much in my neurobiology class. I would definitely suggest it as a great reference for anyone taking an upper level neuro class who needs great pictures and drawings of the "tracts." The CD is also a lot of help for studying.

some sections are a little weat such as N-histology, however, great illistrations, and easily readable, also the atlas that goes along with the text is a must. I especailly like the section on N-vasulature CSF, also the Thalmus is covered pretty well

I'd recommend The Human Brain: An introduction to its functional anatomy as well. Great texts for an introduction to the human brain.

It's concise and fits the needs of those less familiar with the topic of neuroanatomy but the level of detail serves as a great source of reference for the more advanced individuals.

Very comprehensive, beautifully edited book. Personnally, I like neuroanatomy books a lot. This is not the first one I've bought, but it is definitely one of the best. Sections on clinical imaging are a nice little extra that you will not find in most of the other anatomy books.

Irene Brady is an expert, biologically accurate nature artist, but that doesn't stop her from creating (and teaching others to create) lively, interesting nature art. I am very impressed by her book, Illustrating Nature, Right-brain Art in a Left-brain World. From the construction of a leaf or a wing to the hairs in an ear and the fur on the body, Brady leads you to analyze the structure of plant or animal parts. Then she skillfully helps you understand techniques to illustrate these features. You learn how to pay attention to the details and illustrate the entire organism in a realistic and delightful manner. Brady wisely encourages the developing artist to use computer graphics as part of their toolkit. She also provides an appendix with many design ideas for book and magazine layout and design and promotional graphics, brochures and the like for museums and nature centers. This is a superb book for classroom use and the individual learner. I would have given my eyeteeth for this book as a child. Maybe there is hope for me yet!

Nancy Field
Nature Publisher, Author and Wildlife Biologist
Dog-Eared Publications
Author of several titles, including Discovering Sharks and Rays, the winner of a 2004 Ben Franklin Award for Best Juvenile-Young Adult Nonfiction

A great deal of this art instructional book deals with trying to see things and draw using the artistic side of the brain instead of the analytical left side. Subjects covered include sketching, texture, tone, line art, drawing techniques, design and layout, drawing fur, eyes, and other parts of animals, and botanical drawing. The appendixes include multiple projects, field sketchbook and portfolio creation, and career tips if you want to pursue illustration as a career. In addition to the common techniques you typically find in an art instructional book there are dozens and dozens of field notes specific to nature illustration work in the field. These make the book a best choice for anyone who wants to engage in nature illustration. Illustrating Nature is recommended for drawing in general and highly recommended for nature drawing techniques.

I've looked at a lot of art instruction books, wondering if they'd perform
as promised. This profusely illustrated book is the best I've seen!
The first thing you notice when you leaf through Illustrating Nature ~
Right-brain Art in a Left-brain World is that Irene Brady has skillfully
constructed exercises to lead you by the hand at your own pace down her
well-marked trail to professional illustration. For instance, the book begins by
explaining that artistic skills are natural to most of us and that to open
the door all you need is the key - then she hands you the key.
Starting with right-brain exercises to help you access your creative
skills, she then shows you how to really look at things, noticing and
comparing shapes and angles. The next step is to convey that information to
your hand and the paper - and amazingly, out comes a picture you'll be
amazed you could create. While beginners can get started with this book,
all artists can jump in at their own skill level and proceed from there to
a stage of excellence they've only dreamed of. There are exercises to
advance the artist's skill in such different areas as shading; use of
pencil, pen, and computer; organizing and designing an illustration; field
sketching (and taking notes about the subject); and a multitude of procedures and tips, both large and small, that go into creating beautiful, professional
results. The heavily illustrated instructions for each exercise are clear,
concise, and lead the artist from elemental to complex in easy increments.
The appendix outlines steps to guide your art into a career in a wide array
of professional fields.
If you've ever thought you might like to jumpstart, improve, or hone your
artistic skills to a fine point, this book is an excellent choice.

Rebeccasreads highly recommends ILLUSTRATING NATURE as an important tool for every budding artist (no matter their age) with an eye for a career in illustration, scientific or otherwise, as well as an extraordinary assistance for elders wanting to keep their brains in tip-top shape!

If you're a bit confused by all this Left Brain/Right Brain stuff, then Irene Brady ably guides you in discovering just what your Left Brain does, & what your magical Right Brain can do. Amazing stuff, folks!

ILLUSTRATING NATURE is a superbly inter-active book -- you are in for an adventure in creating fascinating, realistic images.

ILLUSTRATING NATURE is a textbook you will keep coming back to, as your skill progresses - highly recommended for home schooling, elder art classes & anyone of any age who loves to draw.

One side-effect of the common lectionary used by Catholics, Episcopaleans, Lutheran, and various mainstream Protestant churches is the development of some excellent lectionary based resources. (A lectionary contains the Biblical readings for a given Sunday).

This series of three volumes for the three year lectionary cycle (each year concentrates on a synoptic Gospel - Matthew, Mark or Luke) contains music, poetry, art, etc. that in some way reflect on the Scripture for a given Sunday. The volumes are carefully multicultural.

An example: for the first Sunday in Advent, there are poems by Philipp Nicolai with Carl P. Daw Jr, and Alberto Taule; a photo of a cross of the community by the artisans of La Palma, El Salvador; a responsory reading by Miriam Therese Winter; and a painting by Glen Strock.

Each Sunday is equally diverse. You should always be able to find something that meets your needs and/or challenges you to reconsider your needs. Highly recommended.

One side-effect of the common lectionary used by Catholics, Episcopaleans, Lutheran, and various mainstream Protestant churches is the development of some excellent lectionary based resources. (A lectionary contains the Biblical readings for a given Sunday).

This series of three volumes for the three year lectionary cycle (each year concentrates on a synoptic Gospel - Matthew, Mark or Luke) contains music, poetry, art, etc. that in some way reflect on the Scripture for a given Sunday. The volumes are carefully multicultural.

An example: for the first Sunday in Advent, there are photos by Paul Chesley, David Austen and Dennis Oda;excerpts from Robert A. Raines and Jospeh Wood Krutch; poetry by Dom Helder Camara and Thomas John Carlisle; and a detail from art by Naul Ojeda.

Each Sunday is equally diverse. You should always be able to find something that meets your needs and/or challenges you to reconsider your needs. Highly recommended.

This is a thick soft cover art book that accompanies Biblical passages with art objects - paintings, sculptures from all cultures, Italian Renaissance to Modern Chinese water-colour that attempts to IMAGE the WORD - the gospel, and puts the love of Jesus in Christianity into a non-preachy, very emotionally and aesthetically moving document that appeals to the modern, intellectual, sophisticated, sensitive, cultured but atheist reader. It makes the Bible come alive in a fantasy of visual ecstasy. A marvellous gift for those who are hurting from a lack of understanding God's love. A spiritually soothing gift in a coffee-table book format.

One side-effect of the common lectionary used by Catholics, Episcopaleans, Lutheran, and various mainstream Protestant churches is the development of some excellent lectionary based resources. (A lectionary contains the Biblical readings for a given Sunday).

This series of three volumes for the three year lectionary cycle (each year concentrates on a synoptic Gospel - Matthew, Mark or Luke) contains music, poetry, art, etc. that in some way reflect on the Scripture for a given Sunday. The volumes are carefully multicultural.

An example: for the first Sunday in Advent, there are poems by Czeslaw Milosz, Sandra Cisneros and Janet Morley; a photo of a festive cross by Claudio Jimenez; quotations from Lamar Williamson Jr. and the Gelasian Sacramentary; a song by Arthur G. Clyde (contemporary); paintings by Rodolfo Abularach and Salvador Dali.

Each Sunday is equally diverse. You should always be able to find something that meets your needs and/or challenges you to reconsider your needs. Highly recommended.

Gorgeous book of art tied to the Christian lectionary. Poetry, paintings, photographs, sculpture, scripture quotes. A real treat!

If after reading this book you still want to be an illustrator, then you may have enough drive to make it. This book doesn't paint a rosy picture, nor should it. Talent, business savvy and realistic goals are all part of the equation. Understanding the difficulties and learning how to deal with them and staying creative is a challenge. Find your niche. Strive to be the best at it and understand this career will consume you. And if you want a life outside of illustration make sure you have an understanding partner and friends who support your career!

Having worked as a freelance illustrator for over 20 years, I can say from experience that there is a lot of truth contained within this book. I definitely would recommend it to anyone starting out or wanting to learn more about illustration and the history regarding this profession. I wish something like this was available when I was starting out, because it would have saved me a lot of time.

4 stars because it doesn't cover other pertinent business matters such as copyright registration, self-employment issues like healthcare, taxes and such. This is not a bible for illustration, it is more of an overview. I wish it had covered more categories in depth but there are other books available out there.

I haven't read the whole book yet, but so far, I've learned a lot. I'm only a second year illustration student, but I feel like I'm almost ready for the freelancing world just after reading some of this. Tons of insider information that I gather most illustrators don't learn until they've been working 5 to 10 years.

Steven Heller & Marshall Arisman's guidance is invaluable in today's market, this book is a must have for the struggling professional or for the newly graduate seeking to stake their claim. In fact I'd go so far as to say this book SHOULD BE REQUIRED READING at every art school in the country offering illustration courses.

First let me say that for those of you reading this review who don't know who Steven Heller & Marshall Arisman are, you should, and here's why; Heller is the director of the NY Times Book Review, co-chair of the MFA design program at the School of Visual Arts (one of the best, THE BEST drawing curriculums in the county) as well as author of almost one hundred books in the graphic design field. He's been in the business a long time, seen it from the artist side, seen it from the political side and can help make or break a career at least from the perspective of a children's book illustrator. Mr. Arisman is one of the living legends of Illustration with artwork in major U.S. museums, every national magazine and is chair of the MFA program (Illustration as Visual Essay) at the School of Visual Arts.

The interview-style of the introduction to this book is repeated throughout as each chapter is brought to a close with a discussion between these two legends. That doesn't mean however that the kernels of wisdom and genuine professional opinions are repetitive. First they talk about the decline, and now the re-birth of Illustration in America, the springing up of stock illustration houses, how artists need to position themselves with respect to the marketplace, developing a unique personal voice, and working with art directors. How much risk should there be in a portfolio? How much can or should an artist trust the company they are being hired to work for? "Relating to business, most illustrators are in make up class." And from there, the rest of the book takes off.

There are several sections that outline the do's and don'ts - lots of them. Everything from How to interact with a director, preparing for portfolio reviews, promotional pieces and the importance of professional organizations is the foundation for much of the book to follow.

Chapters include the importance of style, how you develop it and how to show it off, new media, the importance of authorship ("Therefore, it is incumbent to the savvy illustrator to build...a diversified portfolio....Your overall illustraion practice should include both works produced exclusively for clinets as well as for yourself that can be turned into original projects."), licensing & editing your works, self promotional pieces, and ethics. I found the discussions about style ("Style is driven by your view of the world, not by a technical procedure.") and Promotion invaluable. For those two chapters alone the book more than paid for itself.

A third section of the book is a series of short but concise interviews with illustrators and art directors. They include: Steven Brodner, Brad Holland, Leo & Diane Dillon, Robert Parada, Nathan Fox, Ward Sutton, Robert Newman (of Real Simple), Chris Curry (the New Yorker), Richard Winkler (Curious Pictures) just to name a few.

A beautiful speech by Milton Glaser serves as the icing on the cake. He talks in depth about our culture's current state of endless consumption, the effects of television on visual literacy and the relationship it has on everything around us. A totally brilliant ending!

Steven Heller's other book, (which I also have and was personally a little disappointed in) "The Education of an Illustrator" seems much more philosophical and aimed at correcting art school education. If I had to choose between which one to buy, I'd recommend this one hands down, every time. Inside the Business of Illustration is NOT a follow-up, if anything it's the bare bones BIBLE for learning how to survive and thrive in the business.

What more can I say...I found it informative and helpful, and I have now read it more than once and refer back to it as needed. I highly recommend it to any one considering a career in illustration.

very good inside information on dealing with clients and getting jobs...it was a required book for one of my illustration classes

An absolutely incredible facsimile of the Book of Kells (BoK). An essential for those who study Celtic Illumination. Pages are (very close to) original color and size and the detail shown is wonderful. Also the author's commentary is very good. I can't rave enough about this book, well worth the money.

The Book of Kells is one of the great masterpieces of early illuminated manuscripts. This book involved special colour photography of the manscript of all the major illustrative carpet pages - and a good sample of some of the "ordinary" illuminated script pages.

The images are reproduced at very close to the original size of the manuscript - which makes the detail in the carpet pages all that more astonishing when you realise how fine they really are. True minature work on a large scale.

The back of the book also includes close ups of illuminated page details which is very handy. If you can't afford to buy one of the full manuscript reproductions (and most of us can't) then this is probably the next best thing. The original 1970s edition of this book is published in hardcover with a slipcase making it that much more durable and attractive.

One must actually see large color plates or the Book of Kells itself to know what all reviewers are talking about, when they, like myself, call this book "the most beautiful book in the world." It is really incredible, a most fascinating and comprehensive piece of work from an ancient period of time. And has life changed so very much since then? Reading this book with many descriptive illustrations, one might know.

To really understand the incredible drawings, also purchase the newly released video "The Book of Kells - The Work of Angels?" which tells what the illustrations were about and how they were created... many of the designs date from the Celtic gold work that was done at the time, and there are many interesting stories about life in the abbey, political intrigues, and other goings-on during this period of time.

This has been a favorite gift of mine to give to many people, who have seen the book in person in Ireland, but never really knew what it meant, until they saw the tape. The two go hand-in-hand together, and are worth any price.

There is also a new CD out with Kells images as well, which may well be worth purchasing ...

The original 1974 large edition book in a fabric slip case is the one I saved up all year for when I was a very poor college student, and started my life-long love of calligraphy.

This book is well worth any price, when Inspiration is your need or your calling.

Though it is now out of print, this book has over 100 color prints from the Book of Kells and is one defininitely looking for. The essays raise some interesting points, though not the most current points of dispute among scholars. The book would be wonderful for students, copyists, or anyone interested in a beautiful presentation of information on the most ornate of insular manuscripts.

A beautifully illustrated book, finely detailed, a wonderful source of inspiration for those interested in illuminated manuscripts and Celtic decorative art. Author Henry's years of research are evident: she knows her subject well. A lovely study of this original c. 9th century manuscript, often described as "the most beautiful book in the world."

This book was written for general audience appeal and is approachable by all backgrounds and ages. In the first 11 chapters, Evans introduces readers to detailed explanations of many insect species with wit, humor and anecdotal information. Detailed line drawings give one a good view of insects that would normally require magnification to be seen in detail. Evans points out that even those bugs that are microscopic in size have very sophisticated attributes and can manage their affairs with very efficient capabilities.

The sad confrontations of bugs and uninformed humans is well covered, but Evans, while demonstrating a profound knowledge and admiration for just about all bugs and life itself, takes, in my opinion, a rather unfair poke at Rachel Carson's famous book, "Silent Spring". He comes off sounding like those in the pesticide industry or those who relied on their funding of research grants who attempted to debunk Carson's important work as "alarmist" and over-done. As we now know, Carson's work was proven correct and alarming and set the stage for an invigorated environmental movement world-wide.

Evans points out that "They [insects] are not only marvelous creatures in their own right; they may also teach us something about population control and the proper use of the Earth's resources."-pg 47. And, "As the anthroposphere [human saturated world] continues to encroach upon the biosphere, the museums will more and more assume the role of guardians of the world's treasures."-pg 285.

So this seems somewhat contradictory to his comments on pesticide use, but in all fairness, he also sees the wanton and reckless misuse of pesticides as very harmful to life.

The last two chapters give a very studied view of the collision-course that humanity is on with Earth's life support systems and in the end, it might be proven that those "pesky" bugs are far superior to humans in managing survival on a fragile and "Little-Known Planet"- Evans' call to expedite our research of the many awesome, yet unstudied life-forms that inhabit this planet before we inadvertently eradicate them with our paved-over human world.

For understanding and empathy for the insect world and the vitally important services that insect's provide, this book and Joanne Elizabeth Lauck's book, "The Voice of the Infinite In The Small: Re-Visioning the Insect-Human Connection" is highly recommended.

I can find no other way to begin this review than to say that this book was amazing. A good read to be had by all. And when I say all I really mean it. Biology and non-biology alike will find something to gain from t his book. The author of this book, Howard Ensign Adams, has the ability to teach the non-biologist but the talent of enticing the biology undergraduate. His ability to merge these two extremes while keeping both groups content is amazing and in a lot of ways impossible yet he has managed to do it. Each chapter is another adventure in insect know-how with tidbits of information, interesting anecdotes, and, in many chapters, a general call for more research into the specific fields discussed.

This book is organized into thirteen amazingly interesting chapters. Each chapter touches on a particular subfield of the insect world with the exception of the first and last chapters. The first chapter discusses the author's reasons for writing the book as well as his personal sales pitch on the content of the book and its intentions. The reader must be aware that this book is not recently written but was published in 1966. This is made evident in the first chapter with his discussion of the space program and its future plans to put man on the moon. It's almost comical to read his discussion of this, a feat that seems like old news to anyone nowadays but to him is only a future possibility. It can be said, however, that the age of this book is not a handicap. Aside from the obvious limited technology present in his time, the science presented does not suffer. The observations and data that Evans presents and discusses are very sound in their scientific method and in their accuracy as far as I can tell from my limited exposure to the field.

The book is fairly easy to read and most biological terminology is explained. Pictures accompany most in-depth explanations and the captions are short and usually humorous in content. The book is both accessible to those of the non-science community in terms of its skill level and in terms of its lack of necessity for prior biology knowledge. The book is also effective in its intentions of making the reader aware of the world beneath our feet and within our homes. Interesting aspects of each topic are discussed in order to keep the attention of the reader and to provide enjoyment in what might be perceived by some to be a very boring topic.

There is an obvious bias present in the author's focus on insects and the beauty he finds within their appearances and habitats. However, he does make a point to provide a disclaimer in the introducing chapter in which he makes the reader aware of his past experiences and his current work in entomology, specifically wasps. Throughout the first chapter he emphasizes that although many might not find the field as interesting and as beautiful as he, it will benefit most to learn of the things he is about to put forth. He does ask for continued research in the field and attempts to downplay the importance of the space program by referring to society's need to explain the depths of the universe while forgetting what is not known about the world within our reach.

Each subject is explored to the furthest ability of the author. Where he is not knowledgeable he brings in outside data from other scientists in the field and uses anecdotal information to highlight the interesting aspects of entomological research. He also uses these instances to give evidence to his assertions by providing sound evidence of the research in the field of interest. For example, in his bedbug chapter, humorously titled "Bedbugs, Cone-nosed Bugs, and Other Cuddly Animals", Evans discusses the research of Sir Vincent Wigglesworth on the Rhodnius prolixus, Rhodnius bug for short. Evans also provides detailed drawings of Wigglesworth experiments and discusses their results in depth. This is the rule throughout his book when discussing anything scientific.

I would whole-heartedly recommend this book to anyone that can handle a bit of biological vocabulary and enjoys a good comedy. Howard Evans' style is witty yet informative. He puts forth the facts while adding incentive to read them. His prior work on wasps sneaks through every now and then and often he alludes to past selections or future topics that he has yet to delight you with. Overall his organization is clear and eloquent with each topic building on knowledge from the last. It is also noted on the cover that the author is also the writer of another entomological book called "Wasp Farm". I can say for myself that I have already made plans to stop by the library at some point this week to pick up this book to continue reading what I hope to be another great work by this amazing author. Even as I write this review I am making a mental list of friends and colleagues that I plan on recommending this book to, academic and non-academic alike.

Man will go to great lengths and spend great sums of money and time on the search for life in outer space, but will not look at the magnificent life forms under his feet, those largely unknown creatures that still hold many secrets worth studying. That is the recurring theme of this book, first published in 1968, when the race to the moon was in full swing. Here, Evans, who was considered a leading authority on wasps, ventures into the worlds of various insects with which he seems intimately familiar, demonstrating along the way the significance of these often overlooked animals and the virtues of studying them.
The book is divided into thirteen chapters, most focusing on a single group of insects-springtails, dragonflies, butterflies, fireflies, crickets, flies, cockroaches, bedbugs, locust and wasps-most of them familiar to any reader. But each chapter goes much deeper into the intricacies of every one of those familiar insects than most people ever think about. Every chapter makes you want to go outside and observe those fascinating creatures and the behaviors Evans so knowingly describes. While repeatedly pointing out that very little is known about the biology and behavior of most species of insects (in fact he speaks of our "depth of ignorance" of this group), he proceeds to go into great detail into the mating habits, courtship, feeding, and other behaviors of select species in every group discussed, giving various examples of typical and atypical behavior. In the course of his vivid descriptions, Evans touches on many important aspects of insect biology, and biological concepts in general, from anatomy and physiology to evolution, sexual selection, endocrinology and more.
In his 83 years (he died in 2002), Evans had published numerous papers and books of both technical and popular nature. Along with "Wasp Farm", this is one of the most familiar of his popular books. It can serve as a good introduction for those already fascinated with insects, or convert those who weren't. After reading this book, you won't look at your backyard or the local park the same way. You'll be able to look at dragonflies and recognize a mating flight, scream at a cloud of midges and see them respond to sound, and look carefully at piles of snow for swarms of tiny, fascinating springtails. This book is suitable for anyone who is willing to kneel down and look beneath their feet, or at a plant stem, and wants to know what they're looking at. As an introduction to insect diversity it is a highly enjoyable book, even when the amount of detail into the intimate lives of some insects gets a little tedious. Evans writes in simple and straightforward language, avoiding technical terms as much as possible, and the pages are interspersed with simple but informative black and white illustrations, including some insect structures and major experiments.
In addition to providing insight into the lives of the most common and familiar insects that share the world with us, Evans also introduces his readers to the more unusual species, known mostly to specialists. We learn of the microscopic parasitic wasp Trichogramma evanescens that lays her eggs inside other insects' eggs, sometimes many tiny adult wasps emerging from one moth egg. Or the peculiar habits of springtails, which do not have external genital organs and therefore do not mate at all, where the male leaves his drops of semen scattered around females on little stalks, and has to depend on chance that she will stumble on one.
Every detailed account of a particular species brings home the point that every species is unique, and has to be studied separately, because making generalizations from one species to another can be dangerous. Each insect is incredibly specialized to do only what is necessary for their immediate survival and reproduction, so that each species of insect has only a limited set of responses to a limited set of stimuli. As Evans puts it, every insect is adapted to doing "some things extremely well, and most things not at all". But he continues: "However, so many different kinds of insects have evolved that collectively they can do almost anything not requiring them to reason or to learn very much." Indeed, insects are so diverse that every species has the potential of teaching us something, if only we care to look.
The first chapter and the last two are more general, about people, insects, their relationships and their place in nature. In a chapter devoted to the human impact on nature-that of pesticides, introduced species, biological control, pollution, loss of habitats-Evans laments the loss of natural diversity in favor of human developments in an increasingly crowded planet and emphasizes the importance of preserving what is left, for its own sake as well as for the possibility of things we may still learn from the most obscure creatures. An intelligent application of biological control requires an in-depth knowledge of all the organisms involved and their web of interactions with the biological and physical aspects of their environment; the next medical breakthrough may lie in the hormonal regulation of a soil dwelling arthropod. But to reap these rewards requires an enormous amount of "basic research," curious inquiry into the basic biology of numerous organisms, not driven by immediately foreseeable benefits. It is precisely this type of research that Evans sees as being in danger in a world of "cost-benefit analysis" and "mission-oriented research".
Evans' writing is filled with humor, and he has a knack for summarizing many profound ideas into a witty one-liner. Unfortunately, in discussions of mating practices his brand of humor occasionally turns corny and cringe inducing, perhaps a telling sign of the fact this was written almost 40 years ago. On these occasions he tends to make analogies to human behavior, making statements and innuendo that to a modern reader accustomed to a politically correct world might seem insensitive if not downright sexist. But this in no way diminishes the quality of the content, as he describes the lives of insects with great knowledge and enthusiasm. His fascination with the living world, especially insects, is of the kind many people lose when they enter the adult world. The overarching theme, and his main argument throughout the book (if there is one), is that a lot of good can come from the study of insects and that people should devote more time to this greatly underestimated endeavor. There should be no urgency to look for life in outer space when the greatest mysteries of life on earth are still unsolved. By the end of the book we are left to share his hope that there will be enough curious minds, given enough funds, to pursue those mysteries.

I love this boook!!!!! Its easy to read, yet it goes into enough depth that you really learn about the insects. There's a whole chapter just on fireflies for example. Its the kind of book you can just pick up, read a chapter and say - wow, that's neat. (At least that's what i say) then I'll be outside and I'll be able to see whatever it is that I read about and understand so much more. So basically, the content is fantastic and the writing is so accessible that its not at all intimidating but also not patronizing. Its just very straightforward and so informative. I've learned so much. Its one of my favorite books and I wasn't even that into bugs before this. You won't go wrong with this one!