Commercials Books

This book stands as the best introduction to one of the best comic strips ever produced. Not only is it packed with hard to find "Krazy Kat" strips, but it also includes a biography of the artist, George Herriman. Some consider Herriman the first African-American mainstream cartoonist. His colleagues didn't know his ethnicity (and Herriman didn't tell them) so some called him "the Greek". He felt he had to hide some of his features from the public. For example, he kept his very curly hair closely cut and hidden under a hat. Not only that, his birth certificate shows his parent's ethnicity as "colored". The prejudices of the time likely would not have allowed an African-American the mainstream status and freedom allowed to George Herriman. So through "Krazy Kat" we get a glimpse of what early 20th century American culture may have missed out on due to its racial myopia. For "Krazy Kat" stands as an absolute masterpiece of its genre.

Herriman found some modicum of fame in his lifetime. William Randolph Hearst (the newspaper magnate) loved Herriman's work and rewarded him with a lifetime contract (according to the biography in the book, Hearst once read a "Krazy Kat" Sunday page and immediately demanded a raise for the artist). Herriman's success didn't come quickly, however. His first big break came in 1897 with the sale of a sketch to the Los Angeles Herald. Around 1901 he landed his first job as a "Staff Cartoonist" (a person who literally reported to the office every day and rattled off strip after strip; very different from today's cartoonists). Between 1901 and 1916 Herriman penned numerous strips (the book includes samples of many of these strips - many in color), including: "Musical Mose" (this strip's overt racial humor would not fly today), "Professor Otto and His Auto", "Acrobatic Archie", "Two Jolly Jackies", "Major Ozone's Fresh Air Crusade", "Home Sweet Home", "Baron Mooch", "Mary's Home From College", "Gooseberry Sprig" (considered to be a direct forerunner to "Krazy Kat"), "Alexander the Cat", "Daniel and Pansy", and finally, in 1910, "The Dingbat Family" (which changed its name briefly to "The Family Upstairs"; it was Herriman's first hit). It was in a "Dingbat Family" strip in 1910 that a mouse first "beaned" a "Kat" with a projectile (in the "running boards" of the strip). Eventually the Kat and mouse sideshow surpassed the main strip's popularity, and "Krazy Kat" debuted as a daily in October 1913 (the famous Sunday pages began in 1916). Herriman kept experimenting with other strips through 1923 when he finally placed his focus squarely on "Krazy Kat".

From roughly 1913 to 1944 (when Herriman passed away leaving a week's worth of unfinished Krazy Kat's on his drawing table) "Krazy Kat" developed from a "Kat" and mouse game (filled with puns, misunderstandings, and musings on the imperfections of language) into a complex love triangle between Krazy (the "Kat"), Ignatz (the mouse) and Offisa Pupp (the dog). Ignatz's entire being revolves around "beaning" the "Kat" with a brick, and Krazy interprets this as an act of love (unbeknownst to Ignatz). Offisa Pupp loves Krazy (in a fatherly sort of way) and his obsession revolves around catching Ignatz in the act and jailing him. Three obsessions collide in an almost jazz-style derivation of themes. Herriman developed this theme brilliantly over 30 years of strips. But overall it defies analysis: the strip can only speak for itself.

Sadly, though "Krazy Kat" counted such dignatiries as e.e. cummings, George Gershwin, Gilbert Seldes, James Joyce, and other literati, as fans, its popularity waned dramatically throughout the 1930s (as it became more surreal, esoteric and unabashedly uncommercial). It was kept in print by Hearst himself. The book does not cover the frustration of Hearst editors at the inclusion of the strip in their papers. They rebelled against it in some cases. Many simply tried to remove it from circulation only to find Hearst himself yelling "keep it in!" So we have, of all people, the controversial William Randolph Hearst to thank for the continuation of "Krazy Kat". By the end of its run "Krazy Kat" only appeared in some 30 papers.

The main focus of this book lies in its numerous incredible strips. The book includes daily strips (most dating from 1938 to 1944) and Sunday pages (dating from 1916 to 1944 with some in color; it also includes both the first and last Sunday pages). If one reason exists to purchase this book, here it is. The strips retain their amazing character even after decades of aging. And the artwork remains astounding. Not only that, the book includes samples of hand colored drawings of Herriman's, and photos of Herriman and his family. All in all, this book opens the door on one of the comic strip medium's most celebrated strips. Those that get hooked should continue thier obsessions (in the true spirit of Krazy, Ignatz, and Offisa Pupp) with the Fantagraphics' series of Sunday pages, and the Pacific Comics club's reprints of daily strips. Someday every Krazy Kat strip Herriman drew will finally appear in printed form. We can hope, at least.

This is a wonderful book for Krazy Katz fans to own. It is large, colorful and very informative on one of Americas great cartoonists. The delivery through Amazon was fast and effortless. The book, a treasure to own. Worth the lower price through Amazon.

This is what all popular art forms should be. A social commentary as love poem. And poem this is. There is very little that someone can write about the Krazy experience without treading in the same terran as this wonderful book. This is were your Krazy love afair begins. And unlike Ignatz you don't show your love with a brick.

This is a wonderful introduction to George Herriman's great comic strip Krazy Kat that ran for several decades in the early twentieth century. This introduction provides biographical background to Herriman's art, a survey of some of his influences, and a very healthy dose of Krazy Kat panels, both color and black & white. It also discusses the way that Krazy Kat became a cultural phenomenon, easily one of the most highly regarded comics of the century, and permeating many other arts as well.

The Krazy Kat strip is utterly insane, surreal stuff. Here is the premise: Krazy Kat (who is usually female but is sometimes apparently male) is in love with Ignatz Mouse. Ignatz loathes Krazy, and to prove it konstantly kreases that kat's krown with a brick. Incredibly, Krazy sees this as proof of Ignatz's affection, and falls even more deeply in love (many panels show hearts rising from Krazy's heart when she is hit by one of Ignatz's bricks). Officer Pup, the town constable, is in love with Krazy and frequently throws Ignatz into jail for hitting Krazy, which causes Krazy to pine for her would-be lover. This is merely the barest sketch of this weird and wild world. The town of Concocino is populated by a host of equally outrageous characters, though the focus continually comes back to the three principals.

Though even the most recent of these strips are over sixty years old, Krazy Kat has stood up magnificently over the years. Part of the reason surely lies with Herriman's enormous gifts as an illustrator. The Sunday strips in particular are things of great beauty, with the frames arcing around the page in spectacular designs of considerable innovation and complexity. The content of the comics reflects a genuine wit and substantial intelligence, while the bizarre love triangle possesses endless possibilities for both humor and pathos. This truly is one of the most unique comics in the history of the medium, and even those who do not usually respond to the genre are apt to find this enormously entertaining.

When I noticed that many of my favourite cartoonists have said that Herriman's 'Krazy Kat' is the greatest comic strip ever, I decided I should check it out. It didn't take long before I agreed with them.

George Herriman is one of those rare individuals who genuinely deserves to be called a genius. That's a word that gets thrown around a little too casually perhaps, but in Herriman's case it is almost an understatement.

He was a brilliantly inventive artist, but his writing is what really sets him apart. A lot of the dialogue is written phonetically in bizarre dialects, a tricky thing to do, but he uses it to great effect.

Whereas space restrictions force cartoonists today to avoid using more words than is necessary, Herriman would often use a lot more, and much of the pleasure of reading 'Krazy Kat' comes from the sheer virtuosity with which Herriman uses language.

That a comic strip could be as funny, as intellectually stimulating, and as beautiful to look at as 'Krazy Kat' seems to me to be some kind of miracle. This book is a great introduction to Herriman and his work. There's a generous helping of 'Krazy Kat' strips, as well as some of Herriman's other work. Anyone who loves comics should have it. I cannot recommend it highly enough.

This is another good book of logo ideas. Great for inspiration. Nicely laid out and the pages are of good quality glossy paper. Very nice book for my collection.

This series is a must have for any designer. Not only is it great for ideas, but a nice tool to have when a wishy-washy client just isn't sure what they want. If you are a serious designer, you must own all the Logo Lounge books.

Always a fan, the assemblage of brands from every corner is impressive and helpful. The Lounge has always been and continues to be a wonderful resource for jump-starting logo block.

Great book for inspiration and search for the right ideas. This time RockPub. is making few more pages showing how the logos work in the graphic design environment.

I was excited to see foreign companies using the latest styles in advertisement, like the russian phone company "BeeLine."

Wold highly recoment this book for a graphic design major and advertisement.

Whether you are fresh out of college or a seasoned Senior designer, you will find this book an amazing resource of ideas, trends and just plain good design.

We actually have purchased every volume and they keep getting better and better. Logo Lounge 3 is no different in terms of the unique talent chosen to be showcased in this edition.

If you need a design spark look no further, this is the book of choice.

[...]

Definitivamente es la mejor adquisición Floydiana que uno puede hacer de todos los lanzamientos del último año.
Thorgerson es dueño de una imaginación y talento asombrosos. En este libro que posee prácticamente todo su trabajo relacionado a Pink Floyd hay muchas pruebas de ello.
Vale la pena totalmente, junto al Libro de Nick Mason son un complemento perfecto para entender la magia que ronda a Pink Floyd en sus dos ámbitos principales: música y artes visuales.

If you like Pink Floyd, art, design or album cover, this is the best book I ever read.

Buy NOW!! =)

As a music fan, there are two things you want to add to your experience, a songlist compilation and a biography. Anything more is really too much, but in the case of groundbreaking album cover art, and knowing Pink Floyd's history of employing visual effects in their shows, a book like this is necessary, especially since albums are gone now, and the tiny graphics you get on a CD jewel case don't compare with the stuff promoters used to jam into album jackets. This book is a trip into Storm Thurgeson's head, not necessarily Floyd's. The difference is not much since Storm was a boyhood chum, and listened so well to his employer's ideas, instead of pushing his own. That's one reason the band was so successful musically as well, was Hypnosis' reliance on the members' themes. This book is not a graphic artist's design book, though I wish it were, but it would be tons bigger. It covers 30 years (and not even all the Floyd's covers (for instance, The Wall)). But you will appreciate the fact that Storm operated more under impluse as a designer than by today's modern design houses which try to render graphics in a production line style...can't be done. The author's bylines give us insight if not in technical process, then in the intellect process, and it's good fun knowing this guy was a friend to the Floyd for a LONG time, even having to uncomfortably stand in the middle of relationships for the 'Is There Anybody Out There?' live Wall issue. All in all, I'd give 5 stars for the artwork and presentation, but lose half of one for lack of technical explanation. Enjoy!

Storm Thorgerson is the artist who designed the bulk of Pink Floyd's artwork, and "Mind Over Matter" is a combination of memoir, scrapbook, and gallery. With the possible exception of Led Zeppelin, no British rock band of the 1970s paid closer attention than Pink Floyd to the potent magic a well-designed album cover could lend to music the album contained. Much like Zeppelin, it's almost impossible to think of Pink Floyd's music without imagining the incredible visuals on their album covers. In essence, Thorgerson is almost an adjunct member of the band.

Graphic artists will appreciate this collection because Thorgerson's almost Magritte-like graphic style is also perfectly and endlessly adaptable to the commercial marketing. Casual Floyd fans will get a kick out seeing so many classic Floyd images reproduced at much larger than CD size. More serious Floyd fans will savor Thorgerson's behind-the-scenes insights regarding the band. (I was surprised to learn that Thorgerson leans more towards Gilmour than Waters). Throughout,the author discusses his designs in a very straightforward, conversational, non-pretentious way. As a bonus, he also includes graphics from Floyd tour books, posters, and DVD clamcases.

Given that so little video footage exists of Floyd, this oversized hardcover collection provides the perfect collection of visuals to leaf through while you're listening to "Dark Side of the Moon" for the umpteenth time.

I absolutely knew I had to purchase "this" book the second I saw the book cover. Storm Thorgerson is utterly amazing, eyecatching & perhaps a bit eccentric (aren't most true artists?) I loved reading about his ideas/how he came up with them & how he laid them out in the end, and after reading this book, I now want to check out other material on him as well. Pink Floyd is indeed legendary as are the works of Storm Thorgerson. A Fantastic view of Unimaginable Talent. Check it out.

Weather you in the business or getting into it, this book is essential. Even if you have a lawyer. Good insight...

This book is so crammed with info and knowledge coupled with insight into practices of the industry and courts its like attending a credited law school.With basic torts and concideration of all parts and many elemental workings of the industry.It is a must have.

This is comprehensive & each chapter was written by another expert, so you're bound to like something!

This can be a substitute to the book: "Everything You Need To Know About The Music Business" (Donald Passman)

This book was a required text in my Legal Problems of the Recording Industry class. I'm passionate about the music industry and can give a good debate, but am far from being a "legal mind." This text is great for those, like me, are not the best students in legal courses. This text breaks down real contracts/ agreements into easy to understand formats, section by section. If it wasn't for this text I wouldn't have made an A in the course. This book should be required reading for those in the music business as well as the musicians who will be facing these agreements. Plus, it's like my professor said 'remember, everything is negotiable - don't get screwed in your contract!'

People think music business is all about creation and keeping the fans happy. Well it mostly is but a young artist can become stuck in all that legal stuff. For somebody who is new that can be very difficult and people could take advantage of this and try to cheat you so this book is about all the legal involved aspects of the music business. This book will offer you a detailed explanation of everything that concerns the people in the music business. After you read it you will know what to avoid and understand the issues as they are explained in an easy and franc manner.

When a few friends and I decided to explore commercial acting, we needed a roadmap. This book is it! There are a lot of acting books out there, but Stuart's stands out by explaining the process of breaking into commercials from the ground up without talking down to his reader. Concise, highly readable, and, most importantly, backed by Stuart's knowledge as both a working actor and casting director, this book teaches you how to be a professional and hit the ground running in a very competitive business.

This book is short and to the point. Sometimes when people write these kind of books, they elabroate forever. Not this one. There's not a lot of wordy explanations. I appreciate that. Info very precise with good advice and techniques pertaining specifically to commercials. Stone not only deals with the audition process, he helps you avoid making mistakes and falling for scams as well as showing how to market yourself.
I have not seen a more detailed or informative book on the subject.

This book is very short and the information is very general. Only a few things pertained specifically to commercials at all. There are much more detailed and informative books out there.

I read Stuart's book and became so motivated to get out and start making things happen for myself with reagards to my acting career. He give excellant advice on what to do and how to do it. Anyone reading this book, will not want to put it down. It truly is the best book ever!

Industry Insight - "Acting Out"
By Holdon Log, LLC

If you are looking to work as a successful actor in commercials, or perhaps you already are and are in need of a brush up, we'd like to point you in the direction of Acting Out written by Stuart Stone, CCDA (Commercial Casting Directors Association) and Clio Award winner and Dennis Bailey.

If you haven't had the pleasure of meeting Stuart at an audition or in a class, reading the book he co-authored, Acting Out, will offer you guidance and give you insight on what is expected before, during and after a successful audition. More importantly, as mentioned on Stuart's Web site (www.CommercialActing.Info) is how to "turn callbacks into bookings."

Several of us at Holdon Log (from all different backgrounds and at various stages in our commercial acting pursuits) recently read Acting Out and we agree that more Industry mysteries had been revealed, explained better and reinforced while turning the pages of this easy-to-read guide book complete with cleverly depicted moments that happen in real commercial casting sessions.

SOME HIGHLIGHTS

Before Meeting A Prospective Commercial Agent:

"When you get an appointment with an agent you should call and confirm the night before, for a morning appointment, and the morning of, for an afternoon appointment. This effort will show them you are responsible. Many actors forget the business part of the equation; your professionalism will set you apart from the actor wannabees. Dress like you would on a general commercial call-with a leaning towards upscale casual. Avoid perfumes or colognes. Bring an up-to-date picture and resume with you. If you have a demo reel of your commercials, bring that as well. Arrive twenty minutes early to secure a parking space and find the office. Do not be late. And call if you have any problem keeping your appointment. The agent is taking time from his or her busy schedule to meet with you. DO NOT keep them waiting."




While Preparing For Your Photo Shoot & What To Look For While Selecting Your Headshots:

"The most important thing to remember is this: You want your picture to look like you do when you walk into any given audition. We can't stress that enough, so we're going to repeat it. You want your picture to look like you do when you walk into any given audition at any time. Not how you'd like to look after a visit to the plastic surgeon, not how your mother tells you how you look when she pinches your cheek, but how you really look."


During The Commercial Audition:

"It is imperative that you establish a beginning, middle and an end to your actions. This is a hard and fast rule in approaching any type of audition. You are, in a sense, performing a complete, short scene for the camera."



"While working, whether alone or with a partner, do not memorize the lines. Fully familiarize yourself, stick an operative phrase or two in your head, but do not commit the pages to memory. Unlike a theatrical audition where you have leeway to rehearse and memorize, the time you have with commercial copy is minimal. Most actors try to impress the casting director by having the dialogue memorized but they end up trying to remember the copy and are not able to act at all. They end up leaving the acting out, which is 50% of the work. Once in the audition room there will be a cue card with the copy clearly printed in bold magic marker situated on and easel next to the camera. Use it. If you memorize the copy, it's almost impossible to use the cue cards to help you out if you forget memorized lines. Instead, develop the skill of cue card reading."


During The Callback:

"No matter how many people are crowded into the room, focus your attention on the director. He or she is in charge this time around."

"It is generally important to wear the same clothes and hairstyle you did on the original call. (Click Here To View An ActorTrack Software Tip) "



When You've Worked The Job You've Booked...Before You Go:

"Then before you climb into your car, circle the set and thank everyone. Everyone. Not only is it just good manners-personal and professional-it is good business. Human nature being what it is, people like to work with actors they know are talented and personable...Kindness and integrity-as well as talent-are remembered."

[...]

A most unique book!. If the reader is a fan of Mad magazine, vintage cars (luxobarges), art, satire, etc., prepare for a treat. Top notch illustrations of impossible machines faux vintage advertising of the past. Its truly funny! He pokes fun at the gluttonous elite life of the rich with excellent illustrations. This book changes frequently and takes some time to absorb it all up.

I just ordered a copy of the 1999 Barnes and Noble (reprint... not original publisher, Knoppf) hardcover edition of Bruce McCall's Zany Afternooons.

Much to my surprise, they have replaced four pages found in the original with four different pages I've never seen before.

The original paperback edition from 1982 on page 114 - 117 featured "Stewardesses of the Emerging Nations" - RwandaAir and all that jazz. The new printing has replaced that material with "The Adventures of The Hotel Throckmorton, est. 1906." This new (?) material (though still funny) is not nearly as good - even though my Dad and I both agree that "Stewardesses..." was probably our least favorite section of the original. But why the replacement? Was the orignal artwork misplaced? Very very odd.

One thing to note that I JUST spotted after years of faithful reading, one the airplanes featured in this original section was one of the first commercial jetliners that flew for British Airways... the De Havilland Comet. Infamous in real life for it's disastrous window blowouts. The plane originally had square windows which would occasionally blow out at altitude causing the entire fleet to be scrapped. Looks like the "Airlines of Emerging Nations" contained an extra insider "joke" from Mr. McCall.

As the odiferous prose of Monsieur McCall slides over your cerebellum, the effect on sanity is rather similar to the effect of hot water on snow. A melting and dissipation takes precedence, rendering the subject either harmless or dangerously psychotic. All in all, hooray for everything - especially this book.

...I have to say that this book is as close as I've ever come to perfection in humour. It completely matches my sense of the absurd and has such historical accuracy. The bloke really is a genius. My copy has long since fallen to pieces and I spend my life trying to buy back the copies that I gave away. Interestingly enough, many people just don't get it. You need to have a sense of what he is mocking I guess.

The funniest thing that I have ever read and looked at, this is after reading and looking at it for 20 years!!

Most highly recommended of all.

If you are visiting this item in the Amazon.com online catalogue, then something special brought you here. You already know of the book, perhaps already own it, and you want to see what other say about it -- or you know nothing about it. If the latter is the case, something lucky and/or magic brought you here, and you owe it to yourself to BUY THIS BOOK NOW. Maybe you heard some snippet about it, or glanced at a copy while visiting a friend. Whatever the case, SOMETHING in your psyche drew you to this fantastic volume of fantasy and art, and you absolutely need to have a copy in your home. People drawn to Zany Afternoons, regardless of the reason, have bigger, funnier, more open and creative minds than everyone else in the world, and the common bond we all share is the book itself. Detachable pants cuffs, five-in-one food paste, tank polo -- these are the creative/artistic concepts embraced by those of us who have been chosen by nature to live on Earth and put the "life" in "lifetime." If you're here, buy it now. You'll know why, after it arrives.

First off, I have to say this book is absolutely perfect for all first-time freelance graphic designers. My business partner and I recently started our own design agency at [...] and didn't have a clue about where to get our hands on the legal forms needed. We were referred to this book from another source. And since my partner's father-in-law is a lawyer, we decided to let him take a look at it to see what he thought. He said everything was solid. He couldn't find any holes on any of the forms inside. So after making a few small changes to custom fit our business, we were set. I can honestly say this book should be on the shelf of every aspiring freelance graphic designer. I highly recommend it.

I have only serious clients who are willing to pay me because I take a contract to our first meeting and make them sign it. These contracts will protect you and your clients! They are worded with the legal stuff but easy to understand. He even explains what it all means. It even has a CD so you can pop it in your computer right before your meeting (as I have done) and print a contract.

This book has EVERYTHING you need ... and then some. When you think you're not going to need one of the forms in this book, you later realize that YOU DO! As a freelance artist, using these forms made me feel as though clients noticed that they were dealing with a real professional. Absolutely a great investment.

In starting out and gathering information it's hard to determine what books will be helpful. This is great. It is filled with tear out forms you can make copies of and use over and over. Great information. And the CD-ROM includes all the forms in pdf format, as well as Pagemaker and Quark XPress so that you can make changes to fonts and style, logo additions, and more, to suit your own home business. Files are compatible with Mac and IBMC platform, which is great for me being a designer working mostly on an IBM computer. Excellent book!

Our small graphic design firm had been relying on the legal forms and contracts from this book for about one year. Finally, we decided that perhaps we ought to visit with a lawyer to make sure we were doing it right...$560.00 later for an initial consultation, we realized that this $29.95 book was the best business investment we'd ever made! The lawyer confirmed that the contracts that we had been using were airtight and were great (he had a few other pointers...but, none worth $560.00).

We have had many comments from our clients that over all the creative teams they'd worked with over the years, our design firm had surpassed them all in business professionalism. If you are serious about running a firm, or just want to protect yourself, you really can't go wrong with this book! Such a small investment for such a large return!

i just bought this book with "tres logos" and wow, this book is amazing. this one explains the process, the reasons, etc of how to get to a great logo and the other book is a collection of great logos. this book stimulates your creative juices and guides it in a fashion that leads to great concepts for logos which from there can spring into many other medias and beyond (collateral pieces, ads, web, etc). this is a must have book for anyone at any stage of their design career. five stars to rockport and this book for another success. i have just about all the books published by rockport. awesome book.

Logos 01 is an excellent examples of the modern approach to corporate identity logo design. Case studies and examples illustrate the requirements and execution of a wide variety of businesses in regards to the need for a mark to help themselves in their marketing efforts. I have actually purchased and given this book to my marketing practice clients and prospects in order to provide good direction for their expectations and planning on this subject. The book is also beautifully designed, easy to read, and even though I use it as a tool, could easily be an attractive table-top book for the office.

A well designed, designer resource. The samples are large and the explanation text is informative. A great book for designers to have on hand.

This book is exceptionally well written and compiled. It speaks clearly and concisely to both beginner and experienced professional. Whether you are in need of new insights into logo design or just occasional reviewing, this book is for you.

This volume on design is both beautiful and insightful. In a bookcase full of vacuous logo "collections", Capsule's effort stands out as a genuinely intelligent, useful, and inspiring work.

Christopher De Hamel's "A History of Illuminated Manuscripts" (now in its second edition) is certainly the definitive history for lay readers, but it is probably the best starting place for aspiring professionals as well. It is well-written, faultlessly researched, and copiously illustrated. I happily use it in my university course on illuminated manuscripts together with Ingo Walther's "Masterpieces of Illumination" (published by Taschen)--in my opinion, the perfect companion piece.

The second edition of De Hamel's book is structured as was the first: an informative introduction is followed by chapters which divide and discuss the manuscripts according to their intended users (missionaries, emperors, monks, students, aristocrats, everybody, priests, and collectors); an extended bibliography precedes several useful indexes. This Phaidon paperback edition is a beautiful book, with a white paper cover adorned with a full-color dust-jacket. Many new illustrations have been added, and there are many more color illustrations than there were in the first edition. More importantly, the text has been updated to reflect ongoing research in the field.

My only complaint about this edition is that many of the important full-color and full-page illustrations in the first edition (to which I often referred in my classes) have either been reduced in size or eliminated entirely in the new edition. There are also significant (and inexplicable) differences in the color reproduction of illuminations between the first (David R. Godine, Publisher) edition and this second (Phaidon Press) edition--sometimes the differences are so radical that only a close inspection (or a familiarity with the actual documents) reveals they are photographs of the same manuscript. And since many of these manuscripts are from private collections (to which Mr. De Hamel apparently gained access by reputation or through associations established during his tenure at Sotheby's), it would be impossible for most readers to know which of the differing reproductions are the more accurate. My own experience would suggest that not all the changes in the new Phaidon edition are indeed improvements.

Publishing faults aside, this is a fine book by a scholar with impeccable credentials and a gift for clarity and sensibility in his writing. I highly recommend it.

The title explains exactly what is in the book. It is very infomative and has tons of color illustrations of illuminated manuscripts.

I am thoroughly impressed with this book. Its scholarship is impressive and helpful in my preparations to study medieval history at Oxford. And the thoughtfully written bibliography and through indexing of the manuscripts illustrated assist further studies. Even though it's not on my official reading list and is certainly not a light nor compact book, I'm packing it and taking it with me.

But, as scholarly as this work is, if one simply wants an attractive coffee table book on the subject, this can certainly be one. If one wants a very readable, engagingly written, well illustrated introduction to illuminated manuscripts, this is for you as well.

There is even some helpful guidance on collecting the more available manuscripts such as Books of Hours. And as the Fellow Librarian of Corpus Christi College, Cambridge and with his 25 years experience in evaluating manuscripts for Sotheby's, Dr. De Hamel's knowledge is not just theoretical.

Yet the price is extremely reasonable for a book of this quality.

Simply a treasure in print, Christopher De Hamel's work on medieval manuscripts is an enjoyable and fact-filled romp through the Middle Ages as if no "darkness" in the period ever existed. Focusing on a descriptive narrative that is as delightful as it is informative, the text leads the reader from one interesting setting to another, belying the breadth and scope of its coverage. One meets the educational reformers in Charlemagne's court, the scribes of the cathedral schools of Laon and Chartres, the workers in English scriptoriums, and many others in this highly researched, but clearly and engagingly written book. The reader feels as if he is simply touring the European countryside from one location to another and watching the patient and unrelenting work of scribes, copyists, and illustrators as they seek to develop the most enduring artifact of the period. Underpinning the entire work is a series - no, a PLETHORA - of beautifully reproduced and highly detailed medieval manuscript reproductions, many of them full-page, to the extent that one finds himself questioning why the text doesn't cost three times the price. A rarity in that it contains both outstanding prose as well as stunningly reproduced photographs, this text should be in every medievalist's (and art lover's) own scriptorium.

I loved this book! I used it for a graduate course on Illuminated Manuscripts, and it was one of the main textbooks we used, but I used it often after the course as well. I really enjoyed reading it, and found that it was unlike most of the typical text books I had formerly used. For any art history student, it is an outstanding resource. For anyone who loves illuminated manuscripts, book arts, or the Medieval period in general, this is a wonderful resource. It is a book that I consider an indispensable resource in my personal library. It is very well written and easily accessible for anyone. Although some of the terminology may be unfamiliar, it isn't so esoteric that it is beyond the scope of general understanding. It is clearly one of the best resources on the subject that I have ever come across!

Jeffrey Caldewey and Chuck House's Icon: Art Of The Wine Label is also a highly recommended, distinguished guide which offers a collection of work by the modern masters of wine label design who have for decades helped define global wine label design strategies around the world. Icon is a collection of some of their best works, providing both an artistic assessment of the art of iconography to examples of 120 wine labels and bottle designs complete with their distinctive branding qualities.

This book was not only interesting to read, the artwork and dedication to all aspects of wine was unbeleivable. This is one I will read over and over again. Ok, maybe I will be just looking at the pictures...

This is a great book for any wine enthusiast. It is the ideal coffee table book to have out when your friends stop by. The book is interesting and a great conversation starter. I really enjoyed this book. Of course, it didn't have every wine label I was looking for, but it did contain many of them. This book would make a perfect gift for anyone.

A designers must have! Great inspiration on pushing the envelope in packaging design. Jeffrey Caldewey and Chuck House are the top of their field and it shows in every design. A great gift for the upcoming holidays. Everyone from wine connoisseur to artist will enjoy this book.

ICON - the embodiment of spirit, matter, and time. In Einsteinian terms, ICON would be the equation that sums time, space, matter, and ideology.

ICON is a tour de force, a signature piece representing the extensive body of work by two of the wine industries brightest stars, Jeffrey Caldeway and Chuck House, package designers.

One once told me that the contents of a barrel, brown bag for a label, sans introduction, sipped from a coffee cup in your kitchen, will defy distinction by most and keep both the wine and the consumer most honest.

But we of sophistication desire more than honesty, and more is ours in ICON. To the vast universe of wine, the package brings order to chaos, diminishes chance, dispels mystery, stamps a caste, creates distinction, and strokes your ego and those of others. We assume the package as an intimate expression of Self, much in the same way one would don a designer creation. Albeit, a label does nothing to alter the wine.

In this treatise of wine package history, we are reminded that necessity is the mother of invention. Order to chaos produced the first labels. Labels of origin, distinction, and personality followed. It wasn't until recent times that ego drove the package, and Ego is the stuff of ICON.

This book reveals both Jeff and Chuck as modern day alchemists, intently stirring their witches brew of ego, dream, soil, anxiety, money, sweat, clone, ambition, microclimate, and desire, distilled into an amalgam of glass, cork, paper, and ink which will transform total of Past into the largesse of Future . . . a responsibility from which all but the most tempered would shrink.

And whom amongst us do we charge with this lofty responsibility? It must be entrusted to those select few who have the creative talent, skills, will, and ability to lift mere grape juice to the pedestal upon which it currently resides. Package designers must do for others what they are incapable of doing themselves.

Jeff Caldeway and Chuck House are gifted Iconoclasts, challenged with creating an artistic expression which will herald not only the product but, moreover, the totality of the person, the sole of the winemaker, the beast that lies within. We find the authors delving into a very intimate and complex process of discovery. Needs. Wants. Values. History. Family. Dreams. Hopes. Fears. Stuff. From all this they must derived a package that projects not only the person and the product, but also an expression that potentially becomes a fulcrum on which success and failure balance.

Drawing from ancient beginnings, Jeff Caldeway and Chuck House have successfully bred charm and aristocracy into the great wines and spirits of present day, inscribing pedigree after pedigree that will endure. Page after page brings to mind another example of success that can be directly attributable to the profound influence their package had on the wine selection process.

The depth and breadth of their body of work clearly place Jeff and Chuck at the forefront of the wine package business for more than three decades, leaving a legacy most others could only hope to achieve. ICON secures their place amongst the elite who's creativity exceeded all those before them, who's work will not soon be eclipsed.

Art, beauty, and finesse abound. ICON elicits something that is deeply satisfying, much like a well-turned ankle or great music. Printing, inks, paper, photography, binding are all first cabin. ICON is a calling card, a testament, and an example of excellence that the authors expect from themselves and deliver to others.

We are blessed to have such a fine compendium to grace our lives, the likes not often achieved. It is a gift, a reference, a history, a conversation maker, and a commanding centerpiece for any lover of wine and art. I would recommend you add ICON to your collection and see how long it stays on your coffee table! I hope you enjoy it as much as I do. Share it with a friend.