Art Architecture Photography Books

A fun book to read to learn about how types we're created (author and history).
Really like it.
I guess only people in the graphic design world will like this book.

I like this book a great deal. The next time I have a chance to use this in a class (to teach) I will. There are lots of good examples, the language is clear, and it's not too ethereal or esoteric. I think it's a great introduction to typography and laid out very well.

It's informative, it's inspirational, it's philosophically engaging, it's warm and welcoming. But it might not turn you into a master typographer.

A beautiful read, this book presents history and theory into well-thought, easy to swallow bite-sized chunks. Along with exercises, this kinda gives it away as a student's textbook, which might be less than what you're after, if you're a working designer wanting to advance your typographic skills. It might still worth getting the book. Did you knew Gutenberg used alternate glyphs and ligatures? I know now. Smart guy, this Gutenberg.

A nice book for bathroom reading, but hardly a desk reference or textbook caliber tome. Look for "Design form and Communication" by Rob Carter for a more thorough source on all things type related. Pick this one up for 10 min refresher reading while you're..killing time.

I love type, but I lack an educated background on its use. I was so looking forward to learning about such details as when to prefer a sans-serif versus a serif in certain situations, how people react to various different families of faces, prescriptions for when to apply different types of layouts, and so forth.

When I got was a partially complete history lesson on how different types of faces and families evolved, an introduction to grid layouts with very little prescriptive advice, and weirdly, a brief editorial primer teaching how to mark up the printed page with pen.

To its credit, the book is full of examples of layouts. As I read, I expected any minute I'd penetrate the entry level "Here we see an example of a layout" to the real meat, but it never ever happened.

To the author's credit, the book was meticulously assembled and was clearly the product of a great deal of effort. And, this is not the first design-related book I've discovered that lacked meaningful depth.

But to any practicing designer looking for some guidance for taking their use of type to the next level, or understanding beyond his own innate instincts when to apply certain techniques, this is not the book for you. In fact, I'm not sure who this book is for.

something wrong while it's handling... and it didn't deliver to me in time, so I just refund instead of keep waiting.

It's very helpful for the class that I'm taking this semester and it's a good book to have because it's very informative and easy to use.

History of Modern Art is a well sructure resource textbook for students who are seeking information about Contemporary and/or Modern Art History. Great grasps of information on every page is a journey through space time and the people who made this possible in the 20th century . You will never find a better textbook on the market.

This was excellent. Very comprehensive, to say the least, and very well organized. This is my only book from art class that I actually sustained my interest! Definitely worth it.

I used this book in college for my two course survey of Modern Art. I absolutely loved the book and when I found out there was a hardback edition I had to have it. Let me tell you, getting it for 66 bucks is a STEAL! I saw this book brand new in a brick and mortar store and it was 110 DOLLARS! If you are at all interested in 20th Century Art I highly recommend this book as a general overview. This was one of the FEW books I read in college and actually enjoyed it.

I love this book, it is absolutely beautiful. Everyone with any taste needs to purchase this book!

Photography is extraordinary. The people featured therein, not so much. Still, it's a beautifully done publication and worth the cash but buy it at discount.
Stylemaven

There is no disputing that this is a sumptuous volume. Lavishly produced, its oversized 384 pages are crammed with images of exquisite rooms and lush gardens from 36 unique homes, owned by the rich and/or famous in Europe, America and North Africa and into the likes of which you and I will never set foot. (Which is the reason, thankfully, such books are produced and why we lesser mortals buy them.)

There are rooms modern and rooms classic, arranged with the taste, elegance and restraint of the world's best decorators and captured by the world's greatest photographers. And yet the rooms are not museum pieces, but are demonstrably inhabited by their owners, their well-scrubbed children and their adorable dogs, such as the greyhound on page 317 filching a piece of cheese from the dinner table.

My favourite room which is featured on the front jacket cover is of Janet de Botton's breakfast room in Provence, its French chateau décor a study in white, cream and faded pastel, the background, literally a wall of china - floral motifed white plates and platters displayed on white-painted, floor-to-ceiling wooden plate racks built into the walls. (Already I've been measuring my walls to see how I can incorporate something similar - though less vast - into my old house).

At the opposite end of the décor spectrum is Amanda Brooks NYC loft, all kitsch and brash eye-popping colour like a Barbie Doll house with Brooks herself photographed in a Barbie Doll style gown in a Barbie Doll pose. (It's not to my personal taste but cleverly done & I had to look twice to be sure the figure lying stiffly across the bed wasn't a mannequin).

If you are a fan of décor books you will find plenty more here to inspire, amuse and entertain you and your like-minded friends and family.

So why did I hold back from a five star rating? My quibble is with the empty 14 pages devoted to Madonna which might have been put to better use: Madonna's cow pastures, M. with (admittedly cute) children; a gowned & high-heeled & coiffed M. feeding the chickens (as if!); M. canoodling with husband, a double-page shot of M's sheep -- & only one tiny interior shot, a sitting room that was rearranged by the photographer & does not reflect the actual décor of Madonna's house - which might have been of real interest even to a non-fan like me.
Thus the book falls just a little short of being, for me, the epitome of the coffee-table décor genre.

Flash review: The perfect gift book for this season.

This new book, timed for Xmas giving, features a selection of the best homes shown in Vogue in the past several years. It is a large-scale book, filled with wonderful color photography. Although Elle Decor and Architectural Digest have come out with similar books this season, neither can hold a candle to Vogue's tome. If you are familiar with the 1968 publication, "Vogue's Book of Houses, Gardens, People", which now sells for $400 and up if you can find it, you will know what is in store for you.

Maximum emphasis on homes you would love to see in person, owned by people of impeccable style: Janet de Botton in the south of France, Marella Agnelli in Marrakech, David Cholmondeley's stately, etc.; minimal number of celebrity digs done by decorators of questionable taste which you tend to see in Architectural Digest. The style and taste of the featured houses, gardens (and, yes, people) are on an entirely different plane than those shown in the new books by the other two lifestyle magazines.

you have to love decor and fashion to understand this book.it is Vogue after all!!!! the book is full of fabulous properties and fabulous people.I went through it already many times and got inspired by it.
Buy it f you are a fan of vogue magazine !!!

John Shaw shares his photography knowledge and experiences for almost 30 years in this book. This particular book explains the techniques of taking successful pictures consistently over time in a well-structured manner. As a reader, you can understand his points and vision easily, and learn from them quickly. That is extremely important for the purpose of a field guide. You want to know what the lecturer is doing and why he is doing that. Both parts are essential, since simply copying techniques does not make you a great photographer. You need to have both personal vision and craftsmanship to accomplish that.

The book is written based on a 35mm single-lens-reflex camera system. You may think that the photographic knowledge and experiences are no longer valuable in the digital era. That is certainly not the case. If you want to fully understand photography and take control of the actual photographic process yourself, then read the book and learn to master your photographic techniques. The current digital camera system is still built based on the 35mm single-lens-reflex camera system. Just like in the modern life, we have more conveniences in the kitchen. There are better kitchenwares, but you still need to learn "how to cook".

Give a person the best kitchen equipment does not mean that he or she will be able to make a delicious meal. The same applies for photography. John Shaw shows in his book not only the techniques, but also his passion for nature and the art of photography. Eventually, it is not the camera, but you who makes the pictures.

I was hoping to learn more about how to take nature photos that make everyone else love what I was enjoying at the time of taking that photo. This book is really good.

I must say this book has exceeded my expectations. So far the best book I've red. It is very well and understandably written. Very nice pictures. Yes, it is true that John describes usage of an analog camera, but the exposure principles are very well applicable to the Digital SLRs. I find it very useful especially for beginners. I believe also advanced users may benefit.

Yeah, it's film centric but much of the information is great for digital too. If you are a wannabee, hobbiest nature photographer like myself, this is a great read.

All of John Shaw's books are great. There is some overlap between them as he goes over the basics but they are all worth a read for any aspiring nature photographer.

I considered this an excellent book. It was written a few years back and had it's major emphasis on film photography. However, virtually all of the material is applicable for todays state of the art digital photography.

This is a wonderful book and with Amazon's amazingly inexpensive price, you really can't pass this one up. Tony Duquette was a master of style with an incredible eye, and a creative genius. HIGHLY recommended.

I met Tony and his wife in Ireland - we were staying at Heney McIlhennys castle - he was terrible charming - I did not know of his career and am so sorry I didn't question him til he was exhausted.

karen marcus

Tony DuquetteI am an interior designer of some 20 years and while I found this book interesting it had very little to do with interiors and more to do with a very specific, unique and strange lifestyle. I'm sure the man was brilliant just know this book is not about liveable interiors.

Having lived in Los Angeles since 1981 and working as an art editor for a regional magazine, the name Tony Duquette came up time and again in my social circles. Without question, he was an amazing talent the likes of which we may never see again in our lifetime. His imagination and passion for his unworldly, surrealist visions are captured in this brilliantly orchestrated book. Bravo and brava to the authors! A must-have for everyone's art library!

This is a visually beautiful book that surveys the creative life of Tony Duquette, an artist best-know for his stage sets (Kismet, etc.)and high fashion jewelry. Less well known are his amazing home interior and garden designs, as well as his free-wheeling sculptures, many of them made from recycled and re-imagined objects. The photography is of the highest quality - most of it, I suspect, archival from fashion magazines over the decades.

A must for any serious art student. Sarah Simblet also has a Sketchbook for the Artist that I recommend.

Great way to get familiar with the human body, different positions than the boring usual, a book for more advance artists looking to improve and to know those little details only a model or this book could reveal to you.

Excellent book for studying the human body! This book retails for $40.00 in a book store.

I got this because since I am not in college anymore, there is a big shortage of nude models! :)

This is an excellent resource. The photography is incredible. The educational value exceptional. It has pictures and text with skeletal overlays for parts of the body - skull, spine, arms, torso, hip/thigh, feet and hands.

My ONLY complaint is that this - like almost all model books - does not provide various body types nor does it represent enough ethnic groups.

It's a really nice book. It has some amazing illustrations and photos in it and many of the illustrations are overlays that go right over the photo allowing you to further understand the relationship. It has been tremendously helpful in my figure drawing.

I purchased this book for myself after finding Amazon's price to be the best deal out there. It is beautiful and thorough. Sister Wendy covers every major time period with overviews of the most significant artists while including comments and close up studies of specific works. This book could easily be an art course in itself- it is comprehensive and the illustrations are just what you would expect of a DK book- beautiful and with accurate, vivid color. Sister Wendy writes in a readable layperson's style; you need not be an art student to enjoy this book. It is easily my favorite buy of the year- you will LOVE this book!

How bizarre...
...and yet, how wonderful. Who would have ever thought that a nun going through the museum would have (a) been interesting, (b) been publishable, (c) been television-worthy, or (d) been within the realm of credible imaginings? And yet, here is the proof, on my coffee table. Sister Wendy's smiling face, next to a scowling Vincent, greets me each day with my morning cocoa.

This is a book to be savoured. It cannot, like the morning cocoa, be rushed and enjoyed. This must take time. Not because the text is dense or confusing--indeed, it is not. It is lively, witty, historical, accessible, all that one could want in a book on art.

But, mostly, it is exquisitely visual in layout. Everything is photographed and reproduced in stunning colour and low-gloss format to make the pages vibrant and durable yet easily seen. Care has gone into the production of this volume. None of the art is reduced to black and white, but rather presented in glorious colour. With over 800 images in under 400 pages, this is a feast for the eyes. Each page is dominated by art, not text. That makes for slow moving, like reading a museum.

Sister Wendy Beckett takes us on an historical tour of painting (in the European theatre of history), beginning with prehistoric cave-art and drawings, leading up to modern and post-modern artists.

She takes representative pieces, such as the Bosch painting of Death and the Miser to illustrate points of colour, detail, composition, and story. Some paintings have complex stories (such as this one), others have simple composition (such as the 'innocently disadvantaged' Mona Lisa) which give endless speculation as to the meaning.

Sister Wendy explores each era of artistic history, listed below in broad categories (there are several subcategories of each), giving history and philosophy as well as major and representative minor works, explaining in detail at least one or two works for each, concentrating on painting, but also bringing in as relevant sculpture, stained glass, architecture, and other artistic media.

+ Art of the Ancient World
+ Gothic Painting
+ Italian Renaissance
+ Northern Renaissance
+ Baroque and Rococo
+ Neoclassicism and Romanticism
+ The Age of Impressionism
+ Post-Impressionism
+ The Twentieth Century

Sister Wendy does an admirable job at not concentrating exclusively on religious and Christian art (for being a nun), however, given the history of art in Europe, this is a major theme in its own right.

The Epilogue, says Sister Wendy, 'is both an afterword and a foreword: hundreds and thousands of artists come after the disappearance of the 'story line' into the maze of contemporary artistic experience and these same artists may of course, be the forerunners of a new story.' In concluding her volume, she highlights the paintings of Robert Natkin, Joan Mitchell and Albert Herbert, the art of each she hopes will endure.

I am very excited about using this book to study art with my children. The photos are top quality, showing close ups of interesting details in the paintings. I have a collection of art books, but this is by far the best. Worth every penny!

A 1¼ inch thick book with about 400 pages and more than 450 color illustrations of the most significant works of art in Western history can hardly fail to please anyone with an interest in art history. In Sister Wendy's Story of Painting, Sister Wendy provides an intellectual and somewhat passionate discussion on major art movements and sensitive analysis and interpretation of more than thirty paintings she showcases in the book. Enlargements of particular areas of these paintings are used to analyze techniques and identify symbolism. In the absence of ancient paintings that have survived, Sister Wendy uses other forms of art such as sculptures, friezes, tapestries and mosaics to illustrate the subject, composition, style and proportions used in paintings of that era. She treats all styles of art with equal reverence. Shortcomings in this book are few. Illustrated timelines that appear before each major section of the book could be improved by the addition of other historical milestones to help the reader achieve a better perspective. I would prefer less commentary about numerous paintings of a single artist and instead, more information on the cultural and political influences that shaped the development of painting. I would prefer less coverage of obscure artists such as the Nabis in favor of more on Victorian art and Art Nouveau. And I would wish for a more eloquent conclusion to the book. But the thing that was most lacking to me is a discussion on paint! Nowhere is the development of paint as a medium discussed with any depth. These aforementioned shortcomings, however, pale in comparison to what Sister Wendy has accomplished in her book -- the creation of a comprehensive and scholarly source of information on the history of painting that neither the newcomer nor the expert could fail to enjoy.

The first purpose of an artbook is usually to showcase fine art with high quality reproductions. This book certainly packs in ample artwork, well supported by Sister Wendy's colourful commentary. However the image quality is horrendous, with a vast proportion of the reproductions being badly pixelated or blurred.If you like Sister Wendy, then buy her other books. This one is so sloppy that it is disrespectful to the artworks and is to be avoided.

This book gives a thorough overview of Monotype printing. It starts out with materials needed, then goes on to talk about hand transfers, press transfers and doing monotypes in acrylic, watercolor, oil and printmaking inks. It covers mixed media and stencils, masks, etc. It has much practical/useful information in each section on both techniques and materials. There are examples of each type of work covered, athough I would have liked to see a larger "gallery" of work by different artist. A very good book if you are interested in monotypes.

This book answered many questions that other artists and I were asking regarding monotype. It gives you permission to proceed in any direction, using any materials you choose.

I agree with the previous reviews - if you're creating monoprints, and particularly if you're looking for non-toxic methods, this is a great book. It's full color with many inspiring illustrations, and full of useful, practical information written in a friendly, down-to-earth manner.

Re. recommended paints: I recently had the pleasure of taking a monoprinting class with Julia Ayres and her daughter Gail Ayres (at the Art Methods & Materials Show in Pasadena, CA, Oct 2004). The Ayres now recommend using the new Akua-Kolor waterbased inks by Rostow & Jung (www.waterbasedinks.com) which I assume were not invented at the time this book was originally printed. The advantage is that these inks are non-toxic, clean up easily, and they stay moist for days. You then print to DRY printmaking paper, and the inks dry instantly once they hit the paper. Now you don't have to worry about the inks drying on the plate, or handling fragile, wet paper. (I shoved my Createx paints in a bottom drawer after the workshop!)

(If you get the opportunity, take a class with the Ayres if you're just getting started, as there's nothing quite like seeing the process in action and the book will make even more sense! They also teach using the PinPress Roller for making monoprints by hand; very useful if you don't have access to an expensive printing press.)

There seems to be very limited information available on the technique of monotype. This book fills that void by demonstrating the incredible variety of effects possible using the monotype method. There are no projects, per se, rather it teaches techniques that help you create your own masterpieces. Many pieces of example artwork are found throughout the book.

A monotype is a one-of-a-kind print made by transferring a painted image to paper. The book starts out with an introduction to materials including plates, mediums, solvents, panting tools and paper as well as hand and press transfer equipment. It also covers studio safety and finding workshop facilities.

Techniques are next including working into a light or dark field and both hand and press transfer.
These include step-by-step instructions accompanied by demonstration photos. Working in specific mediums including watercolor, acrylics, water-soluble writing instruments, monoprint paints (Createx), oil paints, water-based oils and alkyds follows. A section discussing special oil-based printing inks for lithography, etching, printing and serigraphy is also here. There is even a chapter on special techniques including using masks & stencils, embossing and creating collages.

The final chapter gives an overview of monoprints, which combine monotype with other print making processes, and mixed-media monotypes. This includes intaglio, drypoint and engraving, as well as linocut and collagraphic monoprints.

There is a nice list of suppliers as well as interesting biographical notes on the artists featured in the back. This is a great book that displays the great diversity in mediums and results available with monotype.

I'm so glad I bought this book. It is one of those I take down regularly. The author thoroughly understands monotype in many mediums. A previous reviewer mentioned how well the toxicity issue was dealt with. Lots of good color illustration.

Anyone looking to get into this wonderful hobby need look no further to get started than this book. It's written in a clear, direct prose that is simultaneously useful and humorous, loaded with great information that every newbie to Urb-Exing should know. The stories that occur every section or so of the authors experiences while exploring are not only entertaining, but useful examples of experience for your own explorative endeavors. Ninjalicious (RIP, he will be missed!) is a professional of the highest caliber not just in the field of Urb-Exing, but also in the field of writing. Not only can this book serve as a lucid introduction for many people interested in the hobby, but unlike most hobby books, it somehow manages to be interesting even to people who aren't that all excited about the hobby! I showed it to several of my friends who'd never even heard of Urb-Ex, and in 4/5 cases it was highly successful in getting them interested, much moreso than my own lame explanations and discussions have been. A must read for novices and experts on Urb-Ex alike!

I was a friend of Ninjalicious. We are from the same area, and had discovered eachother, because we were 'in the same line of work' so to speak. But I admire his creativity, not just in the exploration we shared, but in his ability to put it to ink, and share with others. A skill I have never had. Also, when I first met Ninj', and shared my story with him. How I not only explored, but often in my travels, I have made home in some abandoned buildings, he quikly humbled himself, that he was just in it for the 'sport', and opologized if he seemed like what he was doing was wrong at all. Not at all. Much respect for Ninjalicious. I am sad I will not get the chance to see you again my brother. Maybe on the other side. Farewell and rest in Peace.

I was surprised with how well this was written and put together. The picture of the book led me to believe that it was a large clumsy paperback (like another book on urban exploration I have). I was pleasantly surprised that this was not the case. It was very tastefully done, and with more information and insight than I had hoped for.
Ninj was very well read and created a gripping, easy and fun to read handbook on this hobby.
HIGHLY RECCOMENDED for anyone interested in urban exploration: from the curious to the expert, you need this book in your library.

This book was fantastic, in every aspect!

It offers groves of sound advice and knowledge on the subject, and urban explorers ranging from enthusiasts to experts will definitely take many good things with them from this book. Not only are the how-to portions fantastic, the stories, anecdotes, and philosophical bits contained within are a treat to read, too. This book is simply THE urban exploration book.

A definite buy for anyone interested in urban exploration, architectural/urban history, or just a great read.

For anyone in the "Urban Exploration" scene, the name Ninjalicious is almost legendary. Not that he was one of the first to explore tunnels and old buildings, but he was one of the first to really achieve some level of fame for doing so. So the source for this information is more than credible.

If you are a veteran explorer, this book probably will not tell you much you don't already know. If you are just beginning to explore, this may be a helpful guide, but you'd be better off finding experienced people and going with them. A little experience and a good amount of common sense should see you through.

That said, I still would recommend this book to any active or armchair explorer. The author's humor makes reading this book a joy and the personal stories he includes are highly entertaining. So if nothing else, read it for fun. Plus, you never know. There may be a gem or 2 of wisdom in there for even the most veteran explorer.

I agree that this book is getting long in the tooth. Its completely film based and frankly its not that informative. You've got a lot of nice, if dated, pictures and a few cute comments next to each picture. Comments such as, "Don't worry about how much film you're using. You're goal is to capture the excitement, sensitivity, and passion of the ceremony"(p56). That's about as good as it gets unless your looking for some info on the film types that she likes; or you want to hear for the twentieth time how much she likes her Hasselblad fisheye. I also own wedding books by Bell and Johnson which I feel are much better whether you're a novice or have some experience.

I was disappointed with the book because it was first published in the year 2000 and apparently it hasn't been updated ever since. The book talks a lot about how to abtain your best results using films! It stresses the importance of not worrying about saving films, it advises the photographer to shoot as much as possible - I doubt that is ever a worry for todays's digital shooters. Wanna have an idea about how out-dated that is? Page 116 :" ...In the mid 1990's Bambi made the decision to go proofless(...)To use Montage, send your film to the lab and ask them to put the images on a CD, or scan the negatives into electronic form yourself" - That was one of the "hottest" pieces of advice on the book! The pictures are ok, nothing really impressive - It might work well for a beginner, though!

if your looking for a book to help you on your way ,forget this one ! if you dont have hassleblad or other high end equipment' forget this book, if your not already a professional forget this book ,if your using digital media , forget this book, the book however does have some good pointers and suggestions, but if avant garde photography isnt your bag,,, forget this book. i was extremely disappointed in the way it seemed to just address the already established proffessional, and last if your not interested in black white and infrared film usage forget this book!
maybe if this book was updated it would be better but that is a big maybe

You must have this book and read it... you will learn something and giving ideas... I do not mind what camera they used but the measurement of lenses is very important... I searched throught out the web site... my conclusion are most of wedding photographer I counted used 35mm, 50mm, 85mm, 100mm and 300mm. My attention is to shot portrait and wedding therefore I bought 50mm and my 85mm is on the way but I could not afford to buy the rest might be the wide lens and zooms
Was this review helpful to you? (Report this)

The imagery in this book is of a fairly high quality. The locations and scenes look believeable; nothing over-the-top and extravagent like some books show (by that I mean, obviously created by wedding photographers who shoot only for the wealthy in the best locales). The complete lack of digital is a real weak point to this book. As of the time of this review, I'm told that nearly 95% of wedding photographers shoot digital, especially starting out. Therefore the equipment suggestions, while still somewhat informative, are heavily dated (the primary emphasis on medium format, while compelling, is no longer the most efficient way to get going in the business). The images are all high quality and quite inspiring. It's a decent work, but I'll probably buy a few more wedding photography books before finding the one that does me the most good.