Book Description
More than twenty superstars from the world of crafting--including Anna Corba, April Cornell, Sandi Genovese, and Andrea Grossman--offer their expert advice on how to design a work space where creativity can blossom. Like the bestselling Business of Bliss, it's practical, inspirational, and beautiful to behold.
Research by Craft Trends Magazine reveals that 89% of all crafters are women, and that they want to work in an environment conducive to creating their art. This invaluable and very special guide helps them achieve that goal, whatever their passion. It goes straight to the experts: successful women who have made their mark in more than 10 different creative fields. These top designers and artisans offer insights gleaned from years of experience, reveal how they constructed their own creative spaces, and explain how the reader can make practical use of these decorating, organizational, and inspirational techniques as they go about designing their own work areas. Among the pertinent questions they answer: Where did you like to work as a child? What's the most important thing about having your own place to work? Are women's creative spaces different from men's? How important is it for you to organize your work, and how do you do it? Do you listen to music when you work--and what kind? The featured designers include Wendy Addison, Dena Fishbein, Jill Schwartz, and Suze Weinberg and their fields range from paper crafts to gardening.
A Selection of the Crafters Choice Book Club & the Homestyle Book Club.
Customer Reviews:
AWESOME.......2007-08-31
This book is one that I will page through again and again. I found
the work spaces of these woman, creative, fun, and totally beautiful
and charming. There are so many different ideas, and at the end of the book, you
are wishing to see even more. This book is worth every penny, and I will refer
to it now, and in the future, for inspiration.
Visually pleasing.......2007-08-11
While I was hoping for more this was a visually pleasing book. I enjoyed seeing how different creative women utilized their space. I would have like to see more spaces
Casual Cottage Chic favorite .......2007-08-05
What a delight to find many of our favorite artists in their working spaces. Cindy Ellis is one of our favorite artists...delighted to have a peak inside her studio, and studio's of many other creative women. They are all an inspiration to design and color!
Inspiring.......2007-08-03
For those of us who live and work in our creative spaces, this book is a great inspiration. It really helped me dream bigger about my work space, and gave me some great ideas on how to organize for beauty as well as funtion.
If you love vintage details (and even not) this book presents wonderful references for organizing and creating a workspace that is personal and inviting. Some of the artists studio spaces really push the idea of craft storage... Also the women featured in the book, who have used their art to make a business for themselves, can be empowering. Great photos, a good deocorating resource book for the price.
Where Women Create.......2007-07-07
I enjoyed the variety of creative women they featured. The photos were helpful and I got a lot of ideas for my new studio.
Book Description
William Bouguereau (1825–1905) was an influential French academic painter, who taught a long succession of gifted students, primarily at the private Académie Julian in Paris. Among them, Bouguereau instructed more than two hundred young American artists. In the Studios of Paris provides a unique look at the history of Parisian art education during the last quarter of the 19th century and its profound influence on American art.
This landmark publication—the first to focus exclusively on Bouguereau and his American pupils—presents sixty-five paintings, drawings, and prints by the master and eleven of his most prominent students, including Eanger Irving Couse, Elizabeth Gardner Bouguereau, and Robert Henri. A series of carefully researched essays place the artists’ work in historical context and discuss various American responses to Bouguereau’s painting and pedagogical techniques, along with the subsequent reception and collecting of their work in the United States.
Customer Reviews:
In the Studios of Paris: William Bouguereau and His American Students.......2007-01-11
I would recommend that book to William Bouguereau estimators
excellent.......2007-01-05
Damien Bartoli is an insightful scholar. The essays on Couse and Gardner add a lot to the discourse on nineteenth century painting.
Catalogue Review.......2006-11-29
The catalogue contains fine reproductions and interesting commentary. Of particular interest is Eric M. Zafran's essay William Bouguereau in America , wherein Zafran follows the rise and fall of Bouguereau among American collectors and critics. He includes many direct quotes from contemporary writers which piece together the "roller-coaster" of public opinion about Bouguereau's paintings. After reading the essay, one can understand how Bouguereau fell into disfavor in the 20th century among the cognoscenti, but has never really fallen out of favor with the masses. It would seem that Bouguereau's skill and finesse were such that he became a watershed in the late 19th century, resulting in the reemergence of the tired argument about the vacuity of academic art. Also of interest and delving into more detailed matters about training is Damien Bartoli's essay, "William Bouguereau the Teacher." Bartoli weaves together Bouguereau's warm and generous nature with his goals and ideas about the training of artists. If there is a lacuna in the catalogue, it is that there is little about Bouguereau's actual working method, or those of his students. As is often the case among writers on art, the bulk of information is biographical, which tells an incomplete story. There are also some careless uses of terminology, such as the definition of academies given on page 13, where such works are characterized as sketches. These drawings, as one can see in the four examples included in the exhibition, were careful and meticulous studies. Another term used in the catalogue is style, often in discussions about what Bouguereau's students may have derived from him. Given the mastery of craft demonstrated by Bouguereau, as well as the breadth and number of his works, style seems like a trivial term to characterize what made Bouguereau unique. The exhibition successfully accomplished the goal of showing the wide-reaching influence of Bouguereau in the works of American artists, which are diverse and often non-academic. Though Bouguereau had much less influence on American art than Gérôme, the featured works demonstrate that he trained painters in such a way that, with the exception of Gardner , they pursued their unique artistic visions. One is left, however, with the lingering sense of awe at the master's command and production, which greatly overshadows that of his students.
Congratulations are due both Mr. Peck and The Philbrook Museum of Art for understanding the relevance of this master today and for a superior job in the presentation of the subject. This book will no doubt be a common feature on the shelves of artists, art historians, and collectors.
Steve Armes
Book Description
How would you like to create your own impressionist landscape, a van Gogh still life, or a surrealist Salvador Dali dream world? Or perhaps a classic Ansel Adams photograph of Yosemite or an authentic-looking 19th century Daguerrotype? You can do all of that and more with Photoshop Fine Art Effects Cookbook.
The book tells you all you need to know to turn your original digital photographs into images that mimic the styles of great photographers and painters. From advice on how to develop an eye for appropriate subject matter to 62 detailed recipes that demonstrate exactly how to create an "original" van Gogh, Vermeer, Edward Weston, or Andy Warhol (among others), this book is an authentic guide to understanding and simulating the work of great artists-and a whole lot of fun.
- Analyzing the styles of great artists: format, composition, angles of view, color palettes, and image textures
- Shooting for digital manipulation, working non-destructively, making your own brushes and patterns
- Creating Daguerrotypes, cyanotypes, stop-motion photographs, cross-processed images, Polaroid transfers, and infrared effects
- Mimicking photographic styles from the pre-Raphaelites and the Naturalists to Jerry Uelsmann and David Hockney
- Exploring painting and printmaking techniques from Rembrandt to Warhol: Dutch portraits, 18th century landscape painting, Japanese woodblocks, Impressionism, Pointillism, Fauvism, Art Nouveau, Cubism, Futurism, Surrealism, and Pop Art
Packed with step-by-step instructions, an inspirational selection of full-color digital imagery, and authoritative information and advice, Photoshop Fine Art Effects Cookbook is the ultimate guide to creating convincing digital masterpieces in the styles of many of the world's greatest artists.
Customer Reviews:
Rhondda Boy.......2007-06-11
I would like to thank John Beardsworth for writing this book as it has given me much pleasure in replicating his creations and following his recipes are so easy. The quality of the printing of the book is superb.I look forward to hours of enjoyment making my own paintings.
Lots of errors.......2007-04-15
The concept is interesting & it is fun to try the different recipes, but many many errors mar the book. Also, some the instructions are less than clear.
Waste of money.......2007-04-04
There are many web sites with better information. Take a look on them.
Great recipes, easy steps, wonderful results........2006-07-09
This book puts you on the fast track to grafting the styles of famous artists into your own work through more than five dozen easy-to-follow recipes. Not surprisingly, you'll find yourself learning more than you originally expected to about Photoshop.
not-so-fast ..........2006-05-04
Earlier this year I reviewed what many will see as the companion volume to this book ("Photoshop Blending Modes Cookbook for Digital Photographers"), written by the same author. Unfortunately, the newer publication is less useful. It seems to have been written on a pretext that it's clever to be able to duplicate what traditional artists can do. This seems - from my own personal viewpoint - to be greatly undervaluing the power of Photoshop (and similar software). Practitioners of digital fine art should (really, constructively) be looking to explore what the principles of prior and traditional art can mean within a new domain.
Plus, the book gets off to a definitely poor start. The second and longer of two introductory sections is titled "The Tricks of the Trade". Well it would be better if just some of the "tricks" had been explained in full and more accurately. Say, how to make a selection in Photoshop from the best available precursor (a black-and-white alpha channel). Or say again, how to make tonal corrections to the original photograph using a luminance mask. Then again, the first (and shorter) of the introductory chapters, titled "The Artist's Eye", is just a teaser. This topic - pre-visualizing what can be achieved as an output image when composing the original photographic input - could have benefited from a much more detailed explanation/argument. Indeed, it could even merit an expansive concluding chapter (but the book doesn't have one of those at all ....). This is, after all, at the very core of what the user could harness to any given artistic objective.
Additionally, I think that it's strange that a book such as this simply makes no reference at all to what could be printed from the recipes it contains. Some of the finished (output) images might look quite intriguing as 3 by 5 inch reproductions in the book - but does the methodology hold up if you're targeting a 20 by 36 inch output (say) on a large format printer? And what to do if that's not the case? Finally, and in common with the earlier companion volume, this book suffers from strange and inconsistent layouts of screenshots and text, plus all sorts of technical and editing omissions/errors (which include, for example, having the wrong screenshot in the wrong recipe - see p.108).
Book Description
Every day, ceramic artists encounter techniques, processes, materials, problems, and more that leave them with questions such as: How? Why? Where? Clay: A Studio Handbook answers those questions with authoritative, comprehensive coverage of topics ranging from studio safety, finding, making, and improvising tools and equipment, firing processes and theory, and much more.
Drawing on more than 30 years of experience in ceramics, Pitelka has created the most practical, all-inclusive studio handbook for students, studio artists, educators, and all those interested in the art of clay. Ten chapters, addressing the full range of ceramic processes, bring a lifetime of ceramic knowledge directly into the hands of potters. Written with concern for safe and efficient studio operation, diligent attention is paid to safety practices. A thorough table of contents, glossary, and index make finding answers quick and convenient. Numerous step-by-step illustrations guide readers through the many techniques.
Selected Contents
Clay and Claybodies
Handbuilding
Throwing
Plaster Working, Mold Making, and Slip Casting
Surface Decoration on Greenware
Glazes and Glazing
Kilns and Firing
Mixed Media in Ceramics
Studio Safety and Sensible Studio Practice
Studio Design, Setup, and Operation
Appendixes
Index
Customer Reviews:
Pitelka's "Clay:A Studio Handbook".......2005-08-26
I have read several books (library) on pottery and technique and THIS book, for all inclusive information, beats them all. One definitely that should be in everyone's studio. Easy to quick reference. Easy to read and understand. I actually could visualize making forms as I read the text. It gets right down to the molecular events that happen in the kiln, things I didn't know before. Wonderful work!! Take a class, then read this book. You'll want to play with clay the rest of your life.
Perfect studio handbook.......2002-03-15
This book is wonderful. It contains information on everything from properly wedging and centering clay, to how to set up your own studio and select equipment. It's informative without being so academic that it's hard to read. I would recommend it to anyone who is trying to supplement their knowledge of ceramics. I have more hands-on pottery experience than academic, so this answers all the little things I've been wondering about such as "What is the difference between earthenware and stoneware?", "How does a noborigama work?", or "What is the proper way to photograph my work?" This is the perfect studio reference book.
For anyone with a yearning to create three-dimensional art.......2001-11-09
Vince Pitelka's Clay: A Studio Handbook is a comprehensive, highly detailed manual on all the myriad ways to create and enjoy clay sculpture, from hand-building to potter's wheels to kiln firing and glazes, to exhibiting and marketing finished works. Written in sensible language easily understandable to the lay reader or novice hobbyist, yet covering all the material a professional needs to know, Clay: A Studio Handbook is the perfect guide for anyone with an interest in learning or improving their clay craftsmanship, whether for fun or for profit. Black-and-white photographs and drawings visually model the many styles and techniques presented, making them easy to imitate. Clay: A Studio Handbook is strongly recommended for anyone with a yearning to create three-dimensional art.
Customer Reviews:
Wilderness Wright.......2007-05-28
In this fine book Henry Whiting, the second owner of Wright's Teater studio, gives us the history of this diminutive gem sited in desert terrain high above Idaho's Snake River. The background of noted landscape artist, Archie Boyd Teater, is given along with the the desire of his wife to have Wright design their studio. The difficulties of realizing the dream in this remote locale are given an in depth look. However, after years of parttime use the studio, at the end of the Teaters' lives, lay virtually abandoned and in dire need of a savior. Enter Henry Whiting. The how and why of the restoration and sensitive remodeling of the studio into a full time residence are presented. Wright purists may find some of the alterations made heresy, but the respect with which they were considered and the fine results should ameliorate the concerns of most.
Well illustrated with original plans, presentation drawings and photos we also are given contemporary color photos and plans of the various revised areas. My only, albeit minor, quibble is the lack of side-by-side plans of the original and remodeled layout.
All in all, a must have for the Wright enthusiast.
Understanding Wright's genius through this simple artist studio.......2007-03-29
In this book, Henry Whiting explores how Frank Lloyd Wright designed homes for the site and the clients and connected the design to the land, views and the cycles of the sun by using the example of his own well-loved home, a simple artist studio on a cliff orverlooking the Snake River in Idaho. The journey leads you to better understand and appreciate Frank Lloyd Wright's architecture in a way that is perfect as a first introduction or to complete an enthusiast's library. The publisher's design and presentation stands up to the author's thoughtful text.
Book Description
Color is one of the most important aspects of painting, and most artists find it both a fascinating and challenging subject. Shirley Trevena, author of Taking Risks with Watercolour, is well-known for her vibrant watercolor style. Here she demonstrates color theory through a series of simple exercises that illustrate how the principles work in practice, with fascinating sections on using just single colors and neutrals, and how to mix colors in unusual ways to create interesting and sometimes unconventional effects. The role of color to evoke mood and atmosphere is also covered, and throughout the book Shirley's stunning watercolors provide valuable inspiration for artists looking to develop their own style. The key features of the book include Explore Further exercises, studio tips, practical projects, Food for Thought discussion points, and step-by-step demonstrations. In addition, to provide a broader view and show different ways of using color, the work of several guest artists is featured.
Customer Reviews:
Vibrant watercolors.......2007-01-16
I've found in this book what I expected. Shirley Trevena's art has always bewitched me for she has a way of putting things together in still lifes that are amazing. In this work she has gone further than in "Taking risks in watercolor". This is exactly what it is, taking risks: thinking, designing and painting watercolors in a somewhat different way. Watching the arrangement with favorite colors which she explains why she chooses them and how she combines them on npage 76 on, how to mix them on page 56 and how to achieve maximun impact-as she puts it- on page 88.The paintings are mainly florals and still lifes but she also introduces works by other artists which differ from hers. Still, these other painters are nothing but outstanding. Mrs. Trevena is honest and generous in offering this work of hers. If you`re craving for an extra-ordinary experience, take this trip through colour. You won't regret it.
Average customer rating:
- WONDERFUL as EVER!
- gremlins
- Lacks Dahl Magic
- original
- At last, Disney & Dahl's lost treasure.
|
The Gremlins
Roald Dahl ,
Artists and Writers Guild , and
The Disney Studios
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ASIN: 1593074964 |
Book Description
Published in 1943 and long unavailable, Dark Horse Books is proud to present this landmark book from the author of such beloved tales as Charlie and the Chocolate Factory, James and the Giant Peach and Matilda. Digitally restored, this remarkable presentation of Dahl's classic story, lavishly illustrated by the artists of the Walt Disney Studios, will delight readers of all ages! The Gremlins is the story of Gus, a British World War II fighter pilot, who during the Battle of Britain turned to look out on the wing of his plane only to see an amazing sight: a little man, no more than six inches tall with horns growing from his head, drilling a hole in the plane's wing. Gus was the first man to ever see a Gremlin, and what happened after that would change the war, and the world, forever. Bought by Walt Disney to be produced as an animated motion picture (and considered to be the first story featuring the mythical airplane sabotaging creatures known as Gremlins), the project was ultimately shelved and is reprinted here for the first time in over 60 years.
Customer Reviews:
WONDERFUL as EVER!.......2007-04-06
I have both the "Dark Horse" edition and the original and both are outstanding books. I got my first "Gremlins" in probably 1950 or so and find the new copy to be as good as the original.
The price on this edition sure beats the going rate for an original and the artwork is fine, at least to me. Probably a child of today won't appreciate the art and the story line but the "Gremlins" themselves are fantastic!
I highly recommend this book to anyone who remembers the original and also "the days of old."
gremlins.......2006-11-10
A wondeful discovery after 60 years. Sadly the colour quality of the full page colour pictures this 2006 edition is poor when compared with my original 1943 Christmas present. The original pictures are bright & sparkly while those of the new 2006 edition are dark & even the colours have different hue. For example the picture of Gremlin Gus on the joystick. In the original the instrument dials are all clearly legible this not the case in the 2006 edition.
However how many people are priviledged to have an original to make comparisons with?
So thanks for the dicovery, maybe now Disney will release the film.
Eric Fletcher
Lacks Dahl Magic.......2006-10-30
I'm a Roald Dahl fan but this book doesn't come close to being as good as his other stories. It reads like a rough draft of an idea he had that was never fully developed into a finished story. I'm amazed Disney decided to have it published.
The characters are flat. You never really like or dislike the gremlins, even though they are supposedly an enemy of the airforce, but later become friends. And Gus, and airforce pilot, is stupid and dull. Dahl has other stupid and dull characters in other stories but they are usually the villans and are presented with delicious, twisty Dahl humor. In The Gremlins, Gus is supposed to be a hero. The biggest disappointment was the lack of Dahl's signature humor. The story lacks so much of what you normally expect in a Dahl tale I kept asking myself with disbelief, "this is a Roald Dahl story?"
original.......2006-10-25
I have an original signed 1943 edition of this picture book, which my parents read to me as a child, and I now own as a family treasure. A treasure it certainly is...one of the most poignant children's books ever written.
At last, Disney & Dahl's lost treasure........2006-10-06
I'm a Disneyphile and I've been coveting this book ever since I first heard about it. I've scoured Australian secondhand bookstores for years, hoping, by some miracle, that I might find an original copy tucked away in a dusty corner somewhere with a $2 sticker on it, but to no avail. [...].
But recently I went to Abebooks just to check if there were any reasonably-priced copies available, and I nearly fell off my chair when I saw a copy for less than $10! Then I saw another one, and another one, and another one, and I immediately thought with great joy: "It's been reproduced!" And sure enough, Dark Horse Comics have lovingly restored and reissued this lost treasure, a fascinating collaboration between two of the greatest creative minds of the 20th century: Walt Disney and Roald Dahl. Previously only available to collectors with deep pockets, this whimsical tome is now available for everyone to enjoy, the young and the young at heart alike. Bravo, Dark Horse! My only regret is that the film version never got off the ground, but this book is the next best thing ... until maybe one day John Lasseter decides to do what Peter Jackson did with the "lost spider pit sequence" from the original King Kong and actually remake it from scratch as a labour of love.
Book Description
In the perennial best-seller Art & Fear, Ted Orland (with David Bayles) examined the obstacles that artists encounter each time they enter their studio and stand before a new blank canvas. Now, in The View From The Studio Door, Orland turns his attention to broader issues that stand to either side of that artistic moment of truth.
In a text marked by grace, brevity and humor, Orland argues that when it comes to art making, theory and practice are always intertwined. There are timeless philosophical questions (How do we make sense of the world?) that address the very nature of art making, as well as gritty real-world questions (Is there art after graduation?) that artists encounter the moment they're off the starting blocks and producing work on a regular basis.
Simply put, this is a book of practical philosophy. As a teacher and working artist himself, Orland brings authentic insight and encouragement to all those who face the challenge of making art in an uncertain world. The breadth of material covered is reflected in chapters that include Making Sense of the World, Art & Society, The Education of the Artist, Surviving Graduation, Making Art That Matters, The Artistic Community, and more.
The View From The Studio Door is the perfect companion piece to Art & Fear, and will appeal to a similar (and already-established) audience of students, working artists, teachers and professionals. For students' benefit, The View is also modestly priced, with wide page margins for easy note-taking and annotation.
Customer Reviews:
Pretty good read, but nothing earth shattering.......2006-05-31
This book is a pretty good read in that it outlines some of the issues surrounding being an artist in today's society. It is more cursory than comprehensive. Basically it points out the issues but doesn't really delve into them very deeply. If you are already an artist it won't give you that much more insight than you probably already have, however it will serve to point you in thinking in the right direction.
For the price I guess it's worth reading. I cannot recommend it as a 'must buy' but I also cannot say stay away from it.
A must read for any artist or wannabe artist.......2006-04-26
This is a must read for any artist or aspiring artist. It will help you to understand yourself, your art, and your audience. The View From The Studio Door is part philosophy, part psychology, part history, and entirely authentic, entertaining and enlightening. The author is very articulate in a down-to-earth and entertaining way. Original insights are spread throughout the book and it's margins. On one page you will be in awe of the philosophical insights that are revealed and on the next page you will enjoy the author's delightful sense of humor. On the next page you may learn something about yourself and your art. Here is an excerpt from one of my favorite passages. " In 1927 a young Ansel Adams made one of his most famous photographs: Monolith-The Face of Half Dome. Or more accurately, he made a photograph that several of his friends thought was very nice....It appeared as a gritty halftone in a newsletter of the local chapter of the Sierra Club....Finally, a half-century after it's first appearance, Monolith appeared in a Time magazine cover story about Adams accompanied by the headline "Ansel Adams: GOD'S FIRST ART DIRECTOR.""
The author, Ted Orland, is co-author of the book Art and Fear that is also a wonderful read for artists in all disciplines.
Art and Fear is one of the top 4,209 best selling books on Amazon.com. Although we do not usually consider ranking #4,209 an badge of sucess, this is a remarkable accomplishment for a book that has artists as it's primary audience. The View From The Studio Door is a very worthy next read for any artist.
Average customer rating:
- One of my favorite books documenting the sixties!!!
- Goodbye Baby, and Amen
- The Look
- Trip Back in Time
- Classic Mod Iconography from the Swinging Sixties
|
Birth of the Cool (Studio)
David Bailey
Manufacturer: Studio
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Models Close-Up
ASIN: 0670888184 |
Amazon.com
David Bailey's name is synonymous with the Swinging Sixties, when fashion photography became big business, and the man behind the camera could become as famous as the celebrities who posed for him. And Bailey was the most famous--the East End boy who became best friends with the Beatles and the Stones, the husband of actress Catherine Deneuve, and lover of model Jean Shrimpton--chronicling them all in a series of unmistakable, unforgettable shots. David Bailey: Birth of the Cool delves into the photographer's archive and reproduces some of his earliest work (the 1959 wedding of a neighbor's daughter was one of his first professional gigs), previously unpublished documentary film stills, and the spectacular images of quintessential '60s mannequins Shrimpton and Penelope Tree introducing mod fashion to Vogue magazine readers. The result is a treasure-trove of images from one of the most exciting periods in the 20th century, when the cult of youth, fame, and glamour was worshipped and--in this case--most beautifully recorded. --Amazon.co.uk
Book Description
A gorgeous and ultra-hip look at the man who recorded the swinging London scene of the 1960s and helped define British cool
Before the age of Tony Blair's Cool Britannia, there was David Bailey--Cockney arbiter of the UK's "Birth of the Cool." When Mary Quant designed the first thigh-skimming mini-dress, when Jean Shrimpton burst on the scene, and when The Beatles took the world by storm, David Bailey had arrived ahead of time to record the scene with his camera. This young photographer emerged from London's tough East End and rose to become England's most famous fashion and celebrity photographer. He lived with Jean Shrimpton, was friends with Mick Jagger, married Catherine Deneuve, and was the inspiration for Michelangelo Antonioni's cinema classic Blow-Up. Now, David Bailey--Birth of the Cool tells the story of his meteoric rise to the top; collects his photographs of the most celebrated models and movie stars, aristocrats, and rock stars of the 1960s; and defines an era for all time.
Complete with Bailey's most famous photographs of Penelope Tree, Michael Caine, and the Rolling Stones, David Bailey--Birth of the Cool features his photographs of the Kray Brothers, the most notorious and glamorous criminals in 1960s London as well as private and unpublished documentary photography. David Bailey--Birth of the Cool is a must for the fashion conscious, photography fans, rock and roll aficionados, and all those interested in Anglo chic.
Customer Reviews:
One of my favorite books documenting the sixties!!!.......2004-07-11
David Bailey was the hippest photographer during the sixties!! He took pictures of sooo many great icons. Anywhere from Models(Jean Shrimpton, Twiggy, Penelope Tree), Movie Stars(Peter Sellers, Catherine Deneuve, Micheal Caine, Terrence Stamp, Julie Christie), Bands(The Beatles, The Rolling Stones, The Who), Designers and Artists...Mary Quant...Andy Warhol...even notorious gangsters..The Kray Twins!!!! Great Book!!! One of the coolest I own!!! Buy it!! If you're not sixties obsessed, you will be after flipping through this book!!! I'm not kidding.....
Goodbye Baby, and Amen.......2002-12-27
In this collection of greatest hits by Swinging London plankholder David Bailey, we get:
Celebrities of the time, including pop artists, pop intellectuals, TV presenters, English film stars, and the emerging British rock glitterati. Of these last Mick Jagger appears the most frequently, evolving from A Portrait Of A Famous Person Taken By David Bailey to the most notorious man in show business by the end of the decade. A close second is fading golden boy Brian Jones. Among the more conventional celebs are Terence Stamp, Michael Caine, and Peter Sellers. Stamp is so young and unformed here that it is hard to recognize him at first; Caine is reduced to a pipe & black frame glasses Everyman; and Sellers' portrait looks like a Roman bust.
Documentary pictures of potato-nosed East Enders, including plenty of studio portraits of crime bosses the Kray brothers. Bailey won their respect for having come from the East End himself and achieving success. But, one photo shows the Kray twins with Bailey sitting in between, visibly hoping not to get bumped off.
Lots of images of the original super-model, Jean Shrimpton, mostly from Vogue layouts but also plenty from other photo dates as well. There is also a generous helping of photographs of model Penelope Tree, whose face Bailey aptly described as "an Egyptian Jiminy Cricket." We also see lots of other perfectly turned out Vogue models.
There are some exotic shots of Nepal and some snaps from his military service in Singapore, but the focus is in the main on early Sixties London. Though the book is not arranged chronologically, one can see his technical development, as he incorporates other photographers' ideas like askew framing, daylight flash, and tent lighting. There is a color section, but gorgeously inky b/w is the star here. Many of the subjects have been shorn of the celebrity that no doubt added to their portraits' impact, but that's no barrier to enjoying this big collection.
The Look.......2002-02-19
Bailey birthed the look and this book is chock a block full of it. It's a visual feast with very littly written clutter. A pity that there just wasn't a bit more...
Trip Back in Time.......2002-01-19
If your'e looking for a book to take a trip back to the late 50's through the 60's this is a good way to get there. The fashion and ad shots of Jean Shrimpton and other models of that era are a kick. Anyone into nostalgia of those times will find this book interesting, David Bailey seemed to be ahead of his time in his style and his photos are thought provoking as well as great pieces of art. He had some great friends (male and female) that became his subjects. I wish there was a book #2 to follow--this book made me want to see more of his work!
Classic Mod Iconography from the Swinging Sixties.......2000-11-04
This exciting book combines portraits and fashion photography to show the revolution of casual coolness that David Bailey brought to both fields. Filled with classic poses of Jean Shrimpton, Penelope Tree, Catherine Deneuve, the Beatles, and the Rolling Stones that you will remember, the book is strengthened by many images you have never seen before. Breaking the previous rules for portraits and fashion, Bailey takes us into a hip, exciting world that offers unlimited promise through "spontaneity of gesture."
David Bailey was the classic outsider, looking in. Born to a working class family in London's East End, no career could have been more unlikely. Being a rock musician was the most that young East Enders of that period could hope for. However, his background gave him a fresh perspective that brought originality and life to his work that we all enjoy. His career rose rapidly, being sought after by Vogue within a year of becoming a professional photographer. In fact, he was on contract to Vogue before meeting Jean Shrimpton, with whom he became so closely identified (both for their personal relationship and their work together).
Some of these innovations work better than others. For example, he loved to pose a group with each person tilting in a different plane and then to put the image on the diagonal. Those tend to work quite well. On the other hand, he also liked to cut off the tops of heads (like Alex Katz paintings), and those often make the portraits much less interesting than if you got the whole head. He loved grainy, black-and-white images. These can be a bit too grainy.
The essay by Martin Harrison is a helpful introduction to Bailey's work, and adds considerable value. I encourage you to read and study it in connection with the photographs.
The book contains scenes that Bailey shot of the East End, that heighten the contrast between his former life and his new one. You will also see his first professional work (a wedding) and his first published work (a Sunday Pictorial in 1960). Bailey rose to prominence very quickly, based both on his talent and his eye for the potential of then-unknown, 18-year-old model Jean Shrimpton, who was to become a fashion icon of the period.
Here are some of my favorite photographs in the book:
Jean Shrimpton (Town - 1963; Sunday Mirror - 1964; Queen - January 1964; Queen - February 12, 1964; Vogue - June 1965)
Catherine Deneuve (his later wife) (Brittany - 1966, Vogue - April 1, 1967)
Joy Weston (Sunday Pictorial - 1960)
Franco Zeffirelli (Vogue - 1961)
Scouts (London, 1960)
Sarah Miles (American Vogue - August 1, 1964)
Robert Shaw (Vogue - September 15, 1963)
Marianne Faithfull (September 1964)
Peter Ustinov (Vogue - December 1965)
Shirley MacLaine (Vogue - December 1965)
The Rolling Stones (September 1964)
Mick Jagger (Contact Sheet -- April 1968)
Sue Murray (Vogue - March 15, 1967 and September 1, 1967)
Raquel Welch (Goodbye Baby & Amen, June 1968)
Afer you have finished enjoying this exciting collection and insightful essay, I suggest that you ask yourself where unnecessary formalism is restraining progress in something you do. For example, some churchs still have such formal services that while many are reassured by the familiarity this provides, their hearts are not still touched by it. Having identified this stall, how can you break through to open the doors to informality that will be constructive? Asking people what they are missing from their experiences is a good place to start. Going back to my example of worship, perhaps worship is too much unlike daily life. How can we integrate the two so that we worship as we live?
Be cool!
Book Description
"Scotchie gives us an insider's look at [how to] assemble vibrant, creative studio spaces. Floor plans are provided...The photographs are excellent."--Library Journal
Take a photographic tour of 10 beautiful ceramics studios, and discover exactly how and why each design so perfectly meets the artist's particular needs. Author and ceramist Virginia Scotchie covers all the practical decisions about equipment, workflow, and safety that go into setting up a new studio, from using the space effectively and dealing with lighting, electrical, and ventilation needs, to establishing a small business office. Every ceramist will find inspiration in Michael Sherrill's spacious and adaptable studio, so suited to his large-scale sculptures; Alice Munn's intimate and tidy atelier; and Ben Owen III's highly organized layout, arranged for volumes of production work and featuring a separate gallery.
Customer Reviews:
Are YOU rich?.......2007-09-04
This book annoyed me as it is for people with plenty of money to throw at an architecturally designed, no holds barred, studio space. How many artists have this kind of money? As has been said too, it offers no practical advice for measuring, designing or actually setting up the actual studio.
Waste of time buying this unless you just want to look at pretty photos of idyllic conditions.
underwhelmed.......2007-03-09
There was less of this book than I expected. Just pretty photos, no solid advice. Most important, no measurements!
Good but be careful !.......2007-01-12
It's full of beautiful pictures, showing wonderful studios. The book could be more practical showing details of how to design a studio with measurements, precautions, equipment suppliers, etc.
Good as ideas for lay-outs and artist's work
Love Lark Books!.......2007-01-08
This book is wonderful for potters. It's full of inspirational pictures of not only studios, but the artist's work. All the Lark books I own are fantastic!
Classy, but limited........2004-06-14
The studio examples are regionally limited to the author's home base area (Southeastern U.S.). The good part of this restricted view is that the photographs are numerous and pretty fantastic. The drawback is there's a lot of us who have to factor in different weather and terrain conditions--depending on where we live.
The plans shown didn't have any measurements showing scale, so it was hard to get a true feeling as to how the various pieces of equipment filled the space. The graph paper used as a backdrop for these plans only caused more confusion, as there was nothing to show if each graph square equaled one square foot, or four.
I would suggest--to anyone designing a studio--that you beg, borrow or buy your own graph paper and do your drawing to scale. Also draw your equipment to scale and cut out silhouettes so you can try out many approaches to placement.
None of the studio plans matched my desires or needs, but the examples are varied enough that bits and pieces of almost all were helpful in designing my new studio. Pay particular attention to the information on traffic and work flow. It will help whether you work alone or have students sharing the space.
All in all, a presentation with classy paper, pictures, and prose--and all at a great price.
Books:
- Wide Sargasso Sea: A Novel (Norton Paperback Fiction)
- You Can Draw Star Wars (You Can Draw)
- 500 Bowls: Contemporary Explorations of a Timeless Design
- 500 Teapots: Contemporary Explorations of a Timeless Design
- Architectural Graphic Standards
- ART OF POCAHONTAS, THE
- Audubon's Birds of America: The Audubon Society Baby Elephant Folio
- Beyond Impressionism: The Naturalist Impulse
- Billmeyer and Saltzman's Principles of Color Technology, 3rd Edition
- Bobby Sherman : Still Remembering You
Books Index
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