Book Description
For over 30 years, the amazing Stan Winston and his team of artists and technicians have been creating characters, creatures and monsters for the silver screen, from The Terminator and the extraterrestrial monstrosities of Aliens and Predator to the terrifying dinosaurs of Jurassic Park and the fanciful character of Edward Scissorhands.
Now, at last, he's opening up the Stan Winston Studios to collaborate on the first-ever book to reveal all the behind-the-scenes secrets of his groundbreaking and hugely influential artistry and effects work. Featuring an extensive array of sketches, production art, and exclusive photographs straight from the studio archives, this is a landmark book in cinema history!
Customer Reviews:
The real Effect.......2007-07-21
This book had a real effect over me, I have a few buddies that work and run Stan Winston Studios, I think that the publication was well done and hope to see a part two in the future.
Great book, awful shipped condition........2007-06-15
I give this 5 stars because the book itself is great! However Amazon shipped me a copy with almost every single page severely dog eared and crimped.
Hopefully yours comes in good condition, mine did not.
The ultimate inspiration.......2007-04-15
The book is amazing and inspiring. And to answer NickNack: I happen to be a CG artist and I can assure you that it DOES take a REAL artist to create awesome detailed CG characters, and it's way harder than sculpting by hand, but much more efficient from production's point of view. Computers do NOT create and animate characters by themselves, but they are a great tool for REAL artists.
A CG artist such as myself, beginner or professional, can find this book to be a great source of inspiration and reference for work.
Spectacular! Wonderful! And Awe Inspiring!.......2007-04-10
Of all the books I own this one satisfies my passion for monster movies as well as my passion for art. Filled with gorgeous high quality photos and in depth insight into each creature and character this book is better than watching it in a movie! The hard work and creative inspiration that goes into each creature of Stan Winston's is truly awe inspiring. It makes me want to work in his studio!
Simply Fantastic!.......2007-02-22
If you are a serious movie buff and you really enjoy "digging-in" to movies beyond just watching them, then you must get this book. It is rather large and heavy but contains great articles and loads of pictures on special effects and yes it covers movie favs like the Terminator and Alien series. This book comes highly recommended to movie fans by a movie fan.
Book Description
These studio visits with some of today’s most popular and innovative comic artists present an unparalleled look at the cutting edge of the comic medium. The artists, some of whom rarely grant interviews, offer insights into the creative process, their influences and personal sources of inspiration, and the history of comics. The interviews amount to private gallery tours, with the artists commenting, now thoughtfully, now passionately, on their own work as well as the works of others.
The book is generously illustrated with full-color reproductions of the artists’ works, including some that have been published and others not originally intended for publication, such as sketchbooks and personal projects. Additional illustrations show behind-the-scenes working processes of the cartoonists and particular works by others that have influenced or inspired them. Through the eyes of these artists, we see with a new clarity the achievement of contemporary cartoonists and the extraordinary possibilities of comic art.
Extensive interviews with: Ivan Brunetti, Charles Burns, Daniel Clowes, Robert Crumb, Jaime Hernandez, Gary Panter, Seth, Art Spiegelman, Chris Ware
Customer Reviews:
A Must Read for Crumb, Spiegelman, Ware Fans.......2006-10-05
Since this is my first ever review for Amazon, I am compelled to tell you that Todd Hignite has delivered a powerful statement from the masters of modern comic expression. The Robert Crumb interview alone is worth the price of entry. Crumb digs deep and comes up with some terrific historical perspective plus a treasure of new things you have not read or heard before.
Almost as good are the pages devoted to Spiegelman. You won't be disappointed; I promise.
Additionally, the production values of this book are excellent. "Printed in China" doesn't mean falling apart on cheap paper anymore, apparently.
Kudos to Yale University Press for publishing.
Book Description
With its adult-oriented themes, Erotic Manga is perfect for grown-up fans of Japanese comics, as well as aficionados of adult art.
This book is a comprehensive guide that will teach artists of all levels, from beginner to advanced, the basics of creating characters from shonen and soft-core, hentai comics. This book includes an easy step-by-step tutorial for progressing from initial black-and-white sketch to final color piece, accompanied by practical suggestions, hints, and tips.
Customer Reviews:
I'm satisfied!.......2007-02-17
The "How to Draw Manga" and similar books aren't good refrences for learning how to actually draw things in the first place (the best method is to study life, human models, etc), but they're good for getting a person in the mood to draw and just seeing how other people do things since that's also important in finding your own style. So, I usually treat them like art books instead of guides/textbooks.
That being said, I thought this book was fun and was glad to add it to my library. The insight other artist's have is always fun to read. I kind of wish there were more erotic mangaka presented, aside from the original author. It's also tasteful and I found it a pleasant surprise to see attractive males depicted as well. It would be nice to see it expanded upon in a small series or another artist try their hand at creating one to see how it turns out.
It's the only manga "instructonal" book I've paid for. :)
More of a demonstration than instructional.......2006-08-25
This book shows how various artists created specific artworks, rather than actually teaching you how to create manga yourself. It shows a series of pictures which show the development of about 40 individual artworks, from pencil stage to complete full-color. Next to each picture it says things like "now draw the items in the background" or "now fill in the highlights and shadows", without actually teaching you HOW to do these things.
I think a much better book is "How To Draw Manga Volume 20: Female Characters". This book breaks down how to actually draw attractive female characters.
Book Description
"Mangaka" is a term for someone who creates manga. The artists in MANGAKA AMERICA represent the newest dynamic talents in the field and are professionally creating it for an American audience, something that was unheard of 20 years ago.
MANGAKA AMERICA showcases a selection of these US–based mangaka, highlighting each artist's unique contibution to the genre. Manga fans are often anxious to learn new skills and techniques, and this book also provides mini–tutorials in which each artist provides instruction on character design, layouts, digital inking, and coloring.
Customer Reviews:
Average Rating due to Average format.......2007-02-23
Please keep in mind my perspective upon reviewing this book: I've been around the industry over 10 years now watching fanartists renaming themselves and branching out using the internet and other sources to realize their dream of becoming mangaka/comic book artists.
The book uses quality paper in presenting a number of artists that use the Japanese influence commonly referred to as manga in this book. I did enjoy the introduction by Adam Warren, and I did find some useful information with some of the artists. I actually went to find this book because some of the artists I've known online and one such artist mentioned being featured in this book on her Deviant Art account.
There is some dispute if the book is covering manga influenced artists, because some don't seem like their style is inspired by it, however, manga is a VERY broad term since I've seen many Japanese artists use different styles than the BESM (Big Eyes Small Mouth) formula many people attribute to manga.
What bothers me most about this book is the format. The interview questions are actually more fitting for a monthly webzine. Allow me to explain. In a book featuring artists, it's imperative to keep the interviews unique and fresh, and to make sure you ask questions relative to the artist you're interviewing. By having a stale format of the same questions you ask every artist you actually end up losing your readers. You take away a perspective that could make each artist shine and be unique. You may as well be reading a person's application. At a certain point I don't care if they like an Eva over a Gundam. You lost me. Formatted questions are best kept in monthly serials, that way the reader doesn't feel like they're being spoon fed redundancy.
The other problem with this book is that I felt it was more of a push for Tokyopop. Granted, TP is one of the few areas where artists were able to self publish with a larger distribution, however, Adam Warren mentioned there were other forms, such as web comics. A real benefit would have been adding some of those artists and asking how things changed with them.
Duc Tran/Locke should have been in this book in my opinion
Mal: Impromanga was an essential stepping stone for artists to learn how to storyboard.
Joshua Lesnick should have also been in this book. He helped change a lot of how webcomics were viewed including helping host a server for artists to use the internet to be a mangaka.
Having said this, there were still quite a few artists I found interesting to read about and some of the tutorials were interesting especially in their presentation. None of these tutorials aren't something you'll find online by the way, but as I said some of them are nicely presented.
Overall the book isn't horrible, and actually exceeded expectations in quality in printing and paper choice.
My beautiful book of knowledge........2007-01-21
I love Anime and Manga, and I have for a long time. When I found this book in a book store I thought that it was fascinating. Definitely a great source of inspiration, but not worth 25 bucks. Then I saw one of the tutorials. That book was mine before it knew what happened to it. As an aspiring Graphic Designer and someone who has be trying to teach herself how to draw Manga for years now, this book is indispensable. The artists in this book showed me how to do things I just didn't know how to do before, gave me new ideas and a sense of perspective. Make no mistake, this isn't a "how to draw manga" book, it's more of a "get to know the artists and learn all the tricks you wish was in all those how to draw manga books" kind of book. I couldn't stop reading it and I just can't stop looking at it! Highly recommended for lovers of Anime and Manga, as well as aspiring artists.
Brilliant idea, perfectly presented.......2006-12-11
The book's idea was to showcase the work of a dozen North American manga artists, including "how to" interviews, which many of these artists turned into original pieces of manga (see especially the great outrageous chapter by Felipe Smith). The book is exceptionally well printed and has sewn signatures, so it opens flat and is durable (you will go back to it often). The book is edited by two strong young graphic designers and editors, Tania del Rio, a widely published manga artist herself (one chapter is devoted to her work), and Will Staehle, who has, among other things, designed the covers for three books by Michael Crichton, including Next, the current bestseller. Mangaka America is already in the collection of a major art museum. It's museum quality. And it's fun.
Visual Candy & Valuable Tips.......2006-11-26
I have been anticipating this book since the start of the year - and pre-ordered it months ago. It was everything I expected/wanted, and more.
I expected a few tutorials, much like how I see online, for colouring bit by bit. The techniques, etc.
This book, much like those, takes you into the artist's perspective. And then some. They give you so many hints along the way, and explain things simply, so someone who knows only the very basics of painting programs [like me], could understand. And then comes the fun part:
Not all the tutorials were the expected 'Then you do this, and that...' screen-shot steps. Christy Lijewski takes an interesting approach to character design. Then you get Felipe Smith's hilarious 'comic-tut' on facial expression. Most artists got a tutorial in, which I was very pleased with.
There's interesting quiz-style biographies, with questions/points varying between artists, and it was very interesting reading responses.
I particularly liked two tutorials. Not because I already admired the artists, but because of the insights they gave me.
I doubt I saw two artists who had the same approach/style to art, whether it was more anime-like, or manga, and it was great seeing their works in print.
I recommend this book to both those who want to look at some beautiful artwork, and those who want an insight into how these achieve their means.
Book Description
This book is for professional, amateur, and hobby artists who are interested in adapting the anime and manga styles into their own work. Whether for commercial use or personal enjoyment, incorporating the anime style is both challenging and interesting. This book places an emphasis on creating an original character design from concept to digital color. It is the first in a series to describe the methods used in creating a finished anime.
Customer Reviews:
Not quite what I was looking for.......2007-03-19
It's got some information, but nothing I really didn't know. It's full of pictures, and not necessarily help for creating characters. I think I was looking for something that wasn't intended to be in here, as it is clearly a book on Anime and Manga mechanics.
Average customer rating:
|
Elvis Road
Elvis Studio
Manufacturer: Buenaventura Press
ProductGroup: Book
Binding: Hardcover
 General
| Instructional & How-To
| Arts & Photography
| Subjects
| Books
General
| Graphic Arts
| Graphic Design
| Design & Decorative Arts
| Arts & Photography
| Subjects
| Books
General
| Arts & Photography
| Subjects
| Books
Cartooning
| Comics & Graphic Novels
| Subjects
| Books
General
| Comic Strips
| Comics & Graphic Novels
| Subjects
| Books
General
| Comics & Graphic Novels
| Subjects
| Books
General
| Graphic Novels
| Comics & Graphic Novels
| Subjects
| Books
Contemporary
| General
| Literature & Fiction
| Subjects
| Books
Similar Items:
-
Kramers Ergot 6 (Kramer's Ergot)
-
I Shall Destroy All the Civilized Planets: The Comics of Fletcher Hanks
ASIN: 0976684837 |
Average customer rating:
- Consarned Whippersnappers!
|
Studio Cards: Funny Greeting Cards and People Who Created Them
Dean Norman
Manufacturer: Trafford Publishing
ProductGroup: Book
Binding: Paperback
General
| Comic Strips
| Comics & Graphic Novels
| Subjects
| Books
General
| Comics & Graphic Novels
| Subjects
| Books
General
| Graphic Novels
| Comics & Graphic Novels
| Subjects
| Books
General
| Humor
| Entertainment
| Subjects
| Books
ASIN: 1412017009 |
Book Description
Tall, narrow cartoon cards were the new big thing in greeting cards in 1958. When Hallmark Cards was printing official Christmas cards for President Eisenhower, the Eisenhowers asked Hallmark to also create a funny studio card that they could send to a few close friends. If you have one of the 200 cards that has a personal lip print (Mamie's) and a personal thumb print (Dwight's), you have a valuable collectible piece of cartoon art. And other studio cards from the 1950s and 1960s may become collectibles.
Studio cards began in the 1940s in art studios in New York's Greenwich Village. A company called Panda Prints published the first humorous studio cards in 1947, and soon there were many small companies following that path. The major greeting card companies (Hallmark, American Greetings, Rust Craft, Norcross and Gibson) began publishing studio cards in 1956 and then the public general became aware of them. Hallmark named their cards Contemporary Cards, and American Greeting named theirs Hi Brows.
Studio cards flourished into the 1980s and then became extinct in the 1990s, or perhaps it is more accurate to say that studio cards morphed into alternative humour greeting cards. When Hallmark and American Greetings discontinued the tall cards, their cartoonists easily moved into creating the cartoon cards you see in stores today. Hallmark calls theirs "Shoebox", and American Greetings call theirs "Just My Style".
Dean Norman joined the Hallmark staff in 1956 a few months after their studio cards line was launched, and moved to American Greetings to draw Hi Brows cards from 1960 to 1990. His book, STUDIO CARDS...Funny Greeting Cards and People who Created Them is a collection of humorous stories about these writers and artists.
The major companies hired young people out of college and art schools, and rarely gave them bylines or signatures on their work. Some of them worked for a career in greeting cards, and you may have never heard of them although you may have bought and sent many of their cards. Some moved into other fields of humour, and you may have heard of them. Mort Walker, creator of Beetle Bailey. Paul Coker, a Mad Magazine cartoonist. Phil Hahn and Jack Hanrahan, writers for Rowan & Martins Laugh-In TV series. Tom Wilson, creator of Ziggy newspaper cartoon feature. Russell Myers, creator of Broom-Hilda comic strip. Robert Crumb, underground cartoonist featured in the documentary film titled Crumb. Herb Gardner, author of Broadway plays I'm Not Rappaport and A Thousand Clowns.
Over 150 writers and artists are featured in the book, with illustrations from cards published by Hallmark, American Greetings, Panda Prints, Box Cards, Nellie Card Co., Bernad Creations, Dale Enterprises, Country Cousins, Comicana, Joy&Cheer and other cartoon art by the illustrators of studio cards. Also tossed into the mix are some funny stories about the CEO's of Hallmark and American Greetings, Joyce C, Hall and Irving Stone. Studio cards were funny, and not surprisingly, so were the people who created them.
Review from the Cleveland Free Times
My Life & Card Times : Looking back at the era of funny greeting cards By Pamela Zoslov. Wednesday, March 10, 2004
SEATED IN the living room of his cozy West Side home, Dean Norman reflects on how he became a cartoonist. "My dad was an accountant. He had to add figures all day. I thought, I could draw funny pictures ! That would be so much more fun than sitting at a desk." A teenager growing up in Cedar Rapids, Iowa, Norman signed up for a mail-order cartooning course, hoping to someday become a magazine or comic-strip artist.
"I never dreamed of doing greeting cards," says Norman, now 70 and retired from a 30-year career working for the two greeting-card giants, Hallmark and American Greetings. By the time he graduated from the University of Iowa in 1956, general-interest magazines like The Saturday Evening Post, Look and Collier's were folding, and the once-lucrative market for freelance cartoons was drying up. Fortunately, executives at Hallmark spotted a cartoon series Norman drew for his college newspaper, and offered him a job. "I kept thinking someday I'd break into newspapers. I never did," he says, laughing.
Norman came into the industry at an interesting time. Greeting cards, once limited to sentiments like "Pansies always stand for thoughts/At least that's what folks say,/So this just comes to show my thoughts/Are there with you today" (one of Hallmark's all-time best-sellers) were beginning to reflect the subversive Cold War humor of the 1950s. Comedians like Mort Sahl, Bob Newhart, Ernie Kovacs and Lenny Bruce, and publications like Mad Magazine, were lampooning the uptight post-Sputnik culture with irreverent, sardonic humor. Hallmark, the very traditional Kansas City company that practically invented the greeting card, created its Studio department to tap into the emerging zeitgeist. They hired creative, offbeat artists and writers to produce funny cards with a modern twist.
The new Studio line (later called Contemporary) was an instant success. Before Studio cards, people bought greeting cards only for specific occasions; now they were buying them because they made them laugh. "They were so funny that people just wanted them," Norman says. "So that fueled a lot of growth."
Many of that generation's best and brightest launched their careers in the greeting-card business. Paul Coker, known for his kinetic illustrations for Mad, drew countless memorable cards for Hallmark. Robert Crumb, before moving on to underground-comics fame, produced finely detailed drawings (while lusting after heavyset female colleagues) as a staff artist for American Greetings' Hi Brows line. Tom Wilson headed the Hi Brows department before launching Ziggy . New Yorker cartoonist William Steig, Beetle Bailey creator Mort Walker and playwright Herb Gardner all penned cartoons for greeting cards.
Norman is now the unofficial Boswell of the crazy creatives who changed the business in the 1950s and 1960s. His new book, Studio Cards: Funny Greeting Cards and People Who Created Them (Beaver Creek Features) chronicles the rise and fall of this unique segment of the industry, with ample illustrations and amusing reminiscences by Norman's former cohorts. Those of a certain age may already have some of the most popular images burned into their memories: the bleary-eyed gent raising his top hat to reveal a birthday candle melting on his head; the morose man stretching his mouth into a wide grin, with the legend "Keep Smiling."
The new cards also allowed for a more risqué brand of humor. "People would have to explain to the clerk why they were buying the card," Norman says. "They'd say, 'I don't know anybody I could really send this to, but it's so funny'." Hallmark founder and president J.C. Hall, who had to approve all the cards, frowned on anything that could be considered in bad taste. "The only reason Contemporary Cards got some suggestive humor was that [Hall] didn't get the jokes. He didn't like the Studio cards. He thought the people buying them were a bunch of beatniks and lunatics."
After retiring from American Greetings in 1990, Norman began to think about capturing the Studio experience in a book. "It was such a crazy time, and I kept thinking that someday, somebody would write about this. We were all getting older, and about two years ago, I realized nobody's gonna do this." He wrote up his reminiscences and called on his former colleagues to send him their stories. "And more and more stuff kept pouring in, until I had a fairly good history."
Unable to find a publisher willing to even look at his manuscript, Norman decided to go the self-publishing route, investing his own money to have the book printed. "I figured even if I didn't sell any books, I can afford it; I'm retired now. I may lose [money], but no one else is going to write this book. And the people I write about are so pleased to have the stories told."
Some of the funniest tales center on the stifling working conditions at Hallmark's editorial department in the early '50s. The department was headed by a humorless ex-salesman, whose strict rules forbade the writers to do any of the following: talk; read anything except greeting cards and a rhyming dictionary; laugh or make loud noises; smoke, eat or drink at their desks; or disagree with the boss. Not surprisingly, the writers found ways of subverting the rules: one woman took to yelping like a dog to break up a boring afternoon (she was such a refined person, the boss never suspected her).
Norman started out in that buttoned-up department, writing verse for traditional cards. "They would hand you an assignment to write a sympathy card. You can only use about 12 words: 'thinking about you in your sorrow,' things like that. You'd rearrange that and turn it in." After a year in editorial purgatory, he transferred to the Contemporary department, where he worked for three years before being lured away by American Greetings.
For a time, Studio cards made greeting cards cool. Customers would flock to the card shops every week to laugh at the new releases. After a while, the companies stopped producing new jokes, opting to save money by reprinting their best sellers. Tastes changed; in the 1970s, consumers turned to Soft Touch greetings and alternative-humor cards. "They lost the novelty value," Norman says. "Now, if people want something strange, they can make their own cards on the Internet.
"It's no longer a show. It's not entertainment. And I don't know if they can ever get that back."
Customer Reviews:
Consarned Whippersnappers!.......2004-06-09
All those young, dirty, disrespectful beatnicks thought they were God's gift to American humor. Well, I've got a message for them: I didn't die laughing! (Although I DID die.)
J.C. Hall, Beyond The Grave, Neb.
Average customer rating:
- Fred Seibert IS an Original Cartoon!
|
Original Cartoons: The Frederator Studio Postcards 1998-2005
Manufacturer: Easton Studio Press
ProductGroup: Book
Binding: Paperback
General
| Graphic Arts
| Graphic Design
| Design & Decorative Arts
| Arts & Photography
| Subjects
| Books
Animation
| Graphic Design
| Design & Decorative Arts
| Arts & Photography
| Subjects
| Books
General
| Arts & Photography
| Subjects
| Books
General
| Comic Strips
| Comics & Graphic Novels
| Subjects
| Books
General
| Comics & Graphic Novels
| Subjects
| Books
ASIN: 0974380636 |
Customer Reviews:
Fred Seibert IS an Original Cartoon!.......2006-01-21
I finally got my copy of Fred Seibert's long awaited "Original Cartoons" and it was worth the wait...or shall I say the weight! There is so much in this book...postcards from Fred's days at MTV Networks to Hanna Barbera to Frederator, and everything in between. If there ever was a true definition of a coffee table book...this is it!
As Animation World Network says "If one man can be credited with resuscitating American commercial animation from a near-death experience in the 80's and 90's, the credit would have to go to Fred Seibert"
Bravo to Fred and Eric for a very enjoyable look back...and forward!
-Bill Sobel
Book Description
The popularity of manga—Japanese cartooning—continues to grow, inspiring interest in learning how to draw this exciting style of comics.
From comic illustration Ikari Studio comes the ultimate guide on how to draw manga. The Monster Book of More Manga is divided into sections focusing on the most popular manga figures and themes—Girls, Boys, Samurai, Monsters, and Computer. This new volume contains brand new sections on Mecha, Villains, and Animals, and a special section on Fairies. Each illustration is broken down into six stages accompanied by step-by-step instructions, taking the artist from an initial black-and-white sketch to the final color piece. They're also accompanied by practical suggestions, hints, and tips.
From beginner to advanced, this monster-size manual is the must-have book for anyone interested in learning how to draw manga.
Average customer rating:
- fantastic mother's day present
- Truly Saddening...
- MY FRIENDS & I LAUGHED OUR -SSES OFF!
- Amazing model!
- Fantastic. Funny. Much better if you read the Intro.
|
Mother (Penguin Studio Books)
Judy Olausen
Manufacturer: Studio
ProductGroup: Book
Binding: Hardcover
General
| Photography
| Arts & Photography
| Subjects
| Books
Portraits
| Photography
| Arts & Photography
| Subjects
| Books
General
| Humor
| Entertainment
| Subjects
| Books
Similar Items:
-
The Diana Chronicles
ASIN: 0670868671 |
Amazon.com
If Diane Arbus and her mother had shared a similarly warped vision and sense of humor, they might have turned out Mother, a lush, splashy, totally twisted photo album. Photographer Judy Olausen and her 74-year-old mother Vivian--a model with tightly permed blond hair, soft, wrinkled grandmotherly skin, and an extraordinarily expressive face--skewer the clichés of 1950s motherhood and martyrdom. In one shot, Vivian appears as a slightly deranged Betty Crocker, frosting a heart-shaped cake with Valium icing. In another, she's in chains hunched over an ironing board. As the archetypal "Mother Under Pressure," she sports cat glasses, white gloves, and a prim purse while dragging a huge bolder upstairs on her back. In "Shocked by Spock," reading that venerable pediatric bible causes alarm and a near-faint. The collection delivers a wallop of edgy humor and social commentary about women being silenced or squelched in their daily lives and dreams.
Book Description
Now in paperback, the hilarious New York Times bestselling mother-daughter collaboration that rips the stuffing out of the motherhood cult
In the spirit of William Wegman and Cindy Sherman, Mother is a very funny, wickedly satiric collection of portraits of that most sacred institution: Mom. Photographing her own mother using 1950s' inspired props, Judy Olausen turns a lifelong homemaker into a surreal icon of all-American-style domestic submission. From "Mother as Coffee Table" to "Mother as Doormat" or "Roadkill," Olausen creates visual metaphors for Mother's role in the era just preceding the women's liberation movement.
The introduction tells us how Judy was inspired to take these over-the-top photographs and offers the occasional deadpan comments from Mother herself. "People watching us do these things think I'm being tortured by an oddball. But this way, Judy and I spend more time together." An embossed jacket featuring a photograph of Mother adds impact to a gift full of sharp insights and laughs for that very special woman on Mother's Day.
"What William Wegman has done for his dogs, Judy Olausen has done for her mother."--The New York Times Book Review
Mother appeared on The Los Angeles Times, Wall Street Journal, Newsday, USA Today, and New York Times bestseller lists
Customer Reviews:
fantastic mother's day present.......2007-05-15
i gave this book to my mom for mother's day years ago, and recently stumbled across it again. it is a very witty book, the staging is flawless. this is clearly not a derogatory picture of motherhood, it is satire. my mom loved this book, and my fiance is going to give it to his mom this year. it is a great gift for any supermom that has a sense of humor about all of the roles a mother plays.
Truly Saddening..........2000-05-17
I was amazed to find that everyone here found this book to be entertaining and funny-- It's a terribly sad commentary on the lack of respect for a generation (in fact, multiple generations) of women who devoted themselves to their families and attempted to live their lives in a world that often allowed them only rigid roles and often, little choice in how to live their lives at all. Many of those women were brave and strong and devoted in spite of having to give up their own dreams, and sometimes their creativity and individuality. I think that it's a sad commentary on the current generation that they have apparently so little knowledge, understanding and respect for those women--who, in fact, bravely led our generation out of that bondage to the freedoms that we enjoy today.
MY FRIENDS & I LAUGHED OUR -SSES OFF!.......1999-09-11
While on vacation in Provincetown, Mass., my friends and I laughed our asses off as we stumbled upon this satirically funny photojournal.You must have a mother who is/was a housewife/part-time worker/doormat to truly appreciate this book. The fact that her real mother is the model for all of the shots exemplifies and perpetuates the hysterical and lovable, unappreciated role (but in hindsight; truly appreciated) of the housewife/mother of the 50's and trickled into decades to follow.Thankyou to Judy and Vivian and all others involved, for your talent, insight and sharing of one of life's focalpoints, HUMOR...it makes everything make sense!Dominic ChiangoPhiladelphia, Pa.
Amazing model!.......1999-04-29
I photographed my mother alot when she was living, and she was usually cooperative, but complained about the results of the candids. I cannot imagine her having been willing to follow the directions that Judy Olausen gave to her mother! (Oh well, she was used to appearing in the charming portraits painted by her father, F.C. Frieseke *, when she was young.) I do hope that Vivian is sharing in the royalties. Her work as model... and mother... is outstanding.
* http://www.fortunecity.com/victorian/russell/406/frieseke/bretoncostume.html
Fantastic. Funny. Much better if you read the Intro........1999-01-11
I LOVED this book from start to finish. I use it in some of my psychology courses (gender roles, etc.). The pictures are more than interesting and funny. The introduction really helps you to get a lot more out of the book. I envy the relationship Judy and Vivian Olausen have created with each other! I'd love to photograph my mother strapped to the top of a car with antlers!
Books:
- There's a Word for It in Mexico
- Verdura: The Life and Work of a Master Jeweler
- Vitamin D: New Perspectives in Drawing (Themes)
- Watercolor Pencil Magic
- Working with Precious Metal Clay (Jewelry Crafts) (Jewelry Crafts)
- Writing and Reading Across the Curriculum
- Agile Software Development, Principles, Patterns, and Practices
- Architectural Drafting and Design
- Art Past, Art Present, 5th Edition (Book & CD-ROM)
- Basic Blueprint Reading and Sketching (Delmar Learning Blueprint Reading)
Books Index
Books Home
Recommended Books
- The Kebra Negast: The Lost Bible of Rastafarian Wisdom and Faith from Ethiopia and Jamaica
- Old Soldiers
- Naked Prey
- In the Bleak Midwinter
- Option Volatility & Pricing: Advanced Trading Strategies and Techniques
- Nutrition and HIV: A New Model for Treatment
- Mango Elephants in the Sun: How Life in an African Village Let Me Be in My Skin
- The American Neptune, Pictorial Supplement VII : A Selection of Marine Paintings By Fitz Hugh Lane,
- Knowledge and Wonder - 2nd Edition: The Natural World as Man Knows It
- Water & Wetland Plants for Southern Australia
Sculpting a Galaxy: Inside the Star Wars Model Shop
Designing Movie Creatures and Characters: Behind the scenes with the movie masters
The Making of Star Wars: The Definitive Story Behind the Original Film (Star Wars)
The Art of Ray Harryhausen
Art of Pirates of the Caribbean, The
