This is a great book for both amateur and professional textile and mixed-media artists. The book reads well, has great quality full-color photos and there are plenty of techniques and ideas that I'll be trying out in my artwork.
THE BOOK'S CORE
The book explores
how to fragment and deconstruct mostly salvaged, recycled and reused cloth,
paper and objects before repairing and reassembling them into a new
artistic whole or series. This is achieved by using different techniques: manipulation, weathering, washing,
soaking, burying, abrasion, staining, burning, scorching, making
holes, fragmenting, reassembling, folding, deconstructing,
reconstructing, repairing, and collage, among others. Working small allows extensive experimentation and exploration before taking on large pieces of projects.The message is:"Do not discard
things that are fragmented or seemingly mundane, as they can provide
inspiration for drawing and mark-making and may be included in finished
work. Looking closely and embracing imperfection can lead to stimulating
and visually exciting work. Allow traditional methods of repair to
inspire and stimulate innovative, contemporary ways to join and
reassemble. Finally, remember that everything can be altered and
adjusted – if something is not working, it can be reworked, and often
the results will be far more dynamic and exciting than the original."
(p. 283)
Shelley Rhodes'
work is strongly influenced by Japanese, Bangladeshi and Korean
textile and paper techniques, concepts and aesthetics as well as by
Western quilting, patchwork and mixed media art.
-- Japanese Boro (heavily
patched and repaired clothing and bedding made through necessity in the
far north of Japan and worn by poor fishermen and peasant families in
the late 19th century. They're made from rags, repaired and patched with
many layers stitched together using fabric scraps to patch holes and
thin areas). Sakabukuro sake bags, Wabi-sabi (the aesthetic that finds beauty in imperfection and impermanence), the concept of Mottainai (or using every last scrap of fabric), Momigami (the art of paper kneading, which involves the repeated scrunching, crumpling and unfolding of paper) and Washi paper printing techniques. -- Bangladeshi Kantha double-sided embroideries created from worn-out saris and dhotis. -- Korean Jogakbo,
a style of patchwork traditionally used to make wrapping cloths by
sewing together geometric scraps in an irregular, improvised way, using a
special seaming technique to create a flat seam, which gives the cloth
the appearance of a stained-glass window.
Beyond her own work, Shelley Rhodes comments on other artists' artwork at length: Beverly Ayling-Smith, Sharon Brown, Jenny Bullen, Elizabeth Couzins-Scott, Alice Fox, Matthew Harris, Debbie Lyddon, Sian Martin, Jan Miller, Sally Payne, Wen Redmond, Dorothy Tucker, and Donna Watson. Their websites or Instagram are mentioned at the end of the book. I really got inspired by some of the techniques and ideas that Rhodes mentions throughout the book, as well as by seeing examples from her own and other artists' work showing these put into practice. All the 'Things to try' suggestions in the book are really inspirational, as well as other well-explained techniques and experiments that Rhodes mentions. Her creativity and dedication to her trade are amazing. The book is also great explaining how art pieces are conceived, tried out and made. Besides, Rhodes provide invaluable guidance on how to present, display and exhibit artwork.
IMPROVABLE
Some of the techniques mentioned in the book are difficult to replicate due to the need of specific tools, materials/mediums and working space that aren't ready available without expending a bit. Just an example, the Devoré paste recipe. I'd rather have this mentioned and then an alternative product mentioned as substitute.
Some of the explanations that Rhodes gives or her own or other artists' work are full of jargon and unnecessarily complicated.
Although the quality of the photos
is excellent, I would have loved having full page photos because the current sizing, in both my android and PC, aren't the best to enjoy the artwork at its best.
KINDLE EDITION
>> On the bright side:
-- No typos on view and the edition of the book is excellent overall.- There are plenty of good quality photos, which display well by double tapping.
-- The book comes with a subject index, which is properly hyperlinked to the pages the different entries relate to.
>> On the downside:
-- The footnotes and the hyperlinked references in the text aren't well linked and take us to an area or page that are the correct one, at least on my Kindle for Android. I guess that this changes from device to device, phone screen size to another, and whether you read the book on a smartphone, tablet or computer, but ain't sure.
-- The chapter Making Changes has two sets of 11 samples photos experimented with, which are shown before and after the experimentation. However, they aren't displayed side by side, and, even worse, the samples aren't numbered on the photo.
IN SHORT
A great inspirational well-edited art book that has given me plenty of tools and ideas to put into practice in my own artwork, which is more than what I get for most mixed-media art books.
This
is a very enjoyable, simple to read, sound book with advice for
artists, from beginners to emerging, on how to develop our artistic
voice. It delves into what an artistic voice is, why is important having
one, how to find it, and the struggles on how to get there. The book
inserts ten interviews with renowned professional artists (mostly
illustrators and mostly women) in with the author poses these and other
questions to them, and discusses the creative process in general. The
artists interviewed are: 1/ Sean Qualls & Selina Alko. 2/ Andrea Pippins. 3/ Fin Lee. 4/ Kindah Khalidy 5/Andy J Miller 6/ Danielle Krysa 7/ Kate Bingaman-Burt 8/ Libby Black 9/ Ayumi Horie 10/ Martha Rich. My fav interview was, Kate Bingaman-Burt's. Congdon's delightful
humorous illustrations spread throughout the book. I really love her
style.
Our artistic voice is the art that we make when we listen
to our inner truth and convey it to the world in specific ways. Our
artistic voice is made of "all of the characteristics that make your
artwork distinct from the artwork of other artists, like how you use
colors or symbols, how you apply lines and patterns, your subject matter
choices, and what your work communicates." (p. 7).
Congdon says
that to find our voice we need to show up, make art every day, be
disciplined, practice-practice-practice, 'positivize' boredom and
embrace our fears and self-doubt. We also need tons of patience because,
as mastering a musical instrument takes years of hard work, so does
Art. Embracing our fears and doubts is especially important for
beginners, and, that being the case, we have to have compassion and
patience with ourselves and our mistakes, with the disasters and ugly
pieces, because they're the stepping stones on which our artistic voice
is gonna be built. For the rest, all the interviewees agree on the fact
that hard work and expressing our personal truth and who we are, are
the recipe to find our artistic voice; except for some 'geniuses', most
professional artists have to work at it. Congdon says, "The unfolding
of your voice requires showing up and working hard. It requires being
willing to create failures, to ask for feedback, and to go back and try
all over again. It requires staying open. It requires moving outside
what’s comfortable and being vulnerable." (p. 119).
STRATEGIES TO DEVELOP YOUR VOICE
Congdon also advises twelve strategies for developing our own artistic voice, and they are:
1/
Marke art every day, even for a few minutes. 2/ Don't stop, keep going,
when thigs get hard or tought. 3/ Embrace the monotony and boredom to
break through and experiment. 4/ Create challenges for ourselves and
stick to them, no matter who's paying attention to them, even if it's
just ourselves. 5/ Learn to practice mindfulness when we go outside
into the world to notice new things, new colours, curious weird stuff.
6/ Find a space to be alone to create. 7/ Find a feedback partner or
critique group. 8/ Take classes. 9/ Brainstorm. 10/ Develop your
vocabulary of interests, knowledge, and ideas. 10/ Support other artists
and learn from other artists. 11/ Stay open to all experiences.
The
book is intended mostly for artists who want to have an artistic career
or are professional artists. Yet, the advice is great also for
everyone, even beginners like me, who want to have a distinctive voice
and express their own world views.
THINGS I MISSED
The
interviews with other artists are very interesting, but I see them
fitter for a blog or art magazine, and some of the most important points
they make could have been summarized or the reader without the need to
go through the whole interview. Besides, I would have loved having the
invited artists' artwork featured int he book (like 2-4 i medium size
mages per head) as well as their website and social media accounts
listed.
Some images simply work, they feel right to us. We don't consciously know what makes images work because many times, when we look at an image, we attribute value to what we like. However, an image works or doesn't regardless whether we like it or not. So, which elements or principles make an image work?
This is the premise for Picture This. Molly Bang asked herself this question 25 years ago, dived into the world of imagery and then came up with a series of principles that make any image work and give it more or less expression and emotional content.
BASIC PRINCIPLES SUMMARY
These are basic staple principles that Bang lists and are grounded in our instinctive positive or negative responses to the world. The concepts are always used in combination and within a given context.
> Smooth, flat, horizontal shapes give us a sense of stability and calm.
> Vertical shapes are more exciting and active. Vertical shapes rebel against the Earth's gravity. They imply energy and a reaching.
> Diagonal shapes are dynamic because they imply motion or tension.
> The upper half of a picture is a place of freedom, happiness and power; objects placed in the top half also often feel more spiritual. The bottom half of a picture feels more threatened, heavier, sadder or constrained. Objects placed in the bottom half also feel more grounded.
> The center of the page is the point of greatest attraction.
> The edges and corners of a the picture are the edges and corners of the picture-world.
> White or light backgrounds feel safer to us than dark backgrounds because we can see well during the day and only poorly at night.
> We feel more scared looking at pointed shapes and more secure or comforted looking at rounded shapes or curves.
> The larger an object is in a picture, the stronger it feels.
> We associate the same or similar colours much more strongly than we associate the same or similar shapes.
> Regularity and irregularity—and their combinations—are powerful.
> We notice contrasts as contrast enables us to see.
> The movement and import of the picture is determined as much by the spaces between the shapes as by the shapes themselves.I LOVED
> The book
feels fresh despite this being the 25th anniversary of the first
edition. > The book is short and sweet and gives artists some tools to consciously create images and scenes that work. Some of these rules might sound simplistic, but most of us would not come up with this conclusions when looking at any sort of artistic imagery. //
> Bang explains everything in simple language and using minimal imagery that shows, without a doubt, how and why images work.
> The initial chapter "Building Emotional content of Pictures" in which Bang uses simple shapes, basic colours and an exploratory approach to build an image for Red Riding Hood. as she verbalizes her art process. I also loved the example she gives at the end of the book, with imagery from her illustration book When Sophie Gets Angry—Very, Very Angry, exploring her depiction of the arch of feelings in the book.
> The exercises mentioned at the end of the book. Even if I haven't done them yet, because the advice given is sound when creating an effective picture. One of my takes from this section is also the fact that, sometimes, we tend to focus on the details in a picture, but the question is, are the details necessary and contribute to enhance the feeling or message or emotional impact of the picture, or a distraction?
DOWNSIDES
> The epigraphs font size is too big and there is no gradation in sizing when there are sub-epigraphs or big sections. That's an edition problem that can be easily fixed in the Kindle edition.
> Bang mentions that the principles are a work in progress. Since these principles were explored and listed 25 years ago, I would have loved Bang mentioning if any others can be added .
> I would have loved having some famous paintings being analyzed following each of the principles listed, so that we could see them working in action. This would have rounded the book beautifully and it is easy to do digitally.
Hilli's book is both a source of inspiration and a constant frustration to read. This could have been a great book if anyone had bothered to edit the book for content. It has great advice and concepts, but it is too wordy and repetitive and feels amateurish.
MAIN CONCEPTS
> Zero to One, there is more distance or space between zero and one, than from one to two, two to three. In art, this means that the most difficult thing to do is starting anything. That is why a blank canvas can be terrifying and we postpone or delay working on it.
> The adjacent possible shows that any option that we make, whether in life or art, leads to something else that was unpredictable or unknown. It is something like the butterfly effect. So a new mark or line in a canvas might create, for example, a shape that inspires us to create something else that we hadn't thought about. For that to happen, the artist has to be ready for the unknown, dive into the unknown, allow the unknown to materialize by opening to it, and leave the predictable, the rules and the comfortable behind.
> Exploration and experimentation are at the core of creativity, and are the basis to progress, grown and evolve as an artist as complacency gets artists stagnant.
> Ugly art is necessary and teaches us invaluable lessons. We need to get comfortable with our ugly stuff and see that as a stepping stone for improvement and growth.
THINGS THAT I REALLY LIKED
Beyond the concepts mentioned above I liked some of the points that the author made. Here some of them:> Not being a known artist is actually a blessing, as this allows to create good art. However, even professional artists benefit for the approach of obscurity: What would you create if you were invisible? How would you sing if no one were watching? What if you were unself-conscious in your art making? What risks would you take if the outcome didn’t matter? > It is never pleasant when someone is critical of your art. The worst part: however, is when a part of you agrees with the criticism.(p. 60). > Advice on how to keep track of our art. > The questions to make a self-assessment of our art.> The technique trap: No amount of technique will move you closer to expressing your deepest art. Technique is painting from the outside in, rather than the inside out" (p. 148). > Learning that Joseph Campbell wasn't the father of the concept of the hero's journey.but Edward Burnett Tylor. > The fact that luck is related to two habits: changing up daily routines and avoiding over-scheduling. > I thought that the best chapters in the book, due to their content, structure and clarity, are: -- 12 Three tips for artists (keep a journal, just start, and work in a series).
-- 13 Three massive mistakes even the pros make (painting paralysis, the tyranny of technique, and empty virtuosity).
-- 14 Four traps artists face where old beliefs are replaced with new ones ( the critique trap,
the imposter trap, the judgement trap, and the technique trap).
-- 15 Three invisible paradoxes ( the refusal, the perils, and he dark night of the soul).
Finally, I also liked the recaps at the end of some chapters, some of the simple exercises advised and the fact that any major point discussed in the book has a real life story attached to it. NOT SO GOOD
This is a self-published book and, unfortunately, shows terribly. The book lacks a good structure, lack of cohesiveness in structure to be precise, as repeats the same ideas na concepts over and over, ad nauseam. One gets exhausted after the same ideas are repeated ad nauseam for nearly 200 pages.
Some of the more scientific concepts are unnecessary discussed in scientific jargon when in fact the simple explanation given at the beginning is sufficient. I thought that the description of what the hero's journey is was too long. Also, Hillis has a tendency to divert from the discourse at hand to then go back to it.
For the rest, the book seems addressed to professional or established artists not as much to beginner artists.
KINDLE EDITION
The Kindle edition is well edited except for some minor typos. Some of the ones I've noticed:
-- p. 78 short dashes should be replaced with long ones.
-- p. 155 there is the 3rd item of a list, mistake number 3, but is mistakenly labelled as mistake #1 .
-- p. 215, an hyphen is used instead of a long dash.
IN SHORT
The core of the book is as follows: start something even though that's the most
difficult part. Experiment, be fearless, accept your mistakes and learn
from them. Do art that reflects who you are not what other people want
to see. Keep open to experimentation and the unknown as these are
the keys to artistic growth. Technique serves art and it is not art per se.
This is another great book for beginners by art journalist extraordinaire Dina Wakley. It's packed with very easy to follow (and well photographed) tutorials, encouragement to start or continue with your art journey, and plenty of mixed-media techniques, like creating your own stencils, just to mention one that I loved.
Each chapter tries to motivate us to leave fears aside and start creating and the advice given is simple and sound:
-- Fear: I don’t know what to write! And I don’t like my handwriting. Courage: Writing takes practice! Plus, the only person who doesn’t like your handwriting is you.
-- Fear: I can’t draw. Courage: You can draw once you know the formula. And once you commit to practice!
-- Fear: I don’t want to, or know how to, include my image in my work. Courage: Examining yourself is a time-honored artistic tradition that helps you learn and grow as an artist.
-- Fear: Layering is hard. I don’t know what to do next. Courage: Breaking down the layering process into tools and methods will help you layer with confidence.
-- Fear: You don’t have the newest, trendiest art supplies so you can’t make good art. Courage: You can use supplies in unexpected ways to keep your artwork fresh and exciting!
-- Fear: I have to have everything planned in my head before I work. Courage: By working organically and intuitively, you can create interesting art and push yourself to see more.
-- Fear: Working in my journal is comfortable, but I’m afraid to move on to other projects. Courage: Moving your art from the journal page to other substrates and mixed-media projects is satisfying and exciting!
The language used in the book is simple and effective, no technicalities. Even if you don't follow the tutorials to the letter or not at all, you'll still learn a lot of stuff that will improve your artwork.
The table at the end of the book with the properties, uses and downfalls of each media type is excellent.
Wakley, who has a huge range of mixed media products for sale in the craft market, doesn't promote them in the book at all, so that's really refreshing.
KINDLE EDITION
The Kindle edition is really good and the images have good resolution. Besides, the pages can be bookmarked and annotated easily, unlike other art books on Kindle.
DOWNSIDES
> The initial chapter on tools and materials is a copy-and-paste of Wakley's previous book Art Journal Freedom.
> Chapter Six starts with a big statement about the fact that we don't need expensive supplies to art journal or paint. Yet, in the tutorials included in this chapter include the use of very expensive PanPastels and Caran D'Ache Neocolors.
> I would have wanted a bit of more guidance on face shading because the book barely provides guidance on this subject.
TYPOS
Bold is missing from the words 'fear' and 'courage' at the start of chapter 6.
Without a good composition, images simply don't work.
I'm a fan of Wakley's art products so I thought I'd give this book a try. This is a short enjoyable read, great to understand basic rules of composition and colour. Everything is explained in a very simple effective way, in a language that has no technicalities or complexity. Wakley also shows how to break the rules and when to do it. By the end of the book, one gets to understand why some images work and others not. Subjects discussed in the book are: symmetry/asymmetry, white space, continuance, closure, proximity, dominance, repetition, colour basics, contrast with colour, and colour as composition tool.
THINGS I LOVE
> The book is a workshop on its own.
> Good for anyone wanting to start painting not just art journaling.
> The summaries at the end of each book with taglines about the major points discussed.
> Everything Wakley says is exemplified by images coming from her own artwork, so it is not just theoretical talk.
> Each chapter has a tutorial, simple but beautiful, really well explained and photographed.
> Each page has prompts to put some of the points discussed in practice.
> Although the book is for beginners, it has plenty of value for intermediate artists.
> Great Kindle edition and quality images.
I DIDN'T LIKE
> The fact that a sewing machine is one of the tools needed. I don't have one, and I don't think this is really necessary. Some of the things Wakley does with the machine can easily be achieved with a marker or pen, so why not providing this alternative?
> Although I love Wakley's artwork, I would have loved having visual examples from other artists exemplifying what she says.
MIND
> This is a book thought for beginners, so take it as such.
> This is a book about mixed media not drawing or painting per se.
This is a lovely selection of art journal pages and images from authors around the world although most authors come from the US. In the introduction, the author confesses that she did choose some of her favorite authors and pages while the majority were chosen after an online call out for submissions.
Most of the artwork is of my liking, and I got inspired by some of the interviews and pages in the book, which is the reason I got it in the first place. There is a mix of techniques and media (illustration, painting, collage and mixed media) and styles (whimsical, dark, abstract, surrealist, visual diary, etc.). The interviews with the featured artists are short and sweet and very encouraging for non-professional artists.
I hesitated about whether to buy the Kindle or hard copy edition. I'm happy that I chose the former. The kindle edition is great and allows me to zoom in without loosing quality image, so I can appreciate the smallest details and lettering in each work.
DONWSIDES
> This Kindle edition does not allow page bookmarking.
> The structure of the book is not of my liking. It's organized alphabetically, by country of origin, which is fair enough, but I'd rather have it by types of art (conceptual, abstract, whimsical, etc.) as I would personally focus on specific areas.
> The book reads like a published blog. This being the case, it lacked insight on the creative process. Each image is accompanied by a generic list of elements, but that's also simplistic.
> Although there are many authors and styles in the book, I missed some avant-garde or dark journaling.
> There is a heavy weight on US authors, so the world overview is, in the end, quite unbalanced.
I've had this book for about 10 years. I was elated to purchase the recent Kindle edition, because I re-read this book regularly. Although I am naturally very intuitive, this book helped in the past, and still does, to refresh and strengthen my intuitive skills.
I LIKE
# Having
read the hard copy version and the digital version with nearly a decade
of difference, I can honestly say that this book is as relevant today
(2021) than it was published first in 1997.
# The
book is very practical, has no pretense or mambo-jumbo and includes
examples of students' responses to the exercises we do. The book is written in a very approachable way, as if you were in one of Day's workshops.
# Day debunks what intuition and psychic abilities are. This being the case, the book will appeal to people who are way far from the occult and esoteric bunch that you usually associate with this sort of subjects with. In fact, Day has taught how to use intuition to businesses, medical practices, film productions, therapy and healing groups, venture capital groups, and families.
# Day's intuitive lessons are the best I've found anywhere. I've read many books on intuition, each one with their own tools, techniques and valid ways of tapping into our sixth sense. Yet, Day's
books are the only ones that I regularly re-read or consult.
# Most of the exercises are wonderful and enlightening. Some of them really wow. I especially loved exercise no. 26: The Circle Technique.
# Some of Day's digressions in chapter 30 re about intuition, oneness, interconnection and social ecology, space and time, predestination, spirituality and so on are still relevant 30 years after the book was written.
# The double-blind reading experiment described in chapter 31.
# Herewith some of my fav pearls of wisdom:
-- "If you want an outcome and your intuition says no, ask why."
-- "Make it a rule never to mimic a trained and licensed professional in a given field."
-- "Intuition should add to good judgement, not replace it."
-- "Intuitive information is always objectively valid, and it is always right. It’s in the interpretation of intuitive data that errors are introduced."
-- "Reality is nothing more than a consensus."
-- "Intuition teaches us that things are separated neither in space nor in time. There is no past or present or future."
INTUITIVE READING ADVICE
1/ You don't need helpful information other than the question; actually, the less you know about the topic, the better.
2/ You aren't always right.
3/ Your subject still needs to exercise judgement as you aren't making decisions for them.
4/ You aren't a therapist.
5/ Your preferred way of working and intuitive style.
6/ Ask the person to have the questions written and framed before the reading takes place
7/ Get relaxed and centered
8/ Once the question is asked, begin speaking straightaway so that your logical mind has no chances to interfere. You may get impressions before the question is asked or impressions that seem meaningless to you but not for the other person, or impressions that seem unrelated to the question but they are.
9/ Don't let your subject interrupt you, as this interferes with the intuitive flow.
10/ If you aren't getting anything, be honest about it, but try to see that this not-seeing-anything doesn't equal no, nothing, etc. Refocus the question.
11/ Translate your intuitive images into colloquial language.
12/ Report your impressions going from the details to the big picture, and look for verifiable signposts (names, dates, places, history, etc.).
13/ At the very least look for these things: a) Positive/negative feelings to the question. b) Whether your feel that you're in the present, past of future of the question, or if it moves back and forward. c) If you see people or events affecting the question.
14/ Ask and work with feedback.
15/ Ask for further questions.
16/ Remain objective no matter what you get. You can’t assume that any event is necessarily good or bad. If you are delivering 'bad' news, be tactful and gentle, try to see the silver lining and mention that you might be wrong. If necessary feel free not to answer a question.
DOWNSIDES
>> The book has a
chatty anecdotal conversational tone that might not be for everyone.
>> Although I value the way that Day compares how dreams and intuition are
similar and different, as a dreamworker I don't personally agree with some of her
statements she makes about dreams.
>> The wording of some of the exercises is not clear enough. Exercise 22 and the chapter on intuitive polarities it relates to are especially confusing to me.
>> Day says that the more random an intuitive technique is, the more likely it is to work. She also states "The key difference between intuition and these other divining techniques is that with intuition you’re not using external cues to help you – or to lead you astray." For that reason she says that, for example, tarot readings aren't as good, as, say, the I Ching. I Tarot/oracle cards are chosen randomly (flip out or random selection) to start with. Also, oracle/tarot decks have different imagery and depictions of similar archetypes, sometimes to the point that the same card on a different deck provides you with different intuitive elements. You can mix and match several decks to get an intuitive reading made of a mix of cards coming from them. If everything is related, as Day says, and everything is meaningful for an intuitive reading, a card is as valid as anything else.
>> The exercise between number 24 and 25 was never numbered.
>> Chapters 27 and 28 bear the same title, but the former is devoted to carer and
finances and the other to general personal matters. Why not titling each chapter
accordingly?
RECOMMENDATION
I would advise to complement this book with the Intuition in Love,
Intuition for Success and How to Rule the World from your Couch, because
they are the best intuition tools out there.
KINDLE EDITION
Overall, this is a good Kindle edition, with pagination markers instead of location markers, something that I always prefer. On the other hand, I noticed some minor editorial mistakes: -- "the progression of a season . if you don’t receive such clues" in p. 128.
-- "Intuitive information is o rich and complex", p. 162.
-- The pair high/low is listed twice in exercise 21.
-- "anything, tell them to pretened", p. 184.
I wasn't sure whether to buy this volume due to the many non-enthusiastic reviews I've seen around, but I'm glad I did. I found some of the events and characters in the previous two volumes a bit unpolished, not well profiled, superficial, a bit silly, but once I read this volume, they all make sense. This is a flashback in time for each of the main characters, in separate chapters, and also a multi-time flashback for each of them, so we get to see and know from where they are coming from. To me that's was the right thing to do to give the story soul and psychological depth. Even the annoying Driller the Killer makes sense once we read the chapter devoted to it in this book. As a stand-alone volume might not be worth buying, but if you are reading or intend to read the whole series, this is a must.
I am always mesmerised by Nguyen masterly drawing and water-colouring. It is a total delight to see each of his vignettes, no matter what he's painting, faces, landscapes, outaspaces, details, anything. I resented, though, some of the imagery, which was too familiar and associable with characters I've seen in the old Star Wars and Totall Recall movies.
I love the lettering used in this series. Very creative and audible, if that can be said.
The Kindle rendering of the book is excellent, with awesome quality details. Double tapping individuate vignettes and allows us to swipe between them effortlessly; however, some of them do not automatically seize to the preferable reading size when there are vignettes with small lettering, but pitching out each vignette solves the problem.
Overall, very enjoyable, and I loved the story between Effie and Andy. Also, very short and a bit pricey.
This is a revised
edition of Hardon's classic published in 1980, updated in 2013 way after the death of the
author. Said differently, the updates in this abridge dictionary are not the author's. It is great having this sort of dictionary on Kindle, though.
The entries included are defined in
plain language and provide the lay reader (Catholic or not) with a concise precise information on each item.
The cross references in the body of the text are linked, which makes consultation easy. However, most of the words I have looked up are not there! Most of them related to liturgy and
vestments, some religious feasts, some titular sees of the Catholic Church, some types of blessing, among others. Then, you
find, for example, an entry on Marxism or another on abortion, which are, well, out of place and moralistic. Hello Hello, Common Sense lost, Houston!
Then, there is an appendix with all the Popes of the Church. That is always handy, but you can easily find that on the Internet, for free. I would have preferred having that space occupied with more entries.
I would had rather have the complete original Catholic Dictionary in two Kindle volumes if necessary, than a chopped one. Besides, the Kindle index is generic, alphabetic, so worthless unless you want
to use the dictionary letters as a chapter to read as a whole. It would
have paid off (to highlight the name of the editor) having a general index with each entry linked back and
forward. Something really easy to do if the editor and publishers
thought more often about Kindle readers. Of course, we have the Search
tool for searching, but that is not the same as going directly to the
entry you want to check without wasting a second because some look-ups render a considerable amount of information that you have to go through without guarantee of finding anything of interest.
Get the original in hard-copy format, which has 5000 voices instead of the 2000 in this one.
Useful Dictionary but very basic.
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