In my opinion, the books to date containing the most complicated and outrageous origami models are the following: Kawahata's Dinosaur, Issei's Supercomplex , and this CHAMPION , Lang's Insects. Every model here needs a lot (really a lot) patience and many-year folding experience. Or you MUST fail in folding over half of them. There are lots of unexpected and new technics, every model is in a neatly calculated mathematical proportion and with the exactly right number in every part (eyes, legs, antennas, etc.) In Facing such a book, I completely, deeply, adore the art of origami.

This book contains some of the most difficult origami models available. Insane folds requiring large, tough paper are the norm - some of the best origamiist in existance find that the models tend to shatter into shreds from the stress on the paper. The resulting models are detailed in the extreme and very beautiful - if you survive the construction!

This is my favorite book ever. some of the most complicated models I have ever seen. took a few years to master. It was used so musch the thing fell apart, so I had to punch holes and put it in a binder. One of my favorites is the Scarab Beetle. The best thing about this book is that the models are not flat they are totally 3D. Your own unique touches can be added to the finished product. again great book I recommend this to the advanced origami folder. Or someone who wants a challenge

Mary Pickford Rediscovered is a wonderful book, for it allows the reader to follow Pickford's career in films both through the text and through the large number of pictures which bring this writing to life. The main body of the book comprises Kevin Brownlow's film-by-film analysis. His description of these films is fair and even-handed. He is obviously a fan of Pickford, but does not allow this to cloud his judgement. His commentary includes criticisms when these are just, but this means that when he does praise a particular film there is a sense that the film has real merit.

Brownlow's balanced opinions contrast rather with those of Robert Cushman, who provides a long introduction to the book. In his justified desire to raise Mary Pickford to the position she deserves in film history, Cushman, at times, goes rather over-the-top in his admiration. But this is a minor criticism for the introduction is, on the whole, thought provoking and informative.

It is to be hoped that more of Pickford's films might soon be available for viewers to see at home. This book makes the reader long to see the films which are described, so that the magnificent still photographs might move. In this way Mary Pickford could be really rediscovered.

This is the latest book by the leading historian on silent cinema, Kevin Brownlow. Like all of his other works, it is outstanding. Mary Pickford is thought of mostly as the grown up woman who played little girl roles in films that are unwatchable today. However, this is not true. Pickford was an actress of considerable range, not to mention the fact she was a very shrewd businesswoman. She was and is one of the key figures in the history of film. Brownlow, more than any other writer, puts Pickford's career in perspective, and he spends the majority of the book providing detailed commentary about her films. Furthermore, there are many superb stills from her films in this book.

This book is for all lovers of film and should spark renewed interest in Pickford's life and films.

The king of silent film historians lends his name to this superb portrait of America's Sweetheart. I've been fortunate enough to have seen over a dozen of Pickford's films and this book is long, long overdue! Wonderful photographs and an excellent introduction for anyone to the greatest star there ever was. One hopes with this book and the upcoming Video box set, Mary will finally get the respect and adoration currently reserved for Keaton, Chaplin and Garbo.

My friend who was an artist gave me this book to read. Now it is one of the few that I carry around at all times. Robert Henri saw that there is no division between art and life. To be an artist, or trully alive for that matter, one has to experience life to his fullest. This means finding yourself and the people/things/and way of living that inspire you. When beauty strikes you so, and your full of love and joy it is hard not to do things beautifully. Henri tells us to find that beauty within us and the rest will follow. And one of the most enjoying things I found about this book was that the authors personality is very bright in every sentence. It made the book a great read. To enjoy this book, you need not to know art but to know life.

This is a book of notes, articles, letters and student instruction from the teacher himself (not any ordinary teacher, mind you) about the concept and technique of picture making, the study of art generally and on appreciation. This is an easy read; one that can be read a bit at a time at leisure. It felt like a visit with an old friend. Full of inspiration and a touch of philosophy here and there, it brings it all together. I quote just this once from Mr. Henri: "Art appreciation, like love, cannot be done by proxy: It is a very personal affair and is necessary to each individual." He is giving advice here on not following the critics! I include this to give the reader the "flavor" of the book. I feel this book is a must read for any artist...and a wonderful re-read, over and over again!

Within his treatise on art and its many facets, well-known artist and teacher Robert Henri shares insight on the making and viewing of art. He offers insight on areas which all artists must eventually come to terms with, including proportion, technique, color, style, and subject matter. He discloses a lifetime of his personal "life-lessons" about his own art and his personal struggles as an artist, and he shares honestly the perils and triumphs of both he and his students. In a mere moment the reader learns lessons about art and its making which take artists years to learn. This book is a joy in every sense of the word -- from Henri's suggestions on rendering light reflecting from a woman's lower lip to his secrets to making a portrait "glow". Henri's The Art Spirit is a must-read for any reader interested in any aspect of art. ---- A classic.

Impressionism is my favorite style of painting so I was really enchanted with this biography. Written by Renoir's middle son, Jean, Renoir, My Father not only gives us an intimate look at the life of Auguste Renoir, it gives us an intimate look at the Paris of Renoir's day as well.

As we get to know Renoir we get to know his contemporaries, too. Jean Renoir writes about Monet, Cezanne, Manet, Sisley and many other great artists. We learn many "little known" facts, such as Monet's penchant for lace and his "artful" way with the ladies.

Paris really comes alive in this book. Many of the places Renoir writes about still exist and can be visited today. This book makes any art lover's trip to Paris more meaningful whether he's a Renoir fan or not.

When reading this book, one must remember that this is not a "run of the mill" biography. This is a son writing about the father he adored. The portrait we are given is very intimate, detailed and loving. It's obvious that Jean Renoir adored his father, just as Auguste Renoir adored his family.

Ultimately, this book is a beautiful tribute from a loving son to a father who was one of history's consummate artists. If you have any interest at all in art, this is one book you simply must not pass up. The last page alone will break your heart.

Renoir was far more than one of the world's greatest artists. He was an adventurer, a family man, a man who held interesting views on just about every subject under the sun, and finally, in his later years, a martyr to life. Although this book was written by Renoir's middle son, Jean, it is as vibrant and alive as if Renoir, himself, had just written the words in his own hand. Through this book we learn how the Renoir family left its roots in Limoges and moved to Paris. We read of Renoir's early years as a painter of porcelain and how and why he became an artist, more specifically, an Impressionist. We learn of Renoir's marriage to Aline Charigot of Essoyes, the birth of his three sons and his move to the south of France. Some of the most interesting sections of the book deal with Renoir's feelings about the effect of light on a painting and why he needed to paint in a "natural" setting. Also, most interesting are the chapters on the birth of Impressionism and Renoir's relationships with the other artists of the time, such as Monet, Manet, Sisley and Cezanne, just to name a few. Lovingly and charmingly written, this book truly brings Renoir to life and makes him accessible to all. Absolutely a must for anyone with even a passing interest in art or artists!

Not only is this a book about Renoir, whose tableaux peer out of every other art store on every mall in North America (what a curious fate!), it is also a book about Paris. Born in 1841, Renoir was older than most of the other Impressionists with whom he grew friendly later. He also had the chance to see Paris as it was before the Commune and the war of 1870. He lived a good part of his life on the Butte in Montmartre and it is hard now to recapture the atmosphere up there among the hordes of tourists. Yet early on Sunday mornings with a light rain playing on the umbrellas of the artist's stands in the Place du Tertre, you can wander freely among the memories of the rue Lepic and elsewhere, and catch glimpses of Renoir (and others) as you pass through the old streets. Reading this book first will help.

Jean Renoir is a very famous artist in his own right, having made numerous films and become one of the most acclaimed directors in French cinema history. Here he has taken great pains to paint a fine portrait of his renowned father, this time with a pen. He has succeeded admirably.

As the art director of the Merrill-Johnson Gallery, we are privileged to exhibit Mr. Silverman's work including several of the paintings in the book, "Sight and Insight". The paintings depicted in the book are fine example of the work that has made Mr. Silverman one of America's most respected realist painters. There are many books that are "how-to" paint (in fact Silverman has written two wonderful ones himself), but there are few "why-tos." "Sight and Insight" provides the reader an insight into the interpretive and artistic motivations behind his paintings. The book deserves to be in every serious art book collection for both the artist and the art appreciator.

Rarely do I come across an art book with both stunning visual imagery and insight into the state of representational art. The artist provides a clear, beautifully written essay for all of us confused about "modern" art, his paintings statisfy the thirst for imagery that moves and enhances our humanity. BEAUTIFUL book!

"I purchased Sight & Insight ;the art of Burton Silverman several months ago, but just came across his listing with Amazon. I think it's a beautiful book with some of the best paintings I've seen that uses representational realism. The people depicted are both very real and very arresting in a thoughtful, reflective way. It's like reading a good book and looking up to conjure the image of the character in ones mind only this artist does that for you. He doesn't exclude the viewer though, because there's a lot of ambiguity in his characters that leaves room for ones own speculations as to the meanings of the paintings. The writing, by both Prof. McGrath and Philip Saietta are excellent if sometimes difficult sledding, particularly with the Professor. But it's really a very readable and informative collection of essays. Silverman also writes about his career with compelling honesty. It's a real treat to go through this book and well worth the price, many times over."

Grossman?s text was invaluable in helping me prepare for cumulative exams towards my PhD. I highly recommend this book as one of the best organic mechanism reviews I have come across. The problems are well thought-out, and often copied by other professors for use on cumulative exams (imitation is the highest form of flattery). Solutions are available online from the publisher, which is very helpful.

The reason this book is good is because it will help you actually learn how to do organic chemistry instead of just memorizing reactions and their mechanisms. This book answers "WHY DOES THIS HAPPEN?". A very important book for the graduate student in organic chemistry.

This book is not the first of its kind. Audrey Miller wrote the first one-"Writing Reaction Mechanisms in Organic Chemistry". Miller used a renovating approch to treat organic reaction mechanisms. Mechanisms are not a bunch of random knowledges to be memorized any more. They can be analyzed and mastered.

However Grossman did a terrific job writing this book. It covers more material than Miller's. Both books are easy to read. Keys to answers of this book can be downloaded from internet(over 200 pages).

This book is great for graduate student who's struggling on his/her cumes, for industrial organic chemist who wants to have a thorough review of organic mechanism. Great value for the money.

While an undergraduate student at Seton Hall between 1997 and 2000, I had the distinct and memorable pleasure of being a student of the author of this book, Robert Mayhew. I sat for 7 of his course offerings over 3 years, and he continues to stand out in my mind as one of the most competent, engaging, and effective instructors with whom I have dealt in 22 years of schooling. Mayhew has the unique ability to satisfy the mildly curious as well as the most discriminating academician. In the years since graduation, I've paged through several of his volumes on the ancient Greeks, and I found them more interesting than any of the work I was doing in law school. You cannot go wrong with him.

Ayn Rand describes the necessary elements to take a theme abstraction and present it as a set of concretes directly related to the theme abstraction - the Romantic style. To help convey her reasoning she analyses examples from writers, herself included, who fit in, and some who don't. Victor Hugo and Isak Dinesen are two examples that are consistent with her preferences. Sinclair Lewis and Thomas Wolfe being two that aren't.

When I reviewed, The Fountainhead, I stated that Ayn Rand had an unfortunate tendency to indulge in 'eye poppingly bad' literary prose, which in this book she goes into great detail to point out its merits. Whilst her defence of these sections is logical, it still doesn't take away from their basic quality: they're still eye poppingly bad. As badly written as the pieces she has chosen from elsewhere to demonstrate how not to write. Unlike Victor Hugo's, and Isak Dinesen's, which is very smooth . When she writes more plainly, as she does for most of the time, her intention is conveyed perfectly well without any need for colourful and distracting prose.

That was the only real contradiction and failing of this book. Everything else is very appropriate for those who have the inclination and determination to write well in the Romantic style.

Her Non-fiction follow up is worth reading as a companion volume

The Art of Nonfiction is taken from a series of informal lectures that Ayn Rand gave to students in 1969 on the topic of the art of nonfiction writing. It was not prepared for publication by Rand, but the material in it was culled from these lectures, for which Rand had only an outline to prepare her. The Art of Nonfiction serves as a companion piece to The Art of Fiction, both from an author who wrote some of the Twentieth Century's most important and influential fiction and nonfiction works.

This work aims to teach the reader the principles behind the art of nonfiction writing. The chapters, which follow the order of the lectures given by Rand, cover such topics as how to get ideas for writing, the importance of and how to create an effective outline, the role of the conscious and subconscious in writing, editing, and how to prepare an article for publication. The book focuses on nonfiction article writing (all of Rand's published nonfiction works are compilations of her nonfiction essays), but also offers advice on nonfiction book writing. Rand was convinced of the omnipresence of one's philosophy in one's life and work, and this is evident in this book, which is replete with tie-ins to her philosophy and fascinating philosophical analysis of such topics as the nature of the subconscious mind and how to properly allow one's philosophical convictions influence one's writing.

Although the content is excellent and the progression is logical and persuasive, the reader should bear in mind that the material in it was neither prepared by nor intended for publication by Rand, who did not believe that the material as presented in these lectures would be good enough for publication. Still, it is remarkable how solid the material is, considering that it was done with little preparation on Rand's part.

One need not agree with Rand's philosophy to gain value from this book, so well reasoned and persuasive is her presentation. Both writers and readers have much to gain from this important addition to Ayn Rand's literature.

What is good about this book is that it not only covers the familiar bad boys like Bogart and Mitchum but also such lesser known but nonetheless fascinating men like Tom Neal and Lawrence Tierney. And it covers the entire history of Hollywood from Wallace Reid of the silent era to Robert Blake who is in today's headlines. Anyone who knows Parish's books will want this one. And anyone who doesn't better start.

Everything you always wanted to know about bad behavior -but were too afraid to ask (or didn't know where to find it). Well, here it is! Spent all weekend reading Parish's lively tome about the Silver Screen's most famous rogues - from scoundrels to rascals - & truly, couldn't put the book down. In just under 300 fascinating pages, found out WHO did WHAT to WHOM. What's more, the author tells you HOW and WHY. A phenomenally fun read, and highly recommended.

I didn't know about you, but I thought Warren Beatty had a relationship with Natalie Wood. Not true, writes Jim Parish in his wonderfully entertaining Hollywood Bad Boys, Loud, Fast, and Out of Control. Author of dozens of books on Hollywood, Parish has a well-honed sense for the perfect anecdote to enliven his short bios of the Bad Boys. His list includes some obvious choices, Charlie Sheen, James Dean, Johnny Depp, and some suprises, such as Bing Crosby. If you want your dirt dished with clean and clear prose, I strongly recommend this book. Prepare to go from beginning to end without a break.

Most aspiring and accomplished writers own at least a modest collection of how-to-write books. The majority of these books are inspirational with a smattering of tips and techniques thrown in.

The Weekend Novelist Writes a Mystery is different.

Step-by-step methods for constructing a tight mystery novel plot with compelling and convincing characters fill every page. Examples of the authors' own novel process along with those of other masters such as Agatha Christie, Martin Cruz Smith, Sue Grafton, and Raymond Chandler illustrate each step.

There are no timid suggestions in vague jargon here. The authors have taken great pains to make sure each and every facet of their combined writing and teaching expertise is explained thoroughly and usefully.

The importance of a solid "backstory" is the focus of early chapters, giving the writer a solid view of their story before moving on to the writing itself. The far too common problem of writing oneself to a standstill is virtually impossible if the plot and characterization techniques are followed. The remainder of the book contains a treasure trove of specific techniques for creating scenes, convincing dialogue, and "real" settings. The reader will learn how to group their scenes into logical "acts", control the story's pace, and use the language to set tone and resonance.

While structured specifically for the mystery writer, the techniques can be applied to other genres with relative ease. Any novelist, whether still aspiring or already accomplished, will find a wealth of insight into the plotting and characterization process. The beginner searching for one all-around USEFUL how-to-write book would do well to pick this one.

This is no-nonsense book crammed with useful, week-by-week projects which will lead the writer to the successful creation of a well-written, satisfying mystery.

The Weekend Novelist Writes a Mystery puts the "HOW" back into the how-to-write book market.

Bob Ray and Jack Remick must have very clean offices. Mine was a disaster zone until I read THE WEEKEND NOVELIST WRITES A MYSTERY.

I was laughing to myself reading WEEKEND NOVELIST. Ray and Remick have nice little flow charts. I had piles of gum wrappers and old envelopes with a few words scribbled on them ("where's the dog in chapter 10?" or "top boat speed 40 mph - police boats 60 mph from Emerald Point -- do math"). You won't find a chapter here for "waking up in the middle of the night with your brain taken over by your story, padding through a freezing house in your bahtrobe (knocking into coffee table with shin bone), and staring bleary-eyed at the computer till dawn." Which is how most of my book got written. My shins were bruised for a year and a half.

My shins are still bruised, I confess. I should move that coffee table. But I can thank Bob Ray and Jack Remick for helping me organize my thoughts and my time for my second novel. My office is cleaner for it. And my writing is cleaner too. Read the book. It will help you clean up your act as a mystery writer.

I stumbled upon "The Weekend Novelist" about six months ago and it transformed my writing life. "The Weekend Novelist Writes a Mystery" is even better, and I'm not working on mystery -- I'm working on a memoir. Prior to learning from Ray and Remick, I was wandering in the wilderness, with no clue about the difference between story and plot; why scenes are the basic building blocks of a book; or how to start with character and what makes a person tick to set the hook for the story. The Ray/Remick approach uses writing practice to help you plumb the depths but it's their emphasis on structure -- they call it "priming the subconscious" when you're in the shower as well as at your writing desk -- that really works. I wasn't a fan of writing practice before doing their exercises but now I see that it helps me go places I don't go on my computer, particularly when I use their structure profiles and do their exercises. I also appreciate the specific examples they use, especially the examples from "Murder on Drake Island," the mystery they wrote for this book. These guys can write a mean sentence -- with or without a smoking gun. Run, do not walk, to the book store if you want to make a tremendous leap in your writing.

This was my first origami book. It flows from simple to intermediate to complex with no problem. The diagrams are the clearest there are (although I wished they ALL showed shading, only reason why I'm not giving five stars), and the models range from the cute (Penguin) to the original (Dog in a Doghouse) to the complex (Praying Mantis) to the REALLY complex (Crab). If you're a beginner, pick this book, and slowly evolve as you turn each page. Trust me, you'll thank me for it!

besides knowing Lang's work as totally impressive and decently disturbing for a folder like me. The end remark would be buy the book and suffer the consequences. Two weeks ago I bought this book and had this hard time with almost all the folds especially when I tried the crab. The end product looks like a martian crab lol!!
Beautiful models which incl.. horsefly, praying mantis, scottie and swan. All 3d and beautifully written. The requisites would be an ideal origami background, creativity, patience, patience, patience!!
I started folding (as a hobby) 4 months ago and when they(other reviewers)said that the book was for total enthusiast they're wrong. With imagination, passion and patiece anyone can fold the diagrams. But I had a share of Kasahara, Sakato and others.
The book is neatly done. intermediate to complex to more complex!!!

Kudos Mr.Lang!!

This book contains dozens of charming animals, from high-immediate to complex models. Instrucions of diagrams in this book are neat, a novice folder may feel a little hard to follow. But for experienced folders, this is a wonderful book.