The Time of a Repetition by Miguel de Beistegui

Philosophy's  fundamental and only constitutive question is that of being of beings, and of the decisive yet unrecognized difference between being and beings. If being is not in the way of a being then what is its mode of being? to what extent can we say that being is?

read more or download here

50 robots to draw and paint by Keith Thomson

The robots shown were really intricate and interesting. The steps were well shown, and I liked that it showed things like hinges and screws in detail to better complete a final project. Illustrations were really interesting to look at.

It brings in many skill building techniques and tips. Each of the robots shown has a unique style and the design concept of each is explained very well.

Read or download here

Nietzsche's Revolution Décadence, Politics, and Sexuality

This book claims Nietzsche as a leftist revolutionary but without overlooking the conservative and retrogressive elements of his political philosophy. The author argues that these two 'halves' of his philosophy help construct a new form of politics for contemporary readers, a possibility of revolution post-Marx.

Here to read or download it

Women of Manara

Women of Manara by Milo Manara a comic artist collects some drawings along with an interesting descriptive story. As for the comic readers who are reliable or who know the comic Milo Manara, this book is for adult readers +21.
You can read here

Typography Workbook

There is an elegance to letters and words I appreciate. The shape of individual letters and the way they fit together beautifully, when set properly, is noticeably better than slap-dash text thrown down with little care.

This book covers the fundamentals of dealing with type and shows how it is best used in graphic design. It includes detail on the general mechanics of typography, such as the dos and don’ts of typesetting, alignment, kerning, leading, information on optimal line length for legibility, etc. There are numerous examples illustrating the information discussed plus graphic design styles from around the world too.

The Typography Workbook was a good refresher for me, an experienced designer, but it would also prove helpful to those just starting out, as well. I found this book informative and educational but especially loved the fun layout! That, in and of itself, was useful to me. I was surprised by the high volume of graphic design samples. They took up half the book and, though interesting to look at, not all seem to pertain to typography. 

it can read here

The Human Machine by George B Bridgman

What is the difference between art anatomy and Bridgman's concept of the human machine? The human machine is the body as not only a fixed framework but also as a complex work of art which moves and was designed to move.
In over 400 drawings, George B. Bridgman demonstrates the machine through the presentations which made him a gifted lecturer and teacher in his nearly fifty years at the Art Students League in New York and which gave life to drawings by his many students during those years. All skeletal and muscular systems are fully identified, and all are shown in front, back, and side views.

Anatomy for Fantasy Artists: An Illustrator's Guide to Creating Action Figures and Fantastical Forms

I really enjoyed this book, mainly because there were step by step instructions, and some great illustrations. It really sets this art apart from everything else. Fantasy Art really is art, not cartoons, not that cartooning isn't art, mind you.
Fantasy Art alloys the artist to be as creative as possible, in "designing " the ultimate character. What fun this was to read and slobber over.

Perspective: A Guide for Artists, Architects and Designers by Gwen White

This book started so well. I had wide eyes and high hopes like "yes, finally, I will learn and understand perspective, goddamn!" and I read it so attentively. 

And then. Then I am not even sure what changed, suddenly it was more like a college book for architects and designers and I fell into despair. This book failed me too, like the previous one, I was not able to learn perspective. Maybe I'm too stupid but I'll have to find another book. The book itself has lots of drawings and I actually think it could be really good for someone who has an instructor or a bit of background knowledge ( or more of a mathematical brain then I do)

Conceptual Art: A Critical Anthology

This anthology is a very good collection of some of the more pertinent writings (and some examples) of conceptual art. 

What struck me is that most of the writings from the artists who began the "movement" (and if there is one thing this collection makes clear, it's that it is impossible to speak of conceptual art as a "movement" in any sort of easy, art-historical terms) in the mid to late 1960s reflect their each artist's own concerns with the commodity status of art and the gallery system (or the sense of stagnation in art circles of that time). However, most of those writing are entirely incoherent to someone entering them (like me) from the outside. I was much more impressed by the work that began to appear in the 1970s that sought to seriously theorize what was going on and what the various social and economic problems were that these artists were wanting to take on, change, or avoid. Much of t his work is theorized in Marxist form (though some do use some of the continental structuralist and poststructuralist theories that would make up "postmodernism"), and much of that theoretical work is very impressive indeed. The best of it, paradoxically, shows how weak how much of a failure much of the work of conceptual artists actually was (such as the work of Adrian Piper and Benjamin H. D. Buchloe). Most of the "theory" put forth by Art and Language (in either its British or New York collectives) is terrible, Stalinist crap, including most everything included here by Joseph Kosuth (who, early on and especially by the 1980s and 1990s, seemed much more interested in settling personal scores than in theorizing about art or the art system more generally).

What is missing from this anthology is more of the contemporary voices from the 1960s and 1970s who were not very impressed by conceptual art (there is one article from the time in this category and one retrospective account published here). Otherwise, this is a very deep and interesting collection that illuminates the complexities of the situation(s) around conceptual art both at the time and in various forms of retrospection