Featuring never-before-seen drawings by the renowned contemporary artist, a beautiful facsimile edition that reveals the working process of an extraordinary creative mind Sketchbook reproduces original working drawings and sketches by the contemporary American artist and designer Daniel Arsham, whose work freely crosses the boundaries of art, architecture, film, and design, and also speaks to fans of pop culture, including sneakerheads, car enthusiasts, and anime devotees. Spanning a decade and featuring previously unpublished drawings by this highly skilled draftsman, this beautifully produced facsimile edition provides an unprecedented, intimate look at Arsham’s working process, revealing a new side of an extraordinary creative mind. Published in association with No More Rulers
Expressive Sketchbooks shares a host of creative ideas and prompts, tools and techniques, methods for working around obstacles and barriers, and tons of visual inspiration to help you grow in your sketchbooking practice. An expressive sketchbook is a place for you to explore, express, and enjoy your own innate creativity on your own terms. It is a safe playground for the imagination—a place to mess about, play, and experiment—and to gain confidence in your abilities as you develop your skills. Expressive Sketchbooks offers techniques and creative exercises that incorporate mark making, watercolor, mixed media, collage, words and text, and more. It unpacks some of the obstacles and barriers that you may face along the way and offers wisdom and encouragement to help you decide why and how to start your sketchbook and how to develop and expand your artistic practice. This book is packed with ideas and exercises, including: Exploratory drawing exercises How to utilize color in your sketchbook How to create dynamic and varied sketchbook pages How to find inspiration in nature and in your everyday life Ways to mix media and art supplies Ways to kickstart your creativity How to find and develop a process that feels personal to you Through this book, you'll find out what lights you up, what makes you curious and fascinated, and what makes you expansive. Discover how to magnify your creativity and enliven your art skills by using an expressive sketchbook as your daily companion.
Collects pages from the private sketchbooks of architects and studios from around the world, and includes comments from the artists as well as details on how they use sketching to evolve inspirations and concepts into more developed ideas.
In celebration of the 100th anniversary of Henry Moore's birth, this book features the most important and comprehensive single group of Moore's Drawings, graphics, and sculpture. More than 300 of Moore's acclaimed works are reproduced, along with fresh insights and personal anecdotes by colleagues. 290 color illustrations.
Blank Dot Grid Notebook Sketchbook, Marble Black, A4, 8.27 x 11.69 This is a large dot grid sketchbook for drawing and doodling. The size of this sketchbook is A4, 8.27" x 11.69", letter size, which suits those who are looking for a big-space paper to comfortably perform their imagination. The dotted sketchbook comes with smart design. This smart appearance will make you comfortable to use it anywhere - your workplace, your home, or cafe. The cover is matte laminated softcover, which in general looks more professional and elegant. The paper weight is 60 lb, most popular quality office copy paper, so it can prevent ink leakage for a certain level. There are 108 dot grid pages / 54 paper sheets in this sketchbook. As dot grid can be seen as a lined paper guide and area drawing guide, the book can freely be used as either bullet journal, dot grid notebook sketchbook or dot grid notebook journal. The dot grids are presented in light gray color. Every page in this sketch book also comes with bottom page number with little art style. The page number is created for you to organize your ideas in the book more easily. Summarized Specifications Design: professional look with smart design Dimension: 8.27 x 11.69 inches, A4 Notebook Type: perfect binding, soft cover with matte-lamination style Layout: no bleed, blank dotted sketchbook, with stylish bottom numbered on every page Color: marble-black cover and white paper sheets Number of Pages: 108 pages / 54 sheets Paper Weight: 60 lb, most common quality office copy paper Made-In: USA
The correspondence of Joanna and George Boyce, and Joanna's husband Henry Wells (published as The Boyce Papers) gives us a rare insight into the milieu of the artists of the mid-Victorian period. Many different aspects of mid-nineteenth century artistic life are recorded in their letters, providing surprising detail which is highly relevant to the study of their contemporaries. Victorian Artists and their World is a series of case studies based on this material. This book brings together a team of authors both well-established in their fields and emerging, offering a broad range of expertise and insight. The first group of essays begins with travel, particularly in Europe where the new railroads made journeys much easier than in the past, particularly to the new museums being created in European cities. All three of them went to Paris and other European cities, while George Boyce also travelled in the French countryside to find new subjects for his art. Paris was also where Henry Wells and Joanna Boyce trained, but there is also a great deal of material about art training in Britain. The Boyces began essentially as financially independent amateurs, and were gradually drawn in to the increasingly institutional world of art, with the formation of new societies and the activities of commercial galleries. The next stage in an artist's career, involvement with the art market, is a continuing theme in the correspondence, 'the quirks and eccentricities of patrons and art dealers'. Studios, clubs and societies all played a part in this process, while Henry Wells, as a portrait painter, dealt directly with his often wayward clients. It was also a period of great changes in the painting materials available to artists, and there are questions in the letters such as 'Does indigo fly?', referring to a long established colour. The survival of two of Joanna Boyce's paintboxes means that her use of newer artists' materials could be investigated, along with the problems they could cause, - several of Joanna Boyce's paintings deteriorated rapidly because of the use of new materials. A second group of essays looks at the place of women in the art world, as reflected in Joanna Boyce's career. While she did not belong to the campaigners who were creating a space for women artists, including the formation of the Society of Female Artists in 1857, she was very much aware of what they stood for, as is evident from her paintings, and also from her art criticism, which was praised by Ruskin; her writing for the Saturday Review remains vivid and impressive even today. The correspondence comes to an end with Joanna Boyce's untimely death, but the three final essays deal with the longer careers of George Boyce and Henry Wells. George Boyce moved in the different world of the watercolour artists, with the Old Watercolour Society at its centre, and was until recently the best known of the trio. His place in this world is the subject of one essay; another shows him as an important art collector; there is a complete record of the sale of the collection after his death which enables us to see the range of his interests. Finally, there is a collaborative study of the career of Henry Wells, which extended from miniatures of the early Victorian era into the twentieth century and a handful of paintings of modern life. The effect of photography led him to change from miniatures to formal portraiture in the 1850s, and he was a very active if rather conservative member of the Royal Academy towards the end of his life. This multi-facetted volume is a valuable set of case studies on topics which are not often treated on their own, but which are very relevant to Victorian art. They remind us that there is much more to this period than the Pre-Raphaelites, and that other movements, (such as the Aesthetic painters who were an important influence on Joanna Boyce's art) flourished in their shade. Edited by Katie J T Herrington. Contributors: Sue Bradbury, Meaghan Clarke, Louise Cooling, Pamela Gerrish Nunn, Alicia Hughes, Christiana Payne, Mark Pomeroy, Matthew Potter, Joyce Townsend, and Glenda Youde.
