Be ready when inspiration strikes with this go-anywhere field sketchbook! 144 pages -- 72 sheets. A6 size: 4-1/8" x 5-3/4." Heavyweight archival/acid-free 128-gsm paper. Fine-tooth paper supports graphite, ink, charcoal, pastel, and more. Sturdy hardcover binding protects your work. Elastic band closure. Ribbon bookmark. Compact, lightweight volume fits in a shirt pocket or slips in a field sketch bag. Ideal for travel.
Have you ever experienced the peace of walking through the woods or the excitement of a storm gathering on a beach? Drawing Nature for the Absolute Beginner will help you capture these moments in artwork and share them others. In their fun and friendly teaching style, Mark and Mary Willenbrink offer a great beginner's course on drawing nature, showing you how to realistically capture the world around you. All you need to get started are some simple supplies, basic techniques, and inspiration. From field to forest, beach or mountain, begin with a structural sketch, apply values and textures, and, before you know it, you'll be drawing everything you see. You'll even learn how to render favorite wildlife such as chipmunks, deer and eagles! • Follow along with easy step-by-step demonstrations to draw rocks, seashells, butterflies and even more developed nature scenes. • Gain a working understanding of key concepts such as perspective, value and composition. • Discover simple tools and tips you can use right away to improve your art.
This indispensable sketchbook features instructions, storyboard layouts, and drawing frames in non-repro blue. For aspiring and experienced artists, this dual-purpose, lie-flat sketchbook is ideal for honing skills and storylines. Along with instructions, it provides 112 pages of storyboard layout grids with cells for working out page ideas and plot details as well as space for notes and captions. The second half of the book contains 60 single-sided pages that feature drawing frames in non-repro blue for finished art, with outer rules that help organize space and scale. The high-quality, acid-free, medium-weight paper erases cleanly and has a smooth vellum finish ideal for all dry media. All pages are perforated for easy removal.
Since precious few architectural drawings and no theoretical treatises on architecture remain from the premodern Islamic world, the Timurid pattern scroll in the collection of the Topkapi Palace Museum Library is an exceedingly rich and valuable source of information. In the course of her in-depth analysis of this scroll dating from the late fifteenth or early sixteenth century, Gülru Necipoğlu throws new light on the conceptualization, recording, and transmission of architectural design in the Islamic world between the tenth and sixteenth centuries. Her text has particularly far-reaching implications for recent discussions on vision, subjectivity, and the semiotics of abstract representation. She also compares the Islamic understanding of geometry with that found in medieval Western art, making this book particularly valuable for all historians and critics of architecture. The scroll, with its 114 individual geometric patterns for wall surfaces and vaulting, is reproduced entirely in color in this elegant, large-format volume. An extensive catalogue includes illustrations showing the underlying geometries (in the form of incised “dead” drawings) from which the individual patterns are generated. An essay by Mohammad al-Asad discusses the geometry of the muqarnas and demonstrates by means of CAD drawings how one of the scroll’s patterns could be used co design a three-dimensional vault.
Create art that's more attractive, interesting and eye-catching! Even if your perspective is accurate, your subject realistic and colors vibrant, a weak composition - predictable, repetitious or monotonous - means a weak painting. The Simple Secret to Better Painting ensures that your compositions work every time. It's an insightful artistic philosophy that boils down the many technical principles of composition into a single master rule that's easy to remember and apply: Never make any two intervals the same. You can make every painting more interesting, dynamic and technically sound by varying intervals of distance, length and space, as well as intervals of value and color. The rule also applies to balance, shape and the location of your painting's focal point. Greg Albert illustrates these lessons with eye-opening examples from both beginning and professional artists, including Frank Webb, Tony Couch, Kevin Macpherson, Charles Reid, Tony Van Hasselt and more. You'll discover that the ONE RULE is the only rule of composition you need to immediately improve your work - the moment your brush touches the canvas.
Published to accompany the 1994 exhibition at The Museum of Modern Art, New York, this book constitutes the most extensive survey of modern illustrated books to be offered in many years. Work by artists from Pierre Bonnard to Barbara Kruger and writers from Guillaume Apollinarie to Susan Sontag. An importnt reference for collectors and connoisseurs. Includes notable works by Marc Chagall, Henri Matisse, and Pablo Picasso.
Art Teacherin' 101 is a book for all elementary art teachers, new and seasoned, to learn all things art teacherin' from classroom management, to taming the kindergarten beast, landing that dream job, taking on a student-teacher, setting up an art room and beyond. It's author, Cassie Stephens, has been an elementary art teacher for over 22 years and shares all that she's learned as an art educator. Art teachers, home school parents and classroom teachers alike will find tried and true ways to make art and creating a magical experience for the young artists in their life.
"This book ... [shows] how the artist worked out his developing ideas primarily through drawing. Included are examples of work from his early years, such as the preparatory drawings he made as a muralist for the WPA in the 1930s, in addition to the increasingly abstract work of the 1940s and 1950s, and the sequence of pictorial experiments that led to his reintroduction of the figure in the late 1960s. Also reproduced, in color, are a number of painterly gouaches and a series of acrylics"--Back cover.
