It provides a wealth of advice on the choice of subject; it tells what to look for and aim for, and explains the mysteries of color, atmospheric conditions, and other phenomena to be found in nature. Through his profound understanding of the physical nature of landscapes and his highly developed artistic sense, John Carlson is able to explain both the whys and the hows of the various aspects of landscape painting. Among the subjects covered are angles and consequent values (an insightful concept necessary for strong overall unity of design), aerial and linear perspective, the painting of trees, the emotional properties of line and mass in composition, light, unity of tone, choice of subject, and memory work. In the beginning chapters, the author tells how to make the best of canvas, palette, colors, brushes, and other materials and gives valuable advice about texture, glazing, varnishing, bleaching, retouching, and framing. Thirty-four reproductions of Mr. Carlson's own work and 58 of his explanatory diagrams are shown on pages adjoining the text. As Howard Simon says in the introduction: "Crammed into its pages are the thoughts and experiences of a lifetime of painting and teaching. Undoubtedly it is a good book for the beginner, but the old hand at art will appreciate its honesty and broadness of viewpoint. It confines itself to the mechanics of landscape painting but, philosophically, it roams far and wide. . . . This is a book to keep, to read at leisure, and to look into for the solution of problems as they arise, when the need for an experienced hand is felt."

    Index of names of companies represented.2. Index of type of industry, business, product, or service.3. Index of designers.Among the categories included are:Advertising / Agriculture / Airlines / Automotive Industry / Banking / Brewing / Building Materials / Business Services / Chemical Industry / Coal Mining / Communications / Construction / Cosmetic Industry / Design / Electrical / Electronic Engineering / Entertainment / Exhibitions / Fiber Manufacturing / Film Production / Food Industry / Government / Hardware Manufacturing / Hotels / Industry, General / Insurance / Interior Design / Investment / Jewels / Laundry / Medicine / Music / News / Paper Manufacturing / Power / Printing / Publishing / Restaurants / Schools / Shops / Tobacco / Travel.

    Glaser’s work ranges from the psychedelic Bob Dylan poster to book and record covers; from store and restaurant design to toy creations; and magazine formats including New York magazine and logotypes, all of which define the look of our time. Here Glaser undertakes not only a remarkably wide-ranging representation of his oeuvre from the incredibly fertile early years, but, in a new preface, speaks of the influences on his work, the responsibilities of the artist, the hierarchies of the traditional art world, and the role of graphic design in the area of his creative growth. First published in 1973, Milton Glaser: Graphic Design is an extraordinary achievement and indisputably a classic in the field.

    Index of names of companies represented.2. Index of type of industry, business, product, or service.3. Index of designers.Among the categories included are:Human Figures / Faces / Eyes / Hands / Beasts / Birds / Fish / Insects / Flowers / Trees / Houses / Conveyances / Tools / Heavenly Bodies / Minerals / Circles / Rectangles / Triangles / Polygons / Curves / Arrows / Figures / Signs / Japanese Characters.

    In his drawings, Degas' working methods can be seen and studied, and his always-human figures can be enjoyed as much as in the finished works — if not more. Reproduced in this book are 100 of Degas' drawings, including eight in full color. They range from early studies to portraits of Manet, Madame Hertel, Madame Camus, Durnaty, and others to sketches of dancers and nudes, race track scenes, travel scenes, and other works from 1856 to 1900. The drawings reflect Degas' outstanding way of capturing scenes and his development of the careful casualness that was to make him foremost among the Realist-Romantic artists. The images also reveal his new uses of space and artistic focus, qualities he received from other artists in the Impressionist group. There are works in varied media — pencil, crayon, pastel, charcoal, and many others — and there are studies for paintings and sculptures that show his working methods. Most of these drawings cannot be seen anywhere else in published form. The edition from which these drawings were taken now commands high prices on the rare book market, when it can be found. Art students, collectors, and others who want to see the many styles of Degas will find that this collection contains many of his finest works.

    Whether women wish to file job discrimination complaints, equal pay suits, or start their own separatist ventures, this catalog presents answers, aids, tools produced by the feminist movement in battle against sexism. But, it has relevance and usefulness to all women. After all, you don't have to be a feminist to want to prevent yourself from getting raped, to know whether that vaginal itch is worth a trip to the specialist, to get a bank loan, to have access to child care facilities, to avoid car repair ripoff.and the need for these survival tool is growing. This book documents a massive trend among American women occurring on many levels toward self assertion and an end to dependency. It is meant, above all, to be a self-help tool for ALL women to take control of their lives.

    European abounds with perspective renderings of figures and landscapes, while Islamic translates artistic impulse into elaborate geometric patterns and linear designs. Through centuries of practicing this purely abstract art, Muslim artists have perfected it to an incomparable elegance.This book contains 190 examples exhibiting the wide range of Islamic geometrical art: hexagon designs, octagon designs, dodecagon designs, combinations of stars and rosettes (of many variations), combinations of squares and octagons, heptagon designs, and pentagon designs. These fundamental shapes give rise to hundreds of different designs, and merely altering an angle or curving a straight line can create an entirely new pattern. When transferred to metal, wood, stucco, mosaic, and paint, these patterns make up the elaborate ornamentation for which Arabic architecture is noted, and twenty-eight examples of actual applications from Cairo and Damascus are included: sanctuary doors, openwork windows, inlaid marble pavements, and ceilings. The reader may wish to try his own hand at drawing patterns, to which purpose dotted construction lines are given for sections of the plates. Artists and designers will appreciate this book as a valuable source for Islamic art and design, which they may use directly or vary at will, and with the added use of color they will find that striking and beautiful results can often be achieved.