76 duotones.

    Graphic Design which fulfills aesthetic needs, complies with the laws of form and exigencies of two-dimensional space; which speaks in semiotics, sans-serifs, and geometrics; which abstracts, transforms, translates, rotates, dilates, repeats, mirrors, groups, and regroups is not good design if it is irrelevant.Graphic design which evokes the symmetria of Vituvius, the dynamic symmetry of Hambidge, the asymmetry of Mondrian; which is a good gestalt, generated by intuition or by computer, by invention or by a system of coordinates is not good design if it does not communicate. - Paul Rand For the design student, teacher, professional designer, and, indeed, for anyone interested in the creative communication of ideas, Paul Rand: A Designer's Art is certain to be a book that is both provocative and enlightening.

    More than 100 4-color plates; 25 black-and-white illustrations. Shrink-wrapped.

    Brassaï carefully and affectionately records each of his meetings and appointments with the great artist, building along the way a work of remarkable depth, intimate perspective, and great importance to anyone who truly wishes to understand Picasso and his world.

    Part sweet songs of unseen birds and part cautionary tales, this abecedarium fully lives up to the epithet "eclectic."

    This collection of new photographs is the first of his books in which he shows how he achieves his unique multiple images. Ueslmann narrates his own creative process in a fascinating visual account of a single day's work in the darkroom."

    Traditional criticism has viewed Surrealist photography as a pale imitiation of authentic Surrealist work. The assumption has been that photography, a realistic medium, is fundamentally incomptatible with a cause devoted to the wildly subjective, the world of dreams and the unconscious. As a consequence, Surrealist photography, a major body of 20-century art, has remained largely unexplored.

    Thoroughly inspiring." — WorkbenchThe republication of this highly valuable text by Edouard Lanteri, a renowned teacher, sculptor, and intimate friend of Rodin (Rodin called him "my dear master, my dear friend"), makes it possible for serious students to gain the requisite skills needed for figurative sculpture and to bridge the gap between artistic concept and figurative realization.Modelling and Sculpting Animals, together with its companion piece Modelling and Sculpting the Human Figure, is the classic treatise on the techniques of figurative sculpture. Representing at least three thousand years of studio lore, this readily understandable, authoritative guide is a goldmine of technical information, easily comprising a four-year sculpture curriculum unavailable elsewhere.In this reasonably priced volume, devoted almost entirely to the modelling of animals, Lanteri offers thorough step-by-step instruction for the figurative sculptor. Beginning with a description of the historical symbolism of animals in different cultures, the author then proceeds to give meticulous anatomy for the horse, lion, and bull. Rules of motion, measurements of construction, erecting the framework, tools, materials, and other pertinent aspects of animal sculpture are covered in detail. The final section presents a comprehensive exposition of the methods of casting in plaster, including how to mix the plaster, applying successive layers and irons, opening the mold, soaping and oiling, chipping off the mold, and special precautions. A profusion of illustrations — over 200 photographs, drawings, and diagrams — clearly demonstrate every principle and method the author describes. 64 full-page photographic plates, 139 drawings and diagrams.

    This moment has come at last. This book is not only a permanent record of Hale's teachings, but also the crowning achievement of a man who remains an unforgettable presence in the lives of artists throughout America.

    O’Keeffe, an artist of immense stature in twentieth-century art, is known primarily as a painter. However, her earliest mature works, which led to her first New York exhibitions and initial acclaim, were works on paper as well, and she resumed her intense commitment to drawing and watercolor in the 1960s and 1970s. The works on paper can be viewed in the larger context of O’Keeffe’s career as an artist. They move from stylized, flat patterning of the early charcoals to the rhapsodic organic forms and fresh uses of color in the watercolors to the tighter, more focused compositions of the later pastels, charcoals, and pencil drawings. Finally, the works on paper of the 1960s and 1970s are characterized by an extreme simplification and almost decorative flatness. Richly illustrated with thirty-one full-color plates and twenty-one duotones, accompanied by an introduction, critical essay, and biographical chronology.