We are very pleased to be the first U.S. publisher to offer Ediths timeless watercolors.

    How to Draw and Paint Fairies confronts the fairy labor shortage directly, explaining all the techniques needed to bring fairy art to life. For beginners, explanations of basic techniques and easy-to-follow constructional drawings, plus information on materials, sketching, forms, and color make starting out easy and pleasant. As artists progress, the book offers detailed descriptions and beautiful illustrations of little people--from flower, water, and moon fairies, to nymphs and sprites, to sirens. Basic to advanced techniques on watercolor and mixed media are covered step-by-step, and finished images from leading fairy artists provide inspiration. This beautiful book will make every artist believe in fairies.

    Each adorns a page with artworkhaving seen only the page of the artist immediately prior and using a single horizon line to connect the two. Some continue the "story" quite literally while others build on the previous page in more fanciful ways. This astonishing volume's format is as unique as its content, with each of the book's ten chapters residing on a ten-page accordion pull-out, allowing readers to view the art continuously. With an illustrated foreword by Dave Eggers, and art from such luminaries as James Jean and Jill Bliss, this charming book is, simply, exquisite.

    That will paint itself. Do the obvious thing before you do the superhuman thing. It may have been accidental, but you knew enough to let this alone. The good painter is always making use of accidents. Never try to repeat a success. Swing a bigger brush — you don’t know what fun you are missing. For 31 years, Charles Hawthorne spoke in this manner to students of his famous Cape Cod School of Art. The essence of that instruction has been collected from students’ notes and captured in this book, retaining the personal feeling and the sense of on-the-spot inspiration of the original classroom. Even though Hawthorne is addressing himself to specific problems in specific paintings, his comments are so revealing that they will be found applicable a hundred times to your own work.The book is divided into sections on the outdoor model, still life, landscape, the indoor model, and watercolor. Each section begins with a concise essay and continues with comments on basic elements: general character, color, form, seeing, posture, etc. It is in the matter of color that students will especially feel themselves in the presence of a master guide and critic. Hawthorne’s ability to see color and, more important, to make the student see color, is a lesson that will aid student painters and anyone else interested in any phase of art.Although it does not pretend to be a comprehensive or closely ordered course, this book does have much to offer. It also represents the artistic insight of one of the finest painter-teachers of the twentieth century."An excellent introduction for laymen and students alike." — Time"To read these notes and comments … is in itself an education. One cannot help but gain great help." — School Arts

    Introducing students to a variety of established theories of art, he presents the traditional sets of criteria of Realism, Expressionism, and Formalism, which are in turn updated by recent sources of Poststructuralism. Barrett applies each of these theories to challenging works of contemporary art, pointing out the strengths and weaknesses of each mode of interpretation. He encourages students to consider many criteria when evaluating an artwork, to critically examine judgments made by others, and to make informed judgments of their own. Ideal for courses in aesthetics, art theory, art criticism, and the philosophy of art, Why Is That Art? is organized chronologically according to the history of aesthetics. It features sixty-seven illustrations (twenty-six in a full-color insert), discusses a wide range of American and European artists, and includes an exceptional overview of postmodern pluralism. This unique book will provide students with a newfound appreciation for contemporary art, scholarship, and reasoned argumentation, giving them the confidence to join the fascinating discourse on contemporary art.

    Today artists routinely dissolve the old boundaries of art by creating works that neither hang on walls nor adorn pedestals, and often willfully overturn conventions of aesthetic value, permanence and optical reward. Curator and educator Weintraub has researched and/or interviewed 35 prominent radical artists and here explores their common concerns, creative processes and media. Devoting one essay to each artist, Weintraub offers a primer for museum and gallery goers who may be confronting such works for the first time, discussing Andres Serrano's photo of a crucifix submerged in urine, the half ton of dirty clothes Christian Boltanski piled on a museum floor worn by children of the Holocaust, Janine Antoni's mammoth blocks of chocolate and lard, Chuck Close's computer art and David Hammon's detritus constructions.

    Inspiration, spontaneity, temperament are unknown to me. One has to do the same subject ten times, even a hundred times over. In art, nothing should look like chance, not even movement." Edgar Degas In terms of both theme and technique, the key to understanding the early work of Edgar Degas (1834-1917) is classical painting. Although he was eventually associated with the Impressionists and even participated in their joint exhibitions, Degas never adopted a purely Impressionist approach. Degas's work, reflecting an extremely personal and psychological perspective, emphasizes the scenic or concentrates on the detail. Thus, Degas's painting is often discussed with reference to the rise of short-exposure photography. Thematically, nature proved less interesting to the artist than the life and inhabitants of the modern metropolis. Degas primarily sought his motifs in ballet salons, at the race track or circus, or in bedrooms - but dancers always remained his favorite theme. About the Series: Each book in TASCHEN's Basic Art Series features:a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 colour illustrations with explanatory captions

    However, he scored his breakthrough in applied art, and particularly in his high-profile movie work on Ridley Scott's Alien. In 1980, he received an Oscar for "Best Achievement for Visual Effects" for his designs of the film's title creature and its otherworldly environment. His other celebrated film projects include Poltergeist II, Alien 3 and Species, for which he designed a deadly but beautiful half-extraterrestrial female creature and a fantastic nightmare train. Giger's album covers for Debbie Harry and Emerson, Lake and Palmer were voted as being among the top hundred in music history by music journalists, while furniture designed by Giger graces a bar in Chur, Switzerland. This book was designed by the artist himself, and features detailed commentaries in which Giger describes his work from the early 1960s to the late 1990s; the authentic voice of the master.

    91 color images; 32 line drawings.

    Readers are shown how the interplay of complementary hues can trigger vibrations; how the push and pull of warm and cool colors can create a feeling of space; how to disguise one color in a scene to accent another; and many more tidbits of colorful advice.

    In the year in which Matar's life was shattered by the disappearance of his father the work of the great artists of Siena seemed to offer him a sense of hope. Over the years since then, Matar's feelings towards these paintings would deepen and, as he says, 'Siena began to occupy the sort of uneasy reverence the devout might feel towards Mecca or Rome or Jerusalem'.A Month in Siena is the encounter, twenty-five years later, between the writer and the city he had worshipped from afar. It is a dazzling evocation of an extraordinary place and its effect on the writer's life. It is an immersion in painting, a consideration of grief and a profoundly moving contemplation of the relationship between art and the human condition.____________________________________'An exquisite, deeply affecting book' - Evening Standard'This book tells us much about the extraordinary power of art to inspire' Literary Review

    Written by internationally recognized artists and teachers John Ross, Clare Romano, and Tim Ross, this book takes the reader, step by step, through the history and techniques of over 45 printmaking methods: from the traditional etching, engraving, lithography, and relief print processes to today's computer prints, Mylar lithography, copier prints, water-based screen printing, helio-reliefs, and monotypes.With a survey of issues and contemporary concerns in the printmaker's world — a chapter on the burgeoning business of printmaking offering professional insights into copyright laws for artists, cooperative workshops, evolving relationships between dealers and galleries, and the newest trends in print publishing — The Complete Printmaker is indeed what American Artist magazine termed: "an encyclopedia of printmaking ... all you do is add your own talent, effort and love."

    In Landscape Painting, Mitchell Albala shares his concepts and practices for translating nature's grandeur, complexity, and color dynamics into convincing representations of space and light.  Concise, practical, and inspirational, Landscape Painting focuses on the greatest challenges for the landscape artist, such as: •  Simplification and Massing: Learn to reduce nature's complexity by looking beneath the surface of a subject to discover the form's basic masses and shapes.•  Color and Light: Explore color theory as it specifically applies to the landscape, and learn the various strategies painters use to capture the illusion of natural light.•  Selection and Composition: Learn to select wisely from nature's vast panorama. Albala shows you the essential cues to look for and how to find the most promising subject from a world of possibilities. The lessons in Landscape Painting—based on observation rather than imitation and applicable to both plein air and studio practice—are accompanied by painting examples, demonstrations, photographs, and diagrams. Illustrations draw from the work of more than 40 contemporary artists and such masters of landscape painting as John Constable, Sanford Gifford, and Claude Monet.  Based on Albala's 25 years of experience and the proven methods taught at his successful plein air workshops, this in-depth guide to all aspects of landscape painting is a must-have for anyone getting started in the genre, as well as more experienced practitioners who want to hone their skills or learn new perspectives.

    With extensive treatment of the heart of epidemiology-from study designs to descriptive epidemiology to quantitative measures-this reader-friendly text is accessible and interesting to a wide range of beginning students in all health-related disciplines. A unique focus is given to real-world applications of epidemiology and the development of skills that students can apply in subsequent course work and in the field. The text is also accompanied by a complete package of instructor and student resources available through a companion Web site.

    The Art of Urban Sketching is both a comprehensive guide and a showcase of location drawings by artists around the world who draw the cities where they live and travel.