Extracted from an Afghan mine, the blue “ultramarine” paint used by Michelangelo was so expensive he couldn’t afford to buy it himself. Since ancient times, carmine red—still found in lipsticks and Cherry Coke today—has come from the blood of insects.

    Silencing that stifling voice once and for all, this salve for creatives introduces ten truths they must face in order to defeat self-doubt. Each encouraging chapter deconstructs a pivotal moment on the path to success—fear of the blank page, the dangers of jealousy, sharing work with others—and explains how to navigate roadblock. Packed with helpful anecdotes, thoughts from successful creatives, and practical exercises gleaned from Danielle Krysa's years of working with professional and aspiring artists—plus riotously apt illustrations from art world darling Martha Rich—this book arms readers with the most essential tool for their toolbox: the confidence they need to get down to business and make good work.

    Pressfield believes that “resistance” is the greatest enemy, and he offers many unique and helpful ways to overcome it.

     Adapted from the column on its author's website, Nathan Rabin's Happy Place, with 52 hilarious, sometimes obscure and often oddly beautiful new original illustrations from Felipe Sobreiro and an introduction from Al himself, The Weird Accordion to Al explores every track on all sixteen of Al's records (14 studio albums, the Medium Rarities obscurities collection and Peter & the Wolf, his collaboration with Wendy Carlos) with an obsessiveness thats downright peculiar. Equal parts music criticism, cultural and comedy history, autobiography and comic meditation on nostalgia, television, consumerism, childhood, technology and food, The Weird Accordion to Al does justice to a musical legend and comic genius the extent of whose remarkable achievements are only now being fully understood and appreciated. Praise for The Weird Accordion to Al “A brilliant, heartfelt cry of obsession and love for an already beloved and obsessed-over artist. Share Nathan’s madness and be freed!”—Patton Oswalt "This book is pop culture history, music dissertation, and comedic theory. Nathan has exemplified the qualities that make Weird Al an artist who is equal parts Frank Zappa, Mel Brooks, and Mark Twain.”—Jonah Ray “You don’t have to be a fan of Weird Al to enjoy Rabin’s raucous deep-dive into the complete discography. But if you’re not a Weird Al fan there’s clearly something wrong with you”—Alex Winter “Wonderfully captures the quirks and fun details that have made the Yank-oeuvre ooze with oddness for almost four decades. Nathan really shows you what makes Al's mind tick. Spoiler: It's the neurons. A must read for anyone unemployed, childless, or with ninety spare hours to kill.”—Scott Aukerman “The Weird Accordion to Al is the definitive companion to the “Weird Al” catalogue. It’s chock full of fascinating insights that left my head spinning like a Frankie Yankovic record (no relation). Nobody covers the Al canon in better depth than Nathan Rabin. It’s a must-read for the weirdos in your life. I learned so much from this VERY SPECIFIC book.”—Thomas Lennon "Nathan Rabin is obsessive in the best sense of the word. He literally ALREADY wrote the book on Weird Al that Weird Al asked him to write. That wasn't enough for Nathan and that's why we are lucky to have this book. Al's contributions to pop culture deserve the kind of obsession that only Nathan Rabin can bring to the page and he brings it big time in this book. He dares to be very smart about "Dare To Be Stupid.’”—Jake Fogelnest

    This full-color, oversize title reveals Kalman's thoughts on magazines, advertising, sex, bookstores, food, and the design profession. Product designs, stills and storyboards from his film and video projects, and spreads from his book and magazine work are included. The impressive list of contributors includes Kurt Andersen, Paola Antonelli, David Byrne, Jay Chiat, Steven Heller, Isaac Mizrahi, Chee Pearlman, Rick Poynor, and Ingrid Sischy.

    First published in 1936 and twice revised since then, this survey explores a period of major, exciting transition away from stale Victorian historicism to the 20th century and our modern machine age.

    Bestselling author, artist, and illustrator Lisa Congdon brings her expertise to this guide to the process of artistic self-discovery.Find Your Artistic Voice helps artists and creatives identify and nurture their own visual identity.This one-of-a-kind book helps artists navigate the influence of creators they admire, while simultaneously appreciating the value of their personal journey.• Features down-to-earth and encouraging advice from Congdon herself• Filled with interviews with established artists, illustrators, and creatives• Answers the question "how do I develop a unique artistic style?"An artist's voice is their calling card—it's what makes each of their works vital and particular, but developing such singular artistry requires effort and persistence.Find Your Artistic Voice offers everyday strategies, inspirational anecdotes, and practical advice to push through fear and insecurity in your artistic practice.• Makes a perfect gift for aspiring artists and creatives, serious hobbyists, art students, makers, teachers, budding creative professionals, and fans of Lisa Congdon• A self-help creativity book for those looking for artistic guidance• Great for those who enjoyed reading The Artist's Way by Julia Cameron, Big Magic by Elizabeth Gilbert, and Art/Work: Everything You Need to Know (and Do) As You Pursue Your Art Career by Heather Darcy Bhandari and Jonathan Melber

    Master this challenge with professional photographer Lee Varis as he covers a range of skin: women and men, young and old, various tones, in-studio and outdoors, tattoos, and more. His step-by-step tutorials and before-and-after illustrations demonstrate various techniques for topics such as digital-specific lighting challenges and what can and cannot be done in post-process. A free CD-ROM accompanies the book and contains sample image files to use while following the tutorials, plus equipment recommendations and technical reference materials that enhance and reinforce the instruction. Order your copy of this practical guide today and get a complete start-to-finish approach to integrating everything from posing models to shooting and retouching candid scenes.

    On both economic and psychological grounds, author Matthew B. Crawford questions the educational imperative of turning everyone into a "knowledge worker," based on a misguided separation of thinking from doing. Using his own experience as an electrician and mechanic, Crawford presents a wonderfully articulated call for self-reliance and a moving reflection on how we can live concretely in an ever more abstract world.

    Arranged in broadly chronological order, it provides a source of inspiration and a fascinating resource for the general reader to dip into. Lavishly illustrated with historical masterpieces and packed with fascinating contemporary examples, this is an inspirational and wholly original guide to understanding the forces that have shaped world art.

    Among significant mid-century interiors, none are more celebrated yet underpublished as the homes created by architects and interior designers for themselves. This collection of newly commissioned photographs presents the most compelling homes by influential mid-century designers, such as Russel Wright, George Nakashima, Harry Bertoia, Charles and Ray Eames, and Eva Zeisel, among others. Intimate as well as revelatory, Williamson’s photographs show these creative homes as they were lived in by their designers: Walter Gropius’s historic Bauhaus home in Massachusetts; Albert Frey’s floating modernist aerie on a Palm Springs rock outcropping; Wharton Esherick’s completely handmade Pennsylvania house, from the organic handcarved staircase to the iconic furniture. Personal and breathtaking by turn—these homes are exemplary studies of domestic modernism at its warmest and most creative.

    To Goethe, the theory was the result of mistaking an incidental result for an elemental principle. Far from pretending to a knowledge of physics, he insisted that such knowledge was an actual hindrance to understanding. He based his conclusions exclusively upon exhaustive personal observation of the phenomena of color.Of his own theory, Goethe was supremely confident: "From the philosopher, we believe we merit thanks for having traced the phenomena of colours to their first sources, to the circumstances under which they appear and are, and beyond which no further explanation respecting them is possible."Goethe's scientific conclusions have, of course, long since been thoroughly demolished, but the intelligent reader of today may enjoy this work on quite different grounds: for the beauty and sweep of his conjectures regarding the connection between color and philosophical ideas; for an insight into early nineteenth-century beliefs and modes of thought; and for the flavor of life in Europe just after the American and French Revolutions.The work may also be read as an accurate guide to the study of color phenomena. Goethe's conclusions have been repudiated, but no one quarrels with his reporting of the facts to be observed. With simple objects -- vessels, prisms, lenses, and the like -- the reader will be led through a demonstration course not only in subjectively produced colors, but also in the observable physical phenomena of color. By closely following Goethe's explanations of the color phenomena, the reader may become so divorced from the wavelength theory -- Goethe never even mentions it -- that he may begin to think about color theory relatively unhampered by prejudice, ancient or modern.

    He believes “in the wonder and exuberance of someone who gets paid-by clients to do what he loves.” Howe places immense value on curiosity and passion to help designers develop a point of view, a strong voice. He explores the creative process and conceptualization, and delves into what to do when inspiration is lacking. If there’s a villain in these elegant, incisive, amusing, and inspiring essays, it’s ad agencies and marketing directors, but even villains serve a purpose and illustrate the strength of graphic design “as a system, as a way of thinking, as almost a life style.” Howe believes that advertising and design must merge, but merge with design in the leadership role. He says that designers should create for clients and not in the hope of winning awards. He believes designers should swear “a 10-year commitment to make everything we do for every client a gift.” If this sounds like the designer is the client’s factotum, not so. Howe also argues in favor of offering clients a single solution and being willing to defend a great design. Organized not only by topic, but also by how long it will take the average reader to complete each chapter, Designers Don’t Read is intended to function like a “daily devotional” for designers and busy professionals involved in branded communications at all levels. Begun as a series of weekly essays sent every Monday morning to top graphic designers, Designers Don’t Read quickly developed a passionate and widespread following. With the approximate time each chapter might take to read, Designers Don’t Read’s delight and provocation can be fit into the niches in the life of a time-challenged designer. Or it may be hard to resist reading the entire book in one sitting!

    An outspoken voice in the world of graphic design for more than twenty years, Paul Scher has developed a worldwide reputation for her bold, modern graphics and her incisive critiques of the design profession.

    Most deal with questions of design in a wide range of areas, from architecture and furniture, to clothes and jewellery, pottery, plumbing, and printing; others are polemics on craft education and training, and on design in general. Loos, the great cultural reformer and moralist in the history of European architecture and design was always a 'revolutionary against the revolutionaries'. With his assault on Viennese arts and crafts and his conflict with bourgeois morality, he managed to offend the whole country. His 1908 essay 'Ornament and Crime', mocked by an age in love with its accessories, has come to be recognised as a seminal work in combating the aesthetic imperialism of the turn of the century. Today Loos is recognised as one of the great masters of modern architecture.