Conceived as a handbook and teaching aid for artists, instructors, and students, this timeless book presents Albers’s unique ideas of color experimentation in a way that is valuable to specialists as well as to a larger audience.Originally published by Yale University Press in 1963 as a limited silkscreen edition with 150 color plates, Interaction of Color first appeared in paperback in 1971, featuring ten representative color studies chosen by Albers. The paperback has remained in print ever since and is one of the most influential resources on color for countless readers.This new paperback edition presents a significantly expanded selection of more than thirty color studies alongside Albers’s original unabridged text, demonstrating such principles as color relativity, intensity, and temperature; vibrating and vanishing boundaries; and the illusions of transparency and reversed grounds. Now available in a larger format and with enhanced production values, this expanded edition celebrates the unique authority of Albers’s contribution to color theory and brings the artist’s iconic study to an eager new generation of readers.

    Even his contemporaries found the Dutch painter’s work difficult to decipher—and it still presents riddles to contemporary art historians. Part of the problem in analyzing his shocking and richly allegorical paintings is that virtually nothing is known of the artist himself, apart from his birthplace. There is no record of his life or training, no personal letters, diaries or notebooks, and no contemporary insights into his personality or his thoughts on the meaning of his art. Even his date of birth can only be guessed at, and that based on a drawing assumed to be a self-portrait, made shortly before his death in 1516, which supposedly shows the artist in his late sixties. Bosch remains as mysterious as the worlds he painted. Although rooted in the Old Dutch tradition, Bosch developed a highly subjective, richly suggestive formal language. With a mixture of religious humility and satanic wit, he illustrated both the joys of heaven and the cruelly imaginative tortures of hell. In his pictorial world teeming with surrealistic nightmares, the medieval imagination catches fire in a moment of final brilliance before succumbing to humanism and modern rationalism. Though the man himself remains a mystery, this book pulls together the elusive threads of Bosch’s work into a cohesive and comprehensive analysis of his work and methods.

    It is a result of a lifetime of study and research by the outstanding authority on the life and works of the great Florentine. Because of the unique and diverse character of Leonardo's achievements, the reissue of The Notebooks is an event of enduring importance in the fields of art, Literature, science and technology. 1180 Pages.

    Writing at the height of his career, Rand articulated in his slender volume the pioneering vision that all design should seamlessly integrate form and function. This facsimile edition preserves Rand's original 1947 essay with the adjustments he made to its text and imagery for a revised printing in 1970, and adds only an informative and inspiring new foreword by design luminary Michael Bierut. As relevant today as it was when first published, this classic treatise is an indispensable addition to the library of every designer.

    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.

    In Lives of the Surrealists, Desmond Morris concentrates on the artists as people—as remarkable individuals. What were their personalities, their predilections, their character strengths and flaws?Unlike the Impressionists or the Cubists, the surrealists did not obey a fixed visual code, but rather the rules of surrealist philosophy: work from the unconscious, letting your darkest, most irrational thoughts well up and shape your art. An artist himself, and contemporary of the later surrealists, Morris illuminates the considerable variation in each artist’s approach to this technique. While some were out-and-out surrealists in all they did, others lived more orthodox lives and only became surrealists at the easel or in the studio.Focusing on the thirty-five artists most closely associated with the surrealist movement, Morris lends context to their life histories with narratives of their idiosyncrasies and their often complex love lives, alongside photos of the artists and their work.

    Acclaimed illustrator Keri Smith encourages journalers to engage in "destructive" acts-poking holes through pages, adding photos and defacing them, painting with coffee, and more-in order to experience the true creative process. Readers discover a new way of art and journal making-and new ways to escape the fear of the blank page and fully engage in the creative process.

    It covers everything from "seeing" the finished photo in advance, to lens choices. It is illustrated with many of Ansel Adams most famous images.

    Bursting with color, vivid imagery, and bouts of whimsy mixed with deeply intimate insights, the sketchbooks capture the texture of personal experience in a dizzying variety of illustrative styles and layouts that run the gamut from street portraits to stream-of-consciousness doodles, comics, and pop-ups. The Sketchbook Project World Tour presents the most compelling, surprising, and visually stunning examples from this one-of-a-kind artistic treasury.

    His work shows art at its most light-hearted, sensual and luminous. Renoir never wanted anything ugly in his paintings, nor any dramatic action. "I like pictures which make me want to wander through them when it's a landscape," he said, "or pass my hand over breast or back if it's a woman." Renoir's entire oeuvre is dominated by the depiction of women. Again and again he painted "these faunesses with their pouting lips" (Mallarme) and invented a new image of feminity.

    Written by the famous nonobjective painter Wassily Kandinsky (1866–1944), it explains Kandinsky's own theory of painting and crystallizes the ideas that were influencing many other modern artists of the period. Along with his own groundbreaking paintings, this book had a tremendous impact on the development of modern art.Kandinsky's ideas are presented in two parts. The first part, called "About General Aesthetic," issues a call for a spiritual revolution in painting that will let artists express their own inner lives in abstract, non-material terms. Just as musicians do not depend upon the material world for their music, so artists should not have to depend upon the material world for their art. In the second part, "About Painting," Kandinsky discusses the psychology of colors, the language of form and color, and the responsibilities of the artist. An Introduction by the translator, Michael T. H. Sadler, offers additional explanation of Kandinsky's art and theories, while a new Preface by Richard Stratton discusses Kandinsky's career as a whole and the impact of the book. Making the book even more valuable are nine woodcuts by Kandinsky himself that appear at the chapter headings.This English translation of Über das Geistige in der Kunst was a significant contribution to the understanding of nonobjectivism in art. It continues to be a stimulating and necessary reading experience for every artist, art student, and art patron concerned with the direction of 20th-century painting.

    Initially they were ridiculed in the art world for their pretension and subject matter, but ten years after their foundation no self-respecting Victorian would admit to being ignorant of Pre-Raphaelite art.The movement later began to change direction as new influences were brought to bear on the group; Dante Gabriel Rossetti came to the fore alongside artists such as Walter Howell Deverell and Edward Burne-Jones, as well as William Morris, the founding father of the Arts and Crafts movement. Essential Pre-Raphaelitesexamines the work of the movement, its loosely affiliated personalities, diverse subject matter, and profound effect on nineteenth-and twentieth-century art.

    It was there that he produced some of his most beautiful and best-known paintings, as well as another masterpiece: this enchanting journal. Complete with sensuous woodblock prints and sketches, this exquisitely designed editionfirst published by Chronicle in 1994 and now reissued with a beautiful new jacketis still the only translation to contain all of Gauguin's richly colored illustrations of the Tahiti diary. Including Tahitian myths and legends, affectionate tales of Gauguin's encounters with the captivating Tahitian people, and fascinating glimpses of the inspiration behind his most famous paintings, Noa Noa assumes its rightful place among the masterworks of an extraordinary artist.

    That’s the message from Austin Kleon, a young writer and artist who knows that creativity is everywhere, creativity is for everyone. A manifesto for the digital age, Steal Like an Artist is a guide whose positive message, graphic look and illustrations, exercises, and examples will put readers directly in touch with their artistic side.

    This intimate, lovingly produced look at how the various environments in all six Star Wars movies were created contains literally 1,000 full-color behind-the-scenes photographs (some quite candid!) and insightful commentary by Knoll, as well as a bonus CD-ROM with cool QuickTime panoramas of some of the sets included in the three motion picture prequels. From the old-school motion-control photography in 1977's Star Wars: Episode IV -- A New Hope to the revolutionary refinement of digital cinema in 2005's Star Wars: Episode III -- Revenge of the Sith, this book contains it all -- from creating low-altitude shots of the Death Star out of plywood to producing breathtaking digi-matte paintings of the Jedi Council Chamber skyline and aerial views of Coruscant and Naboo. Jaw-dropping surprises abound as well, including deleted scenes, a look into LucasFilm's archive buildings, and a rarely seen Darth Vader custom design concept from 1976. Chronicling the almost three decades between George Lucas's founding of Industrial Light and Magic in 1976 and the release of Star Wars: Episode III in 2005, Knoll's shelf-bending brick of a book (744 pages) is the equivalent of sitting down with an old friend and looking through a gigantic photo album containing stunning pictures of his travels abroad -- except in this case, the journey happened to be to a galaxy far, far away. Simply put, Creating the Worlds of Star Wars: 365 Days is one of the most enlightening and entertaining books Star Wars fans will ever come across. Prepare to be blown away. Paul Goat Allen