Whether you’re enraged by Ikea’s Verdanagate, want to know what the Beach Boys have in common with easy Jet or why it’s okay to like Comic Sans, Just My Type will have the answer. Learn why using upper case got a New Zealand health worker sacked. Refer to Prince in the Tafkap years as a Dingbat (that works on many levels). Spot where movies get their time periods wrong and don’t be duped by fake posters on eBay. Simon Garfield meets the people behind the typefaces and along the way learns why some fonts – like men – are from Mars and some are from Venus. From type on the high street and album covers, to the print in our homes and offices, Garfield is the font of all types of knowledge.

    For when Jeanette Winterson looks at works as diverse as the Mona Lisa and Virginia Woolf's The Waves, she frees them from layers of preconception and restores their power to exalt and unnerve, shock and transform us."Art Objects is a book to be admired for its effort to speak exorbitantly, urgently and sometimes beautifully about art and about our individual and collective need for serious art."--Los Angeles Times

    These images would prove so powerful and evocative that they would eventually define the look of Peter Jackson's movie trilogy and earn him a coveted Academy Award.The book is filled with more than 150 of his sketches and early conceptual pieces showing how the project progressed from idea to finished art. It also contains a selection of full-page paintings reproduced in full color, together with numerous examples of previously unseen conceptual art produced for the films and many new works drawn specially for this book.The Lord of the Rings Sketchbook provides a fascinating insight into the imagination of the man who painted Tolkien's vision, first on the page and then in three dimensions on the movie screen. It will also be of interest to many of the thousands of people who have bought the illustrated Lord of the Rings as well as to budding artists who want to unlock the secrets of book illustration.

    Covering a wide array of artistic mediums, this fascinating collection also contains infographics about artistic movements throughout history, statistics about women's representation in museums, and notable works by women. Women in Art celebrates the success of the bold female creators who inspired the world and paved the way for the next generation of artists.

    The magic of the Encanto has blessed every child in the family with a unique gift from super strength to the power to heal—every child except one, Mirabel. But when she discovers that the magic surrounding the Encanto is in danger, Mirabel decides that she, the only ordinary Madrigal, might just be her exceptional family's last hope.• EXCLUSIVE BEHIND-THE-SCENES: Fans will want to delve into and explore this new Walt Disney Animation film through character designs, filmmaker stories, and making-of details exclusive to this book.• PART OF THE FAN-FAVORITE SERIES: The collectible Art of series from Disney and Pixar is perfect for animation enthusiasts, filmmakers, students, art buffs, and fans of Disney alike. Add this to the shelf alongside The Art of Raya and the Last Dragon, The Art of Frozen 2, and The Art of Soul.©2021 Disney Enterprises, Inc. All Rights Reserved.

    Bacon was also a legend in the London demimonde, a man who followed long nights of drinking, gambling, and sexual adventure with intense early morning encounters with the blank canvas.When Michael Peppiatt first met him in 1963, Bacon, then in his early fifties, was at the height of his powers. Over the next thirty years, Peppiatt became a close friend of Bacon's and one of his most perceptive critics, and he has produced a fascinating, disturbing portrait of this agonized modern artist.Bacon (1909–92) was raised in large country houses in rural Ireland by a family whose conventional expectations he rebelled against early on. As a young man he was introduced to the seamy side of life in London and Paris; but only after seeing a Picasso retrospective in 1928 did he become an artist. He sprang into prominence in 1944 with a triptych which shocked the art world with its sheer ferocity, and he soon emerged, with his friend Lucian Freud, as a leader of an informal “School of London,” which favored figurative painting in an age dominated by abstraction.As retrospectives of Bacon's work in Paris, London, and New York made his reputation soar, his nighttime exploits grew wilder and wilder; charming and confident, with a strong sadomasochistic streak, he was drawn to “rough trade” in London clubs and pushed all situations to the edge. At the same time, he was a deeply cultivated and thoughtful artist who was obsessively guarded about the sources of his inspiration.Peppiatt has unlocked many of the enigmas of Bacon's life and work. Bacon talked openly to Peppiatt about his early life, his sexuality, his fantasies, and his ambitions, aware that all was being recorded for publication. At the suggestion that some of his remarks would sound indiscreet, Bacon replied: “The more indiscreet, the more interesting it will be.” Together with many new facts, unpublished documents, and penetrating analyses of key paintings, these conversations have been integrated into what is the most complete and riveting account of one of the greatest artists of our time.

    Created in collaboration with Jeff Tweedy, Wilco, and Tony Margherita, this primarily visual book explores what Wilco does, how it does it, and where it all comes together. The band narrates the book in the form of long captions accompanying a variety of images: a Korean postcard, a Stratocaster, a backstage practice session, and so on. Along the way, central topics such as instruments, touring, and recording are covered both in general (i.e., what happens, physically, when a guitar string breaks) and specific to Wilco. Just as the band assembles its disparate talents and inspirations to make music, this book coheres in the end to reveal a 40 minute CD of original, unreleased songs. Just as Wilco experiments with music by turning convention on its head, this book is an utterly new take on the old genre of the rock 'n' roll book. The Wilco Book will look and read like a Wilco record sounds; it's a translation of the band's sensibility from sound into print.

    Under the direction of Stephen Greenblatt, General Editor, the editors have reconsidered all aspects of the anthology to make it an even better teaching tool.

    During his more than forty years in the business, Williams has been one of the true innovators, winning three Academy Awards and serving as the link between Disney's golden age of animation by hand and the new computer animation exemplified by Toy Story. Perhaps even more important, though, has been his dedication in passing along his knowledge to a new generation of animators so that they in turn could push the medium in new directions. In this book, based on his sold-out master classes in the United States and across Europe, Williams provides the underlying principles of animation that every animator--from beginner to expert, classic animator to computer animation whiz --needs. Urging his readers to "invent but be believable," he illustrates his points with hundreds of drawings, distilling the secrets of the masters into a working system in order to create a book that will become the standard work on all forms of animation for professionals, students, and fans.

    With Bluets, Maggie Nelson has entered the pantheon of brilliant lyric essayists.

    The poster has now become a postcard and e-mail blast, leaving many to long for the lost age when posters were not only major promotional vehicles, but also artwork worthy of framing.Some of the world's best designers just could not stand idle while the poster fell by the wayside. They turned to the poster for personal expression and as an outlet from more restrictive mediums.This book showcases their breathtaking artwork, which has proven that the poster can still serve as a worthy communications tool. In doing so, they've brought the poster back to prominence. In this book, the author has compiled the world's finest new work at the height of this rebirth. There is currently no book on the market that can claim it features a "definitive" poster collection.

    Using translation as his lens, David Bellos shows how much we can learn about ourselves by exploring the ways we use translation, from the historical roots of written language to the stylistic choices of Ingmar Bergman, from the United Nations General Assembly to the significance of James Cameron's Avatar.Is That a Fish in Your Ear? ranges across human experience to describe why translation sits deep within us all, and why we need it in so many situations, from the spread of religion to our appreciation of literature; indeed, Bellos claims that all writers are by definition translators. Written with joie de vivre, reveling both in misunderstanding and communication, littered with wonderful asides, it promises any reader new eyes through which to understand the world. In the words of Bellos: "The practice of translation rests on two presuppositions. The first is that we are all different: we speak different tongues, and see the world in ways that are deeply influenced by the particular features of the tongue that we speak. The second is that we are all the same—that we can share the same broad and narrow kinds of feelings, information, understandings, and so forth. Without both of these suppositions, translation could not exist. Nor could anything we would like to call social life. Translation is another name for the human condition."

    They Drew as They Pleased showcases four of these early pioneers and features artwork developed by them for the Disney shorts from the 1930s, including many unproduced projects, as well as for Snow White and the Seven Dwarfs, Pinocchio, and some early work for later features such as Alice in Wonderland and Peter Pan. Introducing new biographical material about the artists and including largely unpublished artwork from the depths of the Walt Disney Archives and the Disney Animation Research Library, this volume offers a window into the most inspiring work created by the best Disney artists during the studio's early golden age.They Drew as They Pleased is the first in what promises to be a revealing and fascinating series of books about Disney's largely unexamined concept artists, with six volumes spanning the decades between the 1930s and 1990s. Copyright ©2015 Disney Enterprises, Inc. All rights reserved.

    Using a layout style that was later copied by Wired, McLuhan and coauthor/designer Quentin Fiore combine word and image to illustrate and enact the ideas that were first put forward in the dense and poorly organized Understanding Media. McLuhan's ideas about the nature of media, the increasing speed of communication, and the technological basis for our understanding of who we are come to life in this slender volume. Although originally printed in 1967, the art and style in The Medium is the Massage seem as fresh today as in the summer of love, and the ideas are even more resonant now that computer interfaces are becoming gateways to the global village.

    His career boasts an incredible array of projects from designing cars to drafting architectural renderings, but he is most famous for his work as a concept artist on some of the most visually arresting films in the history of cinema. Since working on Star Trek: The Motion Picture in 1978 as a production illustrator Syd Mead has always aimed to render “reality ahead of schedule,” creating evocative designs that marry believable content with a neofuturistic form. It is this ability to predict technological potential that has helped Mead create such a distinctive and influential aesthetic. From his work with Ridley Scott on Blade Runner, to his striking designs for the light cycles in Tron, to his imposing concept art for the U.S.S. Sulaco in James Cameron’s Aliens, Syd Mead has played a pivotal role in shaping cinema’s vision of the future. The Movie Art of Syd Mead: Visual Futurist represents the most extensive collection of Mead’s visionary work ever printed, compiling hundreds of images, sketches and concept arts from a career spanning almost 40 years, many of which have never been seen in print before. Each entry provides a unique insight into the processes involved in Mead’s practice as well as illuminating the behind-the-scenes work involved in creating a fully realized, cinematic depiction of the future. With such a plethora of images from the many genre-defining films Mead has worked on, this is essential reading for film fans, artists and futurologists alike.