All the basic information relating to picture elements, composition, theme and design is provided at the start of the book, together with an exploration of the meaning of abstract painting, and its importance as a means of self-expression and creativity.

    ROBOT, SCANDAL and MAD MEN. Story Maps: TV Drama offers the first beat sheet for television screenwriters ("Save the Cat" for TV). This is the structural template that aspiring and professional TV writers have been looking for. A clear, practical, step-by-step method to write a pilot that adheres to Hollywood standards. How to write a TV pilot has never been easier. Writing a pilot begins here. This book first introduces you to the key formats, genres and terminology of modern TV shows, then details the major signpost beats of a teleplay and the crucial characteristics that must be present in each act, using specific examples from our new "Golden Age of Television." Story Maps: TV Drama has been endorsed by many INDUSTRY PROFESSIONALS in Hollywood, including: "Story Maps: TV Drama is a handy, practical guide that walks writers through the process of creating a compelling TV drama. Using examples from some of the most respected shows on television, writers will learn to master the form from outline to Fade Out. I wish I'd had this book when I was first starting out!" — Hilary Weisman Graham, Writer, Bones (Fox), Orange is the New Black (Netflix) “I plan to use Calvisi's process on our upcoming show in development at Starz." — Kirkland Morris, Producer, Tomorrow, Today (STARZ) "An excellent resource.” — M-L Erlbach, Writer, Masters of Sex (Showtime) “This book blows all others out of the water! There’s no other TV writing book that offers this level of detail when it comes to how to structure a one-hour television drama pilot.” — Larry Reitzer, Writer, Melissa & Joey, Just Shoot Me!, Ugly Betty “I’ve worked in film and television for years and I can say for certain that there is nothing else like Calvisi’s book anywhere out there. His system is truly unique and breaks TV pilot structure down step-by-step, using very specific examples from some of the great pilots of recent years.” — Fritz Manger, Producer, A Deadly Adoption with Will Ferrell and Kristen Wiig "I've turned to Calvisi for notes on several scripts in the past, and this new book is well-timed as the industry makes a huge shift toward television. This is a fantastic primer in developing a rock-solid one-hour TV pilot. I recommend this book to writers as the foundation in creating excellent story structure.” — Richard J. Bosner, Producer, Fruitvale Station, Other People, The Wannabe "Calvisi has a firm grasp on the nature of the one-hour drama for television. I have little doubt that by following his guidelines and doing your homework, he can lead you to create a great pilot of your own!" — Jenny Frankfurt, Literary Manager, High Street Management “The bottom line is, don’t learn the hard way like I did. Use Dan’s book instead.

    The twelfth edition of this classic reference has been revised and updated to provide all the information creative professionals need to keep up with current trends and compete in an ever-changing industry.

    Each of its 100 sections shows a complete A-to-Z calligraphy alphabet, with lessons on correct pen strokes and advice on avoiding errors. Beginners will find sound basic instruction, while experienced calligraphers can extend their repertoire with letter styles that range from classic Roman to clean and elegant contemporary styles. In addition to analysis of each alphabet's features, the book's detailed instruction provides information on -- Tools and materials * Layout basics * Numerals and punctuation * Illumination and ornamentation * Tips for the left-handed calligrapher . . . and more. Readers will also find examples by master calligraphers from past eras. This book's spiral binding ensures that pages lay flat when opened, allowing calligraphers to study and copy each pen stroke with ease. The Calligrapher's Bible is printed in color and features more than 350 illustrations.

    One of these principles is what Harold Speed calls "dither," the freedom that allows realism and the artistic vision to play against each other. Very important to any artist or work of art, this quality separates the scientifically accurate from the artistically accurate. Speed's approach to this problem is now considered a classic, one of the few books from the early years of this century that has continued to be read and recommended by those in the graphic arts.In this work, Harold Speed approaches this dynamic aspect of drawing and painting from many different points of view. He plays the historical against the scientific, theory against precise artistic definition. He begins with a study of line drawing and mass drawing, the two basic approaches the artist needs to learn. Further sections carry the artistic vision through unity and variety of line and mass, balance, proportion, portrait drawing, the visual memory, materials, and procedures. Throughout, Speed combines historical backgrounds, dynamic aspects which each technique brings to a work of art, and specific exercises through which the young draughtsman may begin his training. Although not a technique book in the strict sense of the terms, The Practice and Science of Drawing brings to the beginner a clear statement of the principles that he will have to develop and their importance in creating a work of art. Ninety-three plates and diagrams, masterfully selected, reinforce Speed's always clear presentation.Harold Speed, master of the art of drawing and brilliant teacher, has long been cited for this important work. For the beginner, Speed will develop a sense for the many different aspects which go into an artistic education. For the person who enjoys looking at drawings and paintings, Speed will aid developing the ability to see a work of art as the artist meant it to be seen.

    Featuring the breathtaking design of Chip Kidd and Mike Essl, WATCHING THE WATCHMEN is both a major art book in its own right, and the definitive companion to the graphic novel that changed an industry.Voted among Time magazine's 100 Best Novels from 1923 to the present, a perennial bestseller over the past twenty years and widely considered the greatest graphic novel of all time, WATCHMEN is a gripping, labyrinthine piece of comic art, which has earned an acclaimed place in modern literary history."I've had a great time, re-visiting the very beginnings of Watchmen and unearthing material I haven't set eyes on for many years. As a fan myself, this is the kind of stuff I eat up and I'm sure the many devotees of the graphic novel will do the same!" says Gibbons.© DC Comics 2008. All Rights Reserved.

    The combined contents offer readers an unmatched collection of great ideas and techniques, from the latest supplies (papers, adhesives, paints, pens) to innovative layouts (mandalas, diagonals, cutouts, grids). Sidebars highlight specific genres, such as pillow books, nature journals, and illuminated manuscripts. Plus, newly added content includes journaling artist profiles along with galleries of their work, new techniques, and a new project where readers learn to make a journal from a butter box.

    Expert watercolorist, illustrator, instructor, and co-founder of Urban Sketchers Montreal Shari Blaukopf shares her essential color tips about color-water ratio, achieving bold color, avoiding muddy washes, painting in layers, and using wet-in-wet techniques. This essential handbook covers:supplies and materialssample color palettescolor mixingusing limited palettesmonochrome sketchesthe power of complementary colorsusing evocative, expressive color  With a focus on using watercolor with greater confidence and knowledge, the book also delves into pencil and ink and water-soluble pencils.   The instructional text is enhanced with stunning watercolor illustrations by the author and other expert urban sketchers from beautiful locations around the globe. The illustrations include examples of color swatches showing value; mixing; illustrations of complementary, analogous, and neutral color schemes; and sample galleries.Working with Color is an indispensable guide for on-location artists looking to expand and strengthen their expressive use of color.

    Each spread in the book features a beautiful drawing by one of 8 professional illustrators, with a description and comments by the illustrator as well as a companion exercise. Each exercise includes suggestions for various mediums or mixed-media solutions, advice on how to approach and execute the drawing, as well as professional tips. The book also includes exercises designed to spark new ideas and increase creativity.

    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.

    The drawings contained within it represent the entire range of animation development, from the origins of ideas to fully conceived characters. Pencil studies of a much-younger Wendy and a serpentlike sea witch reveal the many imaginative iterations that animators create before they ultimately perfect every hero and villain. And comprehensive studies of Mickey and Baloo showcase the dedication that goes into defining the facial expressions and body language of each beloved character.Films and shorts from throughout the history of the company are featured-beginning with Steamboat Willie and ending with Tangled-demonstrating the ingenuity and skill that have remained a constant at Walt Disney Animation Studios since 1928.

    For those artists (and their long-suffering friends), here is the best book ever. Facial Expressions includes more than 2,500 photographs of 50 faces—men and women of a variety of ages, shapes, sizes, and ethnicities—each demonstrating a wide range of emotions and shown from multiple angles. Who can use this book? Oh, only every artist on the planet, including art students, illustrators, fine artists, animators, storyboarders, and comic book artists. But wait, there’s more! Additional photos focus on people wearing hats and couples kissing, while illustrations show skull anatomy and facial musculature. Still not enough? How about a one-of-a-kind series of photos of lips pronouncing the phonemes used in human speech? Animators will swoon—and artists will show a range of facial expressions from happy to happiest to ecstatic.

    This work reveals the growth of an artist who saw no artificial boundary between art and the paying job and who succeeded in putting her indelible stamp on the visual imagination.

    Let Mark Linley inspire you to pick up your pencil and create a magical masterpiece. His positive approach secures quick, accurate results and ever-growing confidence.

    Conclusions are perpetually delayed. Resolutions are continually postponed. The text is written for takeoff, not arrival. It is a first step for readers' explorations of current modes of art making and for their own future artistic achievements. The much-anticipated follow-up to Art on the Edge... and Over, Linda Weintraub's highly accessible introduction to contemporary art since the 1970s, In the Making: Creative Options for Contemporary Art explores essential but sometimes elusive facets of art making today. In her trademark writing style--straightforward and jargon-free--Weintraub sets out to itemize the conceptual and practical concerns that go into making contemporary art in all its endless permutations. In six clearly defined thematic sections---Scoping an Audience, - -Sourcing Inspiration, - -Crafting an Artistic 'Self', - -Expressing an Artistic Attitude, - -Choosing a Mission, - and -Measuring Success---Weintraub moves artist by artist, in 40 individual chapters, using each to explain a different aspect of art making. Isaac Julien makes work for a highly specific audience; Michal Rovner communicates through metaphor and symbol; Charles Ray disrupts the viewer's assumptions; Pipilotti Rist is inspired by female emotions; William Kentridge is moved by apartheid and redemption; Vanessa Beecroft epitomizes the biography of a smart, attractive, Caucasian woman; and Matthew Barney achieves success through resistance. Through a compelling combination of renowned and up-and-coming artists, Weintraub creates a complex understanding of how to make and look at contemporary art--but in a simple, easily digestible format and language.In addition to being a fine read for anyone who simply wants to understand how to look at contemporary art, In the Making is also an exceptional pedagogical tool, one that addresses what is fast becoming a huge gap in art education. Teaching artistic techniques no longer provides young artists with a sufficient education--a full range of conceptual issues needs to be considered in any well-rounded studio practice. Yet these very same conceptual issues are often those that are dealt with textually in art history and criticism classes. Weintraub persuasively offers a series of texts that fit squarely into this gap, addressing issues that concern anyone who is learning how to make art or how to understand it.In addition, In the Making includes a series of interviews in which many of the artists discuss the practical issues of their life's work. Conducted by Weintraub's students at Oberlin College, the interviews pose questions about the artists' schooling, their studio space, and how they support themselves if their main income doesn't come from their art--the kind of questions every art student has always wanted to ask the artists whose work they see on gallery walls.