It's an insightful artistic philosophy that boils down the many technical principles of composition into a single master rule that's easy to remember and apply: Never make any two intervals the same.You can make every painting more interesting, dynamic and technically sound by varying intervals of distance, length and space, as well as intervals of value and color. The rule also applies to balance, shape and the location of your painting's focal point.Greg Albert illustrates these lessons with eye-opening examples from both beginning and professional artists, including Frank Webb, Tony Couch, Kevin Macpherson, Charles Reid, Tony Van Hasselt and more.You'll discover that the ONE RULE is the only rule of composition you need to immediately improve your work - the moment your brush touches the canvas.

    One glimpse of the tiny painted house that folk art legend Maud Lewis shared with her husband, Everett, in Marshalltown, Nova Scotia, during the mid-twentieth century and the startling contrast between her joyful artwork and her life's deprivations is evident. One glimpse at her photo and you realize, for all her smile's shyness, she must've been one tough cookie. But, beneath her iconic resilience, who was Maud, really? How did she manage, holed up in that one-room house with no running water, married to a miserly man known for his drinking? Was she happy, or was she miserable? Did painting save or make her Everett's meal ticket? And then there are the darker secrets that haunt her story: the loss of her parents, her child, her first love. Against all odds, Maud Lewis rose above these constraints—and this is where you'll find the Maud of Brighten the Corner Where You Are: speaking her mind from beyond the grave, freed of the stigmas of gender, poverty, and disability that marked her life and shaped her art. Unfettered and feisty as can be, she tells her story her way, illuminating the darkest corners of her life. In possession of a voice all her own, Maud demonstrates the agency that hovers within us all.

    Jacqueline Kennedy’s selection of Oleg Cassini to design her personal wardrobe as First Lady was not only fashion history, but political history as well. As the creator of the "Jackie look," Cassini made the First Lady one of the best-dressed women in the world and a glamorous icon of the Kennedy era. During the 1000 days of the Kennedy administration, Cassini designed over 300 outfits for Jackie Kennedy—coats, dresses, evening gowns, suits, and day wear—and coordinated every aspect of her wardrobe, from shoes and hats to gloves and handbags. In this book, Cassini offers a fascinating and comprehensive view of his role as Jackie’s personal couturier, a position that allowed him unprecedented access to both Jackie and John Kennedy as a designer and a trusted friend. From the details of his first meetings with the First Lady to his thoughts on Jackie’s clothes and their legacy, Cassini’s recollections are far-ranging and informative. Also included are Cassini's original sketches accompanied by 200 color and black-and-white photographs of the First Lady as she tours India, France, England, and Italy, shows off the White House, and hosts state dinners and family gatherings. Public moments as well as private ones capture the great elegance and charm of one of the most admired and emulated women in the world.

    A large part of the artist’s role in today’s professionalized art system is being present. Providing a counterargument to this concept of self-marketing, Herbert examines the nature of retreat, whether in protest, as a deliberate conceptual act, or out of necessity. By illuminating these motives, Tell Them I Said No offers a unique perspective on where and how the needs of the artist and the needs of the art world diverge. Essays on Lutz Bacher, Stanley Brouwn, Christopher D’Arcangelo, Trisha Donnelly, David Hammons, Agnes Martin, Cady Noland, Laurie Parsons, Charlotte Posenenske, and Albert York. Martin Herbert is a writer and critic living in Berlin. He is associate editor of ArtReview and writes for international art journals. Previous books include The Uncertainty Principle (2014) and Mark Wallinger (2011).Design by Fraser Muggeridge studio

    The heroes are grittier. The women are sexier. The pages are designed for maximum impact.Heroes have been turned into highly cool antiheroes, such as the famous characters Spawn and War Blade. Cutting-edge comics venture beyond the traditional boundaries to extreme anatomy, extreme costuming, extreme special effects, and extreme methods of storytelling.Drawing Cutting Edge Comics is the first-ever guide that shows readers, step by step, how to draw the radical characters and cutting-edge techniques that are the gold standard for designing extreme comics.Dozens of fantastic, how-to illustrations demonstrate the basics as well as how to create such intense coloring techniques as knockouts and glows. Plus, several leading cutting-edge artists describe how they spin original character designs, many created exclusively for this book.

    Lavishly illustrated with more than seventy-five boxes andcollages, as well as images of the fascinating source material that the artistcollected to create his exquisitely crafted worlds, it communicates to thereader the sense of surprise and delight that one experiences on viewingthe actual boxes with their toys, stuffed birds, maps, clay pipes, marbles,shells, and other paraphernalia of daily life.The book’s essays bring together the expertise of Lynda Roscoe Hartigan,former director of the Joseph Cornell Study Center; the compelling commentaryof Walter Hopps, art dealer, museum curator and director, and theartist’s personal friend; the wide-ranging scholarship of Richard Vine; andthe sensitivity of Robert Lehrman, a leading Cornell collector whose firsthandexperience lends this publication its distinctive intimacy. Among thetopics explored are the role of dualities in the artistic process, the dominantthemes of Cornell’s oeuvre, and the importance of his Christian Science faith.

    By the time of his death in 1990 at the age of thirty-one, Haring's career had moved from underground New York to the most prestigious galleries and museums in the world. Here Keith Haring's story is told by those who knew him—and by the artist himself. He candidly reflects on all aspects of his life, including his approach to art, being gay, and how he came to terms with AIDS. John Gruen masterfully combines Haring's own words with the observations of those who knew him best, including art dealer Leo Castelli; Madonna; artists Roy Lichtenstein, Francesco Clemente, and Kenny Scharf; Claude Picasso; Timothy Leary; and William Burroughs, among others. Haring emerges as both a courageous and enigmatic personality—a champion of art for all people.

    It begins with a love story and weaves a true-life tale of life in a small house with lots of children in 1956.Best of all the treats in this book is the reminder that the most precious gifts, the ones that last longest and mean the most, aren't brought by Santa and aren't under the tree. They're the memories of people and places that live in our hearts forever.Because we need a little EXTRA Christmas this year . . .

    The trove included massive, multi-volume illustrated manuscripts, double-sided nine-foot-long watercolor murals, photo-enlarged tracings, and hundreds of sketches. Depicting a turbulent world, these works are the product of the fertile yet tormented imagination of a secretive Chicago janitor who has since been recognized as one of the supreme self-taught artists of the 20th century.Cataloguing in full color the American Folk Art Museum's recent acquisition of 37 paintings, among other Darger works, this informative yet affordable volume offers a general introduction to a controversial self-taught artist.

    Beautifully illustrated with over 300 contemporary and historical photographs as well as dozens of paintings, The End of the Game is a legendary workvividly telling the story of explorers, missionaries, and big-game hunters whose quests have changed the face of Africa forever.

    

    Here nearly 200 illustrations--over 100 in color--make a fascinating collection.

    She has a sensuous and exacting hand, hips like a matador, and long neglected ambitions of her own. She spends her days completing a series of pictures for Freiburg's spring exhibition and her nights drinking and dining with friends and luminaries. Into this landscape walks Philip Cleary, Emma's longtime painting hero and a colleague and rival of her boss. Philip Cleary represents the ideal artistic existence, a respected painter, fearless and undeterred by fashion. He is unmatched by anyone from Emma's generation. Except, just possibly, Emma herself. Emma Dial must choose between the security of being a studio assistant to a renowned painter and the unknown future as an artist in her own right.Samantha Peale writes with astonishing insight about a young woman who risks everything to fulfill her ambitions as an artist. .

    These winged creaturesfrom exotic parrots to everyday sparrows, and endangered penguins to woody owlsare captured with Zuckerman's painstaking perspective against a stark white background to reveal the vivid colors, textures, and personalities of each subject in extraordinary and exquisite detail. The ultimate art book for ornithologists and nature enthusiasts alike, Bird is a volume of sublime beauty.

    Dissecting modern relationships with surgical skills, Girls and Boys is a book-length collection that provides fans with a fascinating glimpse of Barry's early style and her undeniably original talent. Line drawings.