Jim Felici brings together a vast amount of knowledge in this book. Must-have!" --Erik Spiekermann, author, Stop Stealing Sheep (and Find Out How Type Works)This book is about how type should look and how to make it look that way; in other words, how to set type like a professional. It releases the craft knowledge that used to reside almost exclusively in the heads of people working in type shops. The shops are gone, the technologies have changed, but the goal remains the same. This book explains in very practical terms how to use today's computerized tools to achieve that secret of good design: well-set type.Beautifully designed and richly illustrated, The Complete Manual of Typography is an essential reference for anyone who works with type. Designers, print production professionals, and corporate communications managers can go straight to the index to find focused answers to specific questions, while educators and students can read it as a textbook from cover to cover. You'll find:History, basic concepts, and anatomy of good typography, concisely presented and indexed for quick reference by busy professionals. Straight-ahead instructions for how to manage fonts, handle corrupted or missing fonts, and find the characters you need. Clear, useful explanations of what makes good type good (and bad type bad) . Detailed guidance on controlling the fundamentals of type, including measure, point size, leading, kerning, and hyphenation and justification. Practical advice on how to fix and avoid composition problems such as loose lines, bad rags, widows and orphans. Hard-to-find rules for managing indents and alignments, skews, wraps, expert-set characters, and tables. Scores of workarounds that show how to wring good type out of uncooperative word-processing and layout programs.

    Organized by spectrum, in color-by-color sections for easy navigation, this book documents each hue with charts showing color range and palette variations. Chapters detail each color’s creative history and cultural associations, with examples of color use that extend from the artistic to the utilitarian—whether the turquoise on a Reid Miles album cover or the avocado paint job on a 1970s Dodge station wagon. A practical and inspirational resource for designers and students alike, The Designer’s Dictionary of Color opens up the world of color for all those who seek to harness its incredible power.

    In other words, to observe and draw what we actually see, rather than what we think we see. When it comes to drawing the human figure, this means letting go of learned ideas and expectation of what the figure should look like. It means carefully observing the interplay of form and light, shape and line, that combine to create the actual appearance of human form. In The Artist's Complete Guide to Figure Drawing, amateur and experienced artists alike are guided toward this new way of seeing and drawing the figure with a three-step drawing method.The book's progressive course starts with the block-in, an exercise in seeing and establishing the figure's shape. It then build to the contour, a refined line drawing that represents the figure's silhouette. The last step is tonal work on the inside of the contour, when light and shadow are shaped to create the illusion of form. Separate chapters explore topics critical to the method: gesture, which expresses a sense of living energy to the figure; light, which largely determines how we see the model; and form, which conveys the figure's volume and mass. Examples, step-by-steps, and special "tips" offer helpful hints and practical guidance throughout.Lavishly illustrated with the author's stunning artwork, The Artist's Complete Guide to Figure Drawing combines solid instruction with thoughtful meditations on the art of drawing, to both instruct and inspire artists of all levels.

    The Whole Earth Review called Envisioning Information a "passionate, elegant revelation."

    Back in print for the first time in nearly thirty years, here is Yoko Ono's whimsical, delightful, subversive, startling book of instructions for art and for life."A dream you dream alone may be a dream, but a dream two people dream together is a reality.""Burn this book after you've read it." -- Yoko Ono"This is the greatest book I've ever burned." -- John Lennon

    Learn how to use color more comfortably, creatively, and effectively than ever before. Take your work to the next level by exploring how different light sources affect color rendition, how placement changes colors, how to avoid costly color mistakes, and how to resolve the color problems that frequently confront design professionals. Order your copy today!

    Rich with extraordinary tales and anecdotes, What Are You Looking At? entertains as it arms readers with the knowledge to truly understand and enjoy what it is they’re looking at.

    Describing mandatory skills for beginning and advanced students, the text covers such subjects as diminution, foreshortening, convergence, shade and shadow, and other visual principles of perspective drawing.Accompanying a concise and thoughtfully written text are more than 150 simply drawn illustrations that depict a sense of space and depth, demonstrate vanishing points and eye level, and explain such concepts as appearance versus reality; perspective distortion; determining heights, depths, and widths; and the use of circles, cylinders, and cones.Artists, architects, designers, and engineers will find this book invaluable in creating works with convincing perspective.

    During his life he created numerous works of art and kept voluminous notebooks that detailed his artistic and intellectual pursuits.The collection of writings and art in this magnificent book are drawn from his notebooks. The book organizes his wide range of interests into subjects such as human figures, light and shade, perspective and visual perception, anatomy, botany and landscape, geography, the physical sciences and astronomy, architecture, sculpture, and inventions. Nearly every piece of writing throughout the book is keyed to the piece of artwork it describes.The writing and art is selected by art historian H. Anna Suh, who provides fascinating commentary and insight into the material, making Leonardo's Notebooks an exquisite single-volume compendium celebrating his enduring genius.

    After you've got the basics down, you'll learn how to use the same techniques to portray every feature of the human face. You'll also discover how to figure out what the features of your photographed model really look like so you can draw them from different angles. Then Hammond shows you how to put all those features together to create a lifelike portrait that truly captures the individuality of your subject.After you've completed these easy-to-do drawing exercises, you'll soon be turning the memories frozen in your old snapshots into warm, beautiful works of art.

    This is not a step-by-step technique book--rather, the stylized animals are simplified, modernized, and reduced to the most basic elements, showing you how simple abstract shapes and forms meld to create the building blocks of any item that you want to draw. Each of the 20 interpretations provides a different, interesting approach to drawing a single item, providing loads of inspiration for your own drawing. Presented in the author’s uniquely creative style, this engaging and motivational practice book provides a new take on the world of sketching, doodling, and designing.

    Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

    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.

    They offer viewers rich, visual inspiration. There is a fascination with these revealing and often beautiful pages of self-exploration and personal expression. Journals offer a tantalizing, voyeuristic view of an interior life. Journaling has seeped into popular culture in a big way and this collection provides a wide array of ideas, techniques and themes to inspire and inform mixed media and journaling enthusiasts.This is the first book to offer examples of over 1000 journal pages in one eye-catching, visual format. Artists can embrace and experiment with this medium and will benefit from this rich collection.

    A series of progressive lessons demonstrates such essential skills as recording edges, creating dimension, adding accuracy, developing value, balancing compositional elements, and drawing the human face, both frontal and profile views. Step by step, readers learn how to create a reasonable likeness of an object and give it spatial depth using such simple black-and-white mediums as pens, pencils, charcoal, and graphite wash. Inspirational examples and tips for success from beginning students who have worked on the same material confirm readers’ successes, and allow readers to consider the advice and impressions of others at the same level.