Evidence has shown that creative geniuses are not attached to one identity, but constantly willing to rethink their stances and that leaders who admit they don't know something and seek critical feedback lead more productive and innovative teams.New evidence shows us that as a mindset and a skilllset, rethinking can be taught and Grant explains how to develop the necessary qualities to do it. Section 1 explores why we struggle to think again and how we can learn to do it as individuals, arguing that 'grit' alone can actually be counterproductive. Section 2 discusses how we can help others think again through learning about 'argument literacy'. And the final section 3 looks at how schools, businesses and governments fall short in building cultures that encourage rethinking.In the end, learning to rethink may be the secret skill to give you the edge in a world changing faster than ever.

    For over twenty years, Walt helped breathe life into the new golden age of animation with these teachings at the Walt Disney Animation Studios and influenced such talented artists as Tim Burton, Brad Bird, Glen Keane, and John Lasseter. These writings represent the quintessential refresher for fine artists and film professionals, and it is a vital tutorial for students who are now poised to be part of another new generation in the art form.Written by Walt Stanchfield (1919-2000), who began work for the Walt Disney Studios in the 1950s. His work can be seen in films like Sleeping Beauty, The Jungle Book, 101 Dalmatians, and Peter Pan.Edited by Academy Award(R)-nominated producer Don Hahn, who has prduced such classic Disney films as Beauty and the Beast and The Lion King.

     Unlike other creative professionals, visual artists don't have agents or managers. You have to do it all yourself, at least until you find gallery representation -- and even then, there are important business and legal issues you need to understand to stay in control of your career and ensure you're being treated fairly. Heather Darcy Bhandari, a gallery director, and Jonathan Melber, an arts lawyer, walk you through these issues so that you can essentially act as your own manager and agent. They show you, for example, how to tackle business basics such as tracking inventory and preparing invoices; how to take legal precautions like registering a copyright and drafting consignment forms; how to use promotional tools like websites and business cards; and how to approach career decisions such as choosing the right venue to show your work. In addition to drawing on their own experiences, Bhandari and Melber interviewed nearly one hundred curators, dealers, and other arts professionals, in cities across the country, about what they expect from and look for in artists. The authors also talked to a host of artists about their careers and the lessons they've learned navigating the art world. The book is full of their entertaining anecdotes and candid advice. No matter what kind of artist you are -- or want to be -- this book will help you. Art/Work covers everything you need to know to succeed, saving you from having to learn it all the hard way -- and letting you spend more time making art.

    

    Although you may not be aware of it, girlish behaviors such as these are sabotaging your career!Dr. Lois Frankel reveals why some women roar ahead in their careers while others stagnate. She's spotted a unique set of behaviors--101 in all--that women learn in girlhood that sabotage them as adults. Now, in this groudbreaking guide, she helps you eliminate these unconscious mistakes that could be holding you back--and offers invaluable coaching tips you can easily incorporate into your social and business skills. If you recognize and change the behaviors that say "girl" not "woman", the results will pay off in carrer opportunites you never thought possible--and in an image that identifies you as someone with the power and know-how to occupy the corner office.

    These 101 maxims, meditations, and demonstrations offer both a toolkit of ideas for the art student and a set of guiding principles for the artist. Complementing each of the 101 succinct texts is an equally expressive drawing by the artist, often based on a historical or contemporary work of art, offering a visual correlative to the written thought. "Art can be anything" is illustrated by a drawing of Duchamp's famous urinal; a description of chiaroscuro art is illuminated by an image "after Caravaggio"; a lesson on time and media is accompanied by a view of a Jenny Holzer projection; advice about surviving a critique gains resonance from Piero della Francesca's arrow-pierced Saint Sebastian.101 Things to Learn in Art School offers advice about the issues artists confront across all artistic media, but this is no simple handbook to making art. It is a guide to understanding art as a description of the world we live in, and it is a guide to using art as a medium for thought. And so this book belongs on the reading list of art students, art teachers, and artists, but it also belongs in the library of everyone who cares about art as a way of understanding life.

    Peterson stresses the importance of metering the subject for a starting exposure, and then explains how to use various exposure meters and different kinds of lighting. The book contains lessons on each element of the exposure-aperature, shutter speed, iso-and how it relates to the other two in terms of depth of field, freezing and blurring action, and shooting in low light or at night. A section on special techniques explores such options as deliberate under- and overexposures, how to produce double exposures, bracketing, shooting the moon, and the use of filters. Understanding Exposure demonstrates that there are always creative choices about how to expose a picture-and that the decision is up to the photographer, not the camera.

    In composition, it recognizes the separate but equally important identity of both a shape and its background.Since their introduction in the West, the intriguing exercises associated with Notan have produced striking results in every branch of Western art and design. This book, by two American artists and teachers who made an intensive study of Notan, was the first basic book on the subject in the West, and it remains one of the definitive texts. Through a series of simple exercises, it places the extraordinary creative resources of Notan easily within the grasp of Western artists and designers.Clearly and concisely, the authors demonstrate Notan's practical applications in six problems of progressive difficulty — creative exercises that will fascinate artists and designers of every calling and level of expertise. Along with these exercises, the book includes many illustrations of the principle of Notan, among them images as diverse as a sculpture by David Smith, a Samoan tapa cloth, a Museum of Modern Art shopping bag, New England gravestone rubbings, Japanese wrapping paper, a painting by Robert Motherwell, a psychedelic poster, and a carved and dyed Nigerian calabash. Painters, sculptors, potters, jewelry, and textile designers, architects, and interior designers all will discover — or rediscover — in these pages an ancient principle of composition that can help them meet creative challenges with fresh new perspective.

    An internationally exhibited photographer and teacher, Lang offers the wisdom of experience, combined with enthusiasm and gentle humor, to guide artists through the ins and outs of the art business. Practical and inspiring, this revised and updated edition offers two new chapterson using the Internet and the media to best effectplus provides step-by-step advice on preparing presentation materials; finding and dealing with galleries (as well as bypassing the traditional gallery system); handling rights, royalties, and taxes; an extensive resource list; and other invaluable information for both beginning artists and those ready to take the next step in their careers.

    At once a memoir, meditation on the artistic process, and advice on craft, Still Writing is an intimate and eloquent companion to living a creative life.Through a blend of deeply personal stories about what formed her as a writer, tales from other authors, and a searching look at her own creative process, Shapiro offers her gift to writers everywhere: an elegant guide of hard-won wisdom and advice for staying the course. "The writer's life requires courage, patience, empathy, openness. It requires the ability to be alone with oneself. Gentle with oneself. To be disciplined, and at the same time, take risks." Writers--and anyone with an artistic temperament--will find inspiration and comfort in these pages. Offering lessons learned over twenty years of teaching and writing, Shapiro brings her own revealing insights to weave an indispensable almanac for modern writers.Like Anne Lamott's Bird by Bird, Virginia Woolf's A Writer's Diary, and Stephen King's On Writing, Dani Shapiro's Still Writing is a lodestar for aspiring scribes and an eloquent memoir of the writing life.

    Based on John Dewey's lectures on esthetics, delivered as the first William James Lecturer at Harvard in 1932, Art as Experience has grown to be considered internationally as the most distinguished work ever written by an American on the formal structure and characteristic effects of all the arts: architecture, sculpture, painting, music, and literature.

    Just as a single sick person can start an epidemic of the flu, so too can a small but precisely targeted push cause a fashion trend, the popularity of a new product, or a drop in the crime rate. This widely acclaimed bestseller, in which Malcolm Gladwell explores and brilliantly illuminates the tipping point phenomenon, is already changing the way people throughout the world think about selling products and disseminating ideas.Gladwell introduces us to the particular personality types who are natural pollinators of new ideas and trends, the people who create the phenomenon of word of mouth. He analyzes fashion trends, smoking, children's television, direct mail, and the early days of the American Revolution for clues about making ideas infectious, and visits a religious commune, a successful high-tech company, and one of the world's greatest salesmen to show how to start and sustain social epidemics.

    These are necessary, but not sufficient. Using evidence from from neuroscience and his work with leaders, Dr. Cloud shows that the best performers draw on another vital resource: personal and professional relationships that fuel growth and help them surpass current limits. Popular wisdom suggests that we should not allow others to have power over us, but the reality is that they do, for better or for worse. Consider the boss who diminishes you through cutting remarks versus one who challenges you to get better. Or the colleague who always seeks the limelight versus the one who gives you the confidence to finish a difficult project. Or the spouse who is honest and supportive versus the one who resents your success. No matter how talented, intelligent, or experienced, the greatest leaders share one commonality: the power of the others in their lives. Combining engaging case studies, persuasive findings from cutting-edge brain research, and examples from his consulting practice, Cloud argues that whether you’re a Navy SEAL or a corporate executive, outstanding performance depends on having the right kind of connections to fuel personal growth and minimize toxic associations and their effects. Presenting a dynamic model of the impact these different kinds of connections produce, Cloud shows readers how to get more from themselves by drawing on the strength and expertise of others. You don’t have a choice whether or not others have power in your life, but you can choose what kinds of relationships you want.

    Creativity, Inc. is a book for managers who want to lead their employees to new heights, a manual for anyone who strives for originality, and the first-ever, all-access trip into the nerve center of Pixar Animation—into the meetings, postmortems, and “Braintrust” sessions where some of the most successful films in history are made. It is, at heart, a book about how to build a creative culture—but it is also, as Pixar co-founder and president Ed Catmull writes, “an expression of the ideas that I believe make the best in us possible.” For nearly twenty years, Pixar has dominated the world of animation, producing such beloved films as the Toy Story trilogy, Monsters, Inc., Finding Nemo, The Incredibles, Up, and WALL-E, which have gone on to set box-office records and garner thirty Academy Awards. The joyousness of the storytelling, the inventive plots, the emotional authenticity: In some ways, Pixar movies are an object lesson in what creativity really is. Here, in this book, Catmull reveals the ideals and techniques that have made Pixar so widely admired—and so profitable.   As a young man, Ed Catmull had a dream: to make the first computer-animated movie. He nurtured that dream as a Ph.D. student at the University of Utah, where many computer science pioneers got their start, and then forged a partnership with George Lucas that led, indirectly, to his founding Pixar with Steve Jobs and John Lasseter in 1986. Nine years later, Toy Story was released, changing animation forever. The essential ingredient in that movie’s success—and in the thirteen movies that followed—was the unique environment that Catmull and his colleagues built at Pixar, based on philosophies that protect the creative process and defy convention, such as:   • Give a good idea to a mediocre team, and they will screw it up. But give a mediocre idea to a great team, and they will either fix it or come up with something better. • If you don’t strive to uncover what is unseen and understand its nature, you will be ill prepared to lead. • It’s not the manager’s job to prevent risks. It’s the manager’s job to make it safe for others to take them. • The cost of preventing errors is often far greater than the cost of fixing them. • A company’s communication structure should not mirror its organizational structure. Everybody should be able to talk to anybody. • Do not assume that general agreement will lead to change—it takes substantial energy to move a group, even when all are on board.

    Three dots to represent Dallas, Houston, and San Antonio. Three arrows to show direct flights. Problem solved, and the picture made it easy to sell Southwest Airlines to investors and customers. Used properly, a simple drawing on a humble napkin is more powerful than Excel or PowerPoint. It can help crystallize ideas, think outside the box, and communicate in a way that people simply “get”. In this book Dan Roam argues that everyone is born with a talent for visual thinking, even those who swear they can’t draw. Drawing on twenty years of visual problem solving combined with the recent discoveries of vision science, this book shows anyone how to clarify a problem or sell an idea by visually breaking it down using a simple set of visual thinking tools – tools that take advantage of everyone’s innate ability to look, see, imagine, and show. THE BACK OF THE NAPKIN proves that thinking with pictures can help anyone discover and develop new ideas, solve problems in unexpected ways, and dramatically improve their ability to share their insights. This book will help readers literally see the world in a new way.