Now, as we enter the twenty-first century, the explosion in computer technology has created a corresponding boom in animation. Using desktop hardware and software, animators can easily produce high-quality, high-artistry animation and mix the aesthetics of traditional cel animation with dazzling 3-D effects. Kit Laybourne's digital revision to The Animation Book brings you to the cutting edge of animation technology. Richly illustrated with frame-grabs, production stills, and diagrams, this volume shares Kit's infectious enthusiasm for the limitless possibilities of today's hybrid techniques, and it provides beginning animators with all the information they need to jump in and start their own animation projects. More advanced animators will find The Animation Book to be an invaluable resource with detailed descriptions of filmmaking gear, computer hardware and software, art supplies, plus Internet and other resources.Using an innovative case-study approach, Kit deconstructs how a range of digital projects were carried out at some of today's hottest animation studios, including Wildbrain, Blue Sky, Protozoa, Fantome, Broderbund, Nicktoons, and Klasky Csupo. These step-by-step studies show how desktop animators can follow the same creative process in their own films.

    This provocative book tackles some of the enduring 'sacred truths' surrounding the high cultural status of the live event.

    Using the paintings of the era as his starting point - in his view, the one mode of Victorian art yet to be rescued from indifference - Paxman explores themes of family, urban life, industry, empire, and imagination to uncover truths (and explode some myths) about Victorian Britain.To Paxman, these paintings were the television of their day, immensely popular visual narratives that attracted crowds by the hundreds of thousands: a single picture show featuring Elizabeth Butler's Balaclava (depicting survivors of the Charge of the Light Brigade) drew 50,000 viewers, some of them openly weeping. The Victorians shows how artists like Butler, William Powell Frith, Sir Lawrence Alma-Tadema, Luke Fildes, and Ford Madox Brown were chronicling a world changing before their eyes, and his overview ranges across the whole of Victorian life and culture: from high gothic architecture to the birth of the football league, from the novels of Dickens to the technological marvels of Brunel.Published to coincide with a landmark BBC series, The Victorians is an opinionated, informed, surprising, and hugely enthusiastic appraisal of the birth of modern Britain - a glorious reminder of how the Victorians made us who we are today.

    This empire dominates western Europe from 800 until 1806, when it is defeated by Napoleon. The Second Reich: All of Germany is united behind Prussia under the leadership of Otto von Bismarck, victor of the Franco-Prussian War. Only Germany's defeat in World War I can break the power of the second German empire.What was the Third Reich?In 1933, Adolf Hitler was appointed Chancellor of Germany after convincing other members of the Reichstag that the Nazi party was better for the country than their feared rivals, the Communists. Within the year, the President of the German Republic will be dead, and Hitler will declare himself supreme leader of Germany.But how did it happen?The Third Reich: Adolf Hitler, Nazi Germany, World War II and The Last German Empire takes you on a guided tour of German history for the last thousand years. You'll study the constitution of the Weimar republic and the Treaty of Versailles, and come to understand why Hitler believed it was crucial to build a new Nazi empire that was second to no one other nation in Europe in terms of military development. You'll learn how Hitler used the rhetoric of racism and nationalism to transform himself from a democratically elected member of government into a dictator whose word was law.Most importantly, you'll learn how those changes paved the way to World War II and the atrocities of the Holocaust.

    Are you winning?Your fight is not with the problems you can see—depression, a broken marriage, addiction, or financial troubles. These are just the symptoms, the true disease—the true battle—is against the devil and his armies. But the devil’s not afraid of mere humans like you and me. So how are we supposed to fight? More importantly, how are we supposed to win?  Warfare is a guide to fighting the battles that matter. In it, you’ll learn:to identify how spiritual warfare is impacting your soul, family, church, and culture.who the armies are and what role they play—God, angels, demons, and the devilhow to use the arsenal of spiritual weapons God provideshow to claim the victory God has already won.When we fight the right battles with the right weapons, fear gives way to courage, futility gives way to purpose, and failure gives way to victory.

    In setting performance art on an equal footing with the traditional art object, she heralds a new aesthetics.The peculiar mode of experience that a performance provokes - blurring distinctions between artist and audience, body and mind, art and life - is here framed as the breeding ground for a new way of understanding performing arts, and through them even wider social and cultural processes.With an introduction by Marvin Carlson, this translation of the original Asthetik des Performativen addresses key issues in performance art, experimental theatre and cultural performances to lay the ground for a new appreciation of the artistic event.

    What is the voyeuristic impulse behind our attraction to the gruesome and the horrible? Where does the magnetic appeal of the sordid and the scandalous come from? Is ugliness also in the eye of the beholder?Eco's encyclopedic knowledge and captivating storytelling skills combine in this ingenious study of the Ugly, revealing that what we often shield ourselves from and shun in everyday life is what we're most attracted to subliminally. Topics range from Milton's Satan to Goethe's Mephistopheles; from witchcraft and medieval torture tactics to martyrs, hermits, and penitents; from lunar births and disemboweled corpses to mythic monsters and sideshow freaks; and from Decadentism and picturesque ugliness to the tacky, kitsch, and camp, and the aesthetics of excess and vice. With abundant examples of painting and sculpture ranging from ancient Greek amphorae to Bosch, Brueghel, and Goya among others, and with quotations from the most celebrated writers and philosophers of each age, this provocative discussion explores in-depth the concepts of evil, depravity, and darkness in art and literature.

    Under the tutelage of his favorite uncle, he entered a world of violence, death, power, and loyalty to family above anything else. Now a man to be reckoned with, no one dared get in his way without paying the price.Camille Sperry could never be described as an average woman. Hellbent on creating her own path in the world, she didn't apologize for who she was, or how she lived her life. Often misunderstood and underestimated, her no-holds-barred approach allowed her to create a life well-lived. She was happy and fulfilled. Or so she thought.From the outside looking in, Tristan and Camille didn't belong together. They didn't fit, and their lives were too different. The challenges involved in trying to make a relationship work would be too difficult. Then again, Tristan and Camille have never played by the rules.*Contemporary Romance | BWWM Interracial | Italian Mafia | Novella | HEA*

    As was the case with Gore's first movie (An Inconvenient Truth), the movie is bursting with bad science, bad policy and some outright falsehoods. The storm events Gore addresses occur naturally, and there is little or no evidence they are being made worse from human activities: sea level is rising at the same rate it was before humans started burning fossil fuels; in Miami Beach the natural rise is magnified because buildings and streets were constructed on reclaimed swampland that has been sinking; the 9/11 memorial was not flooded by sea level rise from melting ice sheets, but a storm surge at high tide, which would have happened anyway and was not predicted by Gore in his first movie, as he claims; the Greenland ice sheet undergoes melt every summer, which was large in 2012 but then unusually weak in 2017; glaciers advance and retreat naturally, as evidenced by 1,000 to 2,000 year old tree stumps being uncovered in Alaska; rain gauge measurements reveal the conflict in Syria was not caused by reduced rainfall hurting farming there, and in fact the Middle East is greening from increasing CO2 in the atmosphere; agricultural yields in China have been rising, not falling as claimed by Gore. The renewable energy sources touted by Gore (wind and solar), while a laudable goal for our future, are currently very expensive: their federal subsidies per kilowatt-hour of energy produced are huge compared to coal, natural gas, and nuclear power. These costs are hidden from the public in increased federal and state tax rates. Gore is correct that "it is right to save humanity", but what we might need saving from the most are bad decisions that reduce prosperity and hurt the poor.

     The companion DVD enclosed inside, beautifully filmed in Florence, Italy, provides real-time drawing lessons so that any gaps in the learning process are filled in with live instruction.

    He first revisits the old stories--Hermes in Greece, Eshu in West Africa, Krishna in India, Coyote in North America, among others--and then holds them up against the life and work of more recent creators: Picasso, Duchamp, Ginsberg, John Cage, and Frederick Douglass. Authoritative in its scholarship, loose-limbed in its style, Trickster Makes This World ranks among the great works of modern cultural criticism.

    Ordinary art. Ordinary art means something like: all art not made by Mozart. After all, art is rarely made by Mozart-like people; essentially-statistically speaking-there aren't any people like that. Geniuses get made once-a-century or so, yet good art gets made all the time, so to equate the making of art with the workings of genius removes this intimately human activity to a strangely unreachable and unknowable place. For all practical purposes making art can be examined in great detail without ever getting entangled in the very remote problems of genius."--from the Introduction

    In this anthology of art-historical writings from the Renaissance to the present day, key texts have been chosen in which the authors reflect on the nature of their subject and on their own methods of inquiry. Included are texts by Vasari, Winckelmann, Burckhardt, Wolfflin, Panofsky, Gombrich and Pollock, among others. The introduction gives a lucid and readable summary of art-historical methods, and each of the texts is accompanied by a commentary that places it in context and discusses the issues it raises. Also provided is a critical glossary of terms and a select bibliography.

    “What?” I stammer, thrown. “No I’m not.” “Aren’t you?” “No!” “Are you sure about that?” “Yes.” “Weird,” he says. “You had that look on your face.” “What look?” “The same one I feel when I look at you.” After the death of her father when she was twelve years old, Skye Levene finds it easier to stick to her daily routine and keep her heart firmly closed against love. Without love, there is no possibility for hurt. At least so she thinks. However, when she falls off the edge of a cliff and is saved by the mysterious Tai, routine goes out the window and suddenly she’s feeling things she never even knew were possible. Tai, fascinating, funny and sexy as hell, has his own burdens to bear, the reason why he’s camping out in the old abandoned lighthouse on the top of the cliff. As snow falls and winter deepens, he introduces her to new experiences; card games, hot chocolate and the magic of stargazing. Most of all, he introduces her to love. But when his past catches up with them, Skye is left wondering whether love is worth risking your heart for after all.

    This user-friendly spiral-bound book is tabbed for quick and easy reference and includes two removable color-mixing grids—one for oil or acrylic, and one for watercolor.Follow these four simple steps to mix more than 1,500 color combinations:Look in the Color Guidance Index for the subject you want to paint—for example, “Broccoli.”Find the Color Recipe with the subject’s recipe number (“81”) and a photo of the actual paint mixture.Use the Color Mixing Grid to measure each paint color.Mix the color.It’s that easy! You’ll also learn about color theory, color value mixing, graying color naturally, mixing flesh and portrait colors, and rendering skies and clouds.   Also available from Walter Foster's best-selling Color Mixing Recipes series: Color Mixing Recipes for Oil & Acrylic, Color Mixing Recipes for Portraits, and Color Mixing Recipes for Landscapes.