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.

    There is no question that Robert Frank's The Americans is the most famous and influential photography book ever published. It was 1959 when the book first came out: a series of deceptively simple photographs that Frank took on a trip through America in '55 and '56, pictures of normal people, everyday scenes: lunch counters, bus depots, cars, and the stangely familiar faces of people we don't quite know but have seen somewhere. They are pictures that saw the "American way of life" as we hadn't yet quite been able to see it ourselves, photographs that condensed the entire life of a nation in classic images that still speak to us today, forty years and several generations later.

    Finally, photography and offset printing techniques have caught up with Sternfeld's eye, and this new edition of American Prospects succeeds in presenting Sternfeld's most seminal work as it has always meant to be shown. A specially-commissioned essay by Kerry Brougher, Chief Curator at the Hirshhorn Museum and Sculpture Garden, considers the historical context in which Sternfeld was working and the pivotal role that American Prospects has played in the course of contemporary filmmaking and art photography. In American Prospects, a fireman shops for a pumpkin while a house burns in the background; a group of motorcyclists stop at the side of the road to take in a stunning, placid view of Bear Lake, Utah; the high-tech world headquarters of the Manville Corporation sits in picturesque Colorado, obscured by a defiant boulder; a lone basketball net stands in the desert near Lake Powell in Arizona; and a cookie-cutter suburban housing settlement rests squarely amongst rolling hills in Pendleton, Oregon. Sternfeld's photographic tour of America is a search for the truth of a country not just as it exists in a particular era but as it is in its ever-evolving essence. It is a sad poem, but also a funny and generous one, recognizing endurance, poignant beauty, and determination within its sometimes tense, often ironic juxtapositions of man and nature, technology and ruin.

    They reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the twenties and thirties, no “school” or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Their diversity announces the end of Soviet Union. Taking advantage of the collapsing monolithic structure, the holes of the widening net, architects revisited all the chronological periods and styles, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba sanatorium), others expressed their imagination in an expressionist way (Tbilisi wedding palace). A summer camp, inspired by sketches of a prototype lunar base, lays claim to its suprematist influence (Promethee). Then comes the speaking architecture widespread in the last years of the USSR: a crematorium adorned with concrete flames (Kiev crematorium), a technological institute with a flying saucer crashed on the roof (Kiev institute), a political center watching you like a Big Brother (Kaliningrad House of Soviet). This puzzle of styles testifies to all the ideological dreams of the period, from the obsession with the cosmos to the rebirth of privacy and it also outlines the geography of the USSR, showing how local influences made their exotic twists before bringing the country to its end.

    You Are An Acceptable Level of Threat concentrates on this singular artist's iconic imagery, spanning the late '90s up until the end of 2011. The locations are from around the world (predominantly the UK, US and Europe), and many images have never been seen before. When Banksy started out painting, the political landscape was bleak. Fortunately now, it's ten times worse. As Banksy's cheerfully aggressive political work becomes ever more relevant, this comprehensive tome sets about presenting his art in the context of the era he was responding to.

     An homage to Africa's people and wildlife   Sebastião Salgado is one the most respected photojournalists working today, his reputation forged by decades of dedication and powerful black-and-white images of dispossessed and distressed people taken in places where most wouldn’t dare to go. Although he has photographed throughout South America and around the globe, his work most heavily concentrates on Africa, where he has shot more than 40 reportage works over a period of 30 years. From the Dinka tribes in Sudan and the Himba in Namibia to gorillas and volcanoes in the lakes region to displaced peoples throughout the continent, Salgado shows us all facets of African life today. Whether he’s documenting refugees or vast landscapes, Salgado knows exactly how to grab the essence of a moment so that when one sees his images one is involuntarily drawn into them. His images artfully teach us the disastrous effects of war, poverty, disease, and hostile climatic conditions.  This book brings together Salgado’s photos of Africa in three parts. The first concentrates on the southern part of the continent (Mozambique, Malawi, Angola, Zimbabwe, South Africa, Namibia), the second on the Great Lakes region (Congo, Rwanda, Burundi, Uganda, Tanzania, Kenya), and the third on the Sub-Saharan region (Burkina Faso, Mali, Sudan, Somalia, Chad, Mauritania, Senegal, Ethiopia). Texts are provided by renowned Mozambique novelist Mia Couto, who describes how today’s Africa reflects the effects of colonization as well as the consequences of economic, social, and environmental crises.This stunning book is not only a sweeping document of Africa but an homage to the continent’s history, people, and natural phenomena.   *Salgado’s Africa was awarded the M2-El Mundo People’s Choice Award for best exhibition at PhotoEspaña 2007!*

    Now, in The View From The Studio Door, Orland turns his attention to broader issues that stand to either side of that artistic moment of truth.In a text marked by grace, brevity and humor, Orland argues that when it comes to art making, theory and practice are always intertwined. There are timeless philosophical questions (How do we make sense of the world?) that address the very nature of art making, as well as gritty real-world questions (Is there art after graduation?) that artists encounter the moment they’re off the starting blocks and producing work on a regular basis.Simply put, this is a book of practical philosophy. As a teacher and working artist himself, Orland brings authentic insight and encouragement to all those who face the challenge of making art in an uncertain world. The breadth of material covered is reflected in chapters that include Making Sense of the World, Art & Society, The Education of the Artist, Surviving Graduation, Making Art That Matters, The Artistic Community, and more.The View From The Studio Door is the perfect companion piece to Art & Fear, and will appeal to a similar (and already-established) audience of students, working artists, teachers and professionals. For students’ benefit, The View is also modestly priced, with wide page margins for easy note-taking and annotation.

    National Geographic, or @natgeo, is the world's top noncelebrity account on Instagram, with nearly 50 million followers and over one billion likes on its 7,000+ images posted. Embracing the diversity of the account and weaving in social media trends such as hashtags, throwbacks, flashbacks, and of course animals, @NatGeo’s stunning imagery will delight and inspire.

    They are constantly attempting to persuade us to buy, learn and act. Some are more successful than others in infl uencing our behavior and choices. What is the secret power of these messages? How do they succeed in changing our behavior?This book analyzes advertising beyond the persuasive power of the imagery itself. It explains the psychology behind 33 effective infl uence techniques in visual persuasion and how to apply them.The techniques range from infl uencing essentials to more obscure and insidious ones. The reader will gain deep insights into how visual means are constructed to infl uence behavior and decisionmaking on an unconscious level.All techniques are supported by rich visual references and additional information on the psychology of behavior change. This publication is not just an eye-opener for professionals and students in the communications and design field, but also for anybody who wants to understand how our behavior is infl uenced unconsciously by advertising, social campaigns and governmental messages. The book is co-authored by leading figures in social infl uence and visual persuasion. It is designed as an accessible modern reference book for creating and understanding persuasive visual imagery. It will open your eyes, we promise!- The psychology behind communication- Eye-opening for professionals and the general public- Leading authors in social influence and visual persuasion

    The blank page.It has so much power.Some days it's terrifying, sometimes thrilling, but mostly it's just plain old scary.It is the reason many people never finish that novel, or complete that project, or follow through with that one thing they used to dream about.Sadly, it is the reason many people never even begin.Blaine Hogan's manifesto, UNTITLED: Thoughts on the Creative Process is here to change all that.As an artist who has designed t-shirts, made light fixtures, created performance art in alleyways, performed on big and small stages all across the country, acted on network television, and is now a creative director at one of the largest churches in North America, Blaine walks you through the creative process of attacking the blank page, executing vision, finding the importance of contemplation, fighting the battle with resistance, and learning from your failures.Blank pages be gone!Read UNTITLED and get ready to fill those suckers with good and meaningful work.

    Including more than 300 illustrations, accompanied by quotes from the artist that illuminate the passionate thinking behind the work, Hockney’s Pictures shows the evolution and diversity of Hockney’s paintings, drawings, watercolors, prints, and photography, confirming and reinforcing his position as one of the world’s most popular living artists.

    Charged with energy, informed by history and culture, and filled with fresh concepts, McQueen’s shows have become legends not only of fashion but also of art. Anne Deniau was the only photographer allowed backstage by McQueen for 13 years, beginning in September 1997 and ending with the final show in March 2010. She captured McQueen working with his close circle of collaborators—including designer Sarah Burton, milliner Philip Treacy, jewelry designer Shaun Leane, and model Kate Moss—to create his meticulously produced spectacles. Her book offers an inspiring homage, through the art of photography, to the work of a great artist. Praise for Love Looks Not With the Eyes: Thirteen Years With Lee Alexander McQueen: The pictures are evocative of the torture, the toughness and, most of all, the tenderness of Mr. McQueen.” —New York Times “Deniau’s close connection to McQueen and her appreciation for his formidable talent is like many of the pieces he created: breathtaking.” —San Francisco Chronicle “Thekinetic color and black-and-white photographs document the fantastical,shocking spectacle of a McQueen show in action: hairdos trussed up with birdsof prey; hubcaps strapped to foreheads; faces enhanced by extraterrestrialcheek prostheses. The images are sensual, spooky, and whimsical, playing up thedrama of McQueen’s vision; like one of the designer’s fabulous garments, thephotographs transform fashion into high art. The book is both an homage and amemorial; this celebration of McQueen’s vast, unique talent is also a eulogyfor his tragic loss.” — “Haute couture has a reputation for spectacle, but Anne Deniau’s photographs remind us that it’s also the last bastion of craftsmanship in fashion—or it was, as practiced by designer Alexander McQueen (1969–2010).” —Wall Street Journal “Lush, previously unpublished backstage photographs from many of the late designer’s provocative fashion shows.”—The Los Angeles Times “The kinetic color and black-and-white photographs document the fantastical, shocking spectacle of a McQueen show in action: hairdos trussed up with birds of prey; hubcaps strapped to foreheads; faces enhanced by extraterrestrial cheek prostheses. The images are sensual, spooky, and whimsical, playing up the drama of McQueen’s vision; like one of the designer’s fabulous garments, the photographs transform fashion into high art. The book is both an homage and a memorial; this celebration of McQueen’s vast, unique talent is also a eulogy for his tragic loss.” —Publishers Weekly “Love Looks Not with the Eyes document[s] the intense work and equally intense emotions that played out behind the scenes of McQueen’s poetic, passionate, and provocative shows. . . . The intimacy is evident in the pictures.” —Vogue “The haunting images offer a rarefied glimpse into the designer’s inner world.” —Harper’s Bazaar “Deniau, in the process of documenting 26 McQueen presentations, captured images which, too, transcend photography—matching the decadent and grand world created by the hands of McQueen.” —Time.com “Haute couture has a reputation for spectacle, but Anne Deniau’s photographs remind us that it’s also the last bastion of craftsmanship in fashion—or it was, as practiced by designer Alexander McQueen (1969–2010).” —Wall Street Journal

    Among significant mid-century interiors, none are more celebrated yet underpublished as the homes created by architects and interior designers for themselves. This collection of newly commissioned photographs presents the most compelling homes by influential mid-century designers, such as Russel Wright, George Nakashima, Harry Bertoia, Charles and Ray Eames, and Eva Zeisel, among others. Intimate as well as revelatory, Williamson’s photographs show these creative homes as they were lived in by their designers: Walter Gropius’s historic Bauhaus home in Massachusetts; Albert Frey’s floating modernist aerie on a Palm Springs rock outcropping; Wharton Esherick’s completely handmade Pennsylvania house, from the organic handcarved staircase to the iconic furniture. Personal and breathtaking by turn—these homes are exemplary studies of domestic modernism at its warmest and most creative.

    The Photography Book brings together 500 inspiring, moving and beautiful images of famous events and people, sensational landscapes, historic moments, ground-breaking photojournalism, insightful portraits, sport, wildlife, fashion and the everyday.Following the winning formula of The Art Book and The 20th Century Art Book, The Photography Book is arranged in alphabetical order by photographer offering us a window on the last 150 years as it takes us on a journey through familiar and strange images by great, unknown and innovative photographers from around the world. Each image is discussed in detail, bringing it to life and offering us an understanding of this art form which plays such a large role in our everyday lives.An accessible, informative and easy-to-use guide, The Photography Book brings together an overview of this incredibly rich and diverse medium. A simple system of cross-referencing offers easy access to photographers working with a similar approach or using different means to capture the same subject. Glossaries of technical terms and movements and a directory of museums and galleries where photography is permanently exhibited are also included to provide a fully comprehensive volume.

    He made pilgrimages to true time capsules like a remote lagoon in Western Australia, spent time in research collections photographing forms of microscopic life, and even found ways to create visual parallels between the growth of organs in the human body and the patterns seen on the surface of the earth. The resulting volume is a glorious picture book of planet earth depicting the amazing biodiversity that surrounds us all. Lanting's true gift lies beyond his technical mastery: it is his eye for geometry in the beautiful chaos of nature that allows him to show us the world as it has never been seen before. From crabs to jellyfish, diatoms to vast geological formations, jungles to flowers, monkeys to human embryos, LIFE is a testament to the magical beauty of life in all its forms and is Lanting's most remarkable achievement to date. The photographer: Dutch-born Frans Lanting has been hailed as one of the great nature photographers of our time. For the past two decades he has documented wildlife and our relationship with nature in environments from the Amazon to Antarctica. Exhibits of his photographs have been shown at major museums in Paris, Milan, Tokyo, New York, Madrid, and Amsterdam. Lanting's previous TASCHEN titles include Eye to Eye, Jungles, and Penguin. The editor: Christine Eckstrom is a writer and editor specializing in natural history. She collaborates with Lanting on fieldwork, books, and other publishing projects from their home base in California.