It's not colorful enough. It's intimidating!With the fun and easy techniques in Gina Rossi Armfield's No Excuses Watercolor, your excuses for not painting with watercolor don't stand a chance! As you try the demonstrations and exercises, you'll learn the techniques and tricks necessary to achieve amazing, colorful results in your artist's sketchbook.After getting to know your materials, you'll try your hand at thirteen exercises that will help train your hand, and help you identify and refine your artistic style. Along the way, you'll get tips and suggestions for adding journaling and writing to your art. Finally, you'll find an inspirational resource guide packed with reference photos, starter sketches, color palettes, journaling prompts and more to help you fill your watercolor journal!Grab your sketchbook and watercolors--it's time to paint, no excuses!- 22 demonstrations for sketching and watercolor painting. - 13 exercises for practicing backgrounds, focal images, color mixing, layering and details. - 13 resource sections loaded with journaling and painting prompts to keep you inspired.

    It's used widely among artists of many types with both fine and bold lines, creating different variations. Botanical Line Drawing teaches you how to start with the simplest doodles, building into more elaborate, delicate illustrations. This book focuses on the extremely popular subject matter of the natural world and includes flowers, leaves, succulents, houseplants, trees, branches, mushrooms, and more. These simple line drawings will allow you to branch out and have fun with your own personal style, as well as inspire you to add flourishes to other projects.

    This must have book offers to painters the wisdom and technical savvy of a lifetime. Writing as an acknowledged master, Richard Schmid leads his reader gracefully through the fundamentals and subtleties of painting technique with refreshing clarity, authority and deep affection to all who strive for self-expression, regardless of skill level.

    Lark’s Cover to Cover has been a bestseller for more than ten years, and this new and provocative on-the-page gallery, richly illustrated with hundreds of breathtaking photographs, will appeal to that same large and discerning audience. They’ll appreciate the artistry of a finely tooled leather cover, embellished with traditional gold-leaf lettering; the intricacy of an exotic Ethiopian binding with a show-stopping open spine; and others that resemble mysterious puzzle boxes, or that curl, hang, and swirl. The sublimely talented contributors all put their finest work on display: Jeanne Germani’s Cloudspeak showcases her own handmade papers, made from such varied materials as recycled denim, thistle, and other plant matter. Chris Bivin’s codex-style volume features curious, tiny, found objects. One of Laura Wait’s untitled pieces utilizes a handsome raised-cord binding to connect a pair of stained-cedar covers with abstract aluminum letterforms attached.The entire collection is juried by the esteemed Steve Miller.

    In this captivating guided journal, readers are encouraged to explore their world as both artists and scientists. The mission Smith proposes? To document and observe the world around you. As if you've never seen it before. Take notes. Collect things you find on your travels. Document findings. Notice patterns. Copy. Trace. Focus on one thing at a time. Record what you are drawn to. With a series of interactive prompts and a beautifully hand-illustrated two-color package, readers will enjoy exploring and discovering the world through this gorgeous book.

    Mixed media enthusiasts will enjoy learning the essential concepts for creating their own mixed media art--whether they are experienced in its approaches or just starting out. 101 Mixed Media Techniques features a wide variety of traditional and eclectic techniques, including drawing and painting techniques, stamping, stitching, using photos, prepping backgrounds, working with wax, using different kinds of inks, collaging, journaling, and working with encaustics. Multiple ways to use each technique are provided to inspire and nurture creative freedom in each artist. Each technique is presented in a step-by-step format, beginning with an overview of the required tools and materials. Instructions are presented in a straightforward, approachable style, so beginning to advanced artists can master them with ease. The engaging and accessible format allows for the option of focusing on one technique at a time or several, catering to the preference of each artist. Readers will not only learn a variety of techniques, but will also discover new ideas and inspiration for using the techniques in their own projects. With so many options to choose from, 101 Mixed Media Techniques has something to offer every type of artist and is sure to inspire new forms of creativity.

    Work in the spirit of the laws of attraction to visualize the life of your dreams. Follow the journey of twelve artists, each who will set a personal dream or intention. Witness the process that each artist takes, as they create a mixed-media piece that sows the seeds of their intention. Step-by-step techniques for a variety of mixed-media processes accompany each piece of finished art. Read about how their lives changed as a result and learn how to set intentions of your own using the bonus tear-out "dream-prompt" cards.

    This book emphasizes a simplified understanding of surface anatomy, in order to clarify the mechanics of the figure, facilitate invention, and ultimately create a skill-set that can be successfully applied to other media. In addition, this book focuses very strongly on practical usage, making sure the artist is able to assimilate the steps presented here into a cohesive working process. (Fourth printing, September 2011)

    The twelfth edition of this classic reference has been revised and updated to provide all the information creative professionals need to keep up with current trends and compete in an ever-changing industry.

    That will paint itself. Do the obvious thing before you do the superhuman thing. It may have been accidental, but you knew enough to let this alone. The good painter is always making use of accidents. Never try to repeat a success. Swing a bigger brush — you don’t know what fun you are missing. For 31 years, Charles Hawthorne spoke in this manner to students of his famous Cape Cod School of Art. The essence of that instruction has been collected from students’ notes and captured in this book, retaining the personal feeling and the sense of on-the-spot inspiration of the original classroom. Even though Hawthorne is addressing himself to specific problems in specific paintings, his comments are so revealing that they will be found applicable a hundred times to your own work.The book is divided into sections on the outdoor model, still life, landscape, the indoor model, and watercolor. Each section begins with a concise essay and continues with comments on basic elements: general character, color, form, seeing, posture, etc. It is in the matter of color that students will especially feel themselves in the presence of a master guide and critic. Hawthorne’s ability to see color and, more important, to make the student see color, is a lesson that will aid student painters and anyone else interested in any phase of art.Although it does not pretend to be a comprehensive or closely ordered course, this book does have much to offer. It also represents the artistic insight of one of the finest painter-teachers of the twentieth century."An excellent introduction for laymen and students alike." — Time"To read these notes and comments … is in itself an education. One cannot help but gain great help." — School Arts

    This long-awaited book provides simple, insightful approaches to the complex subject of human anatomy, using drawings, diagrams, and reader-friendly text. Three major sections–the skeletal form, the muscular form and action of the muscles, and movement–break the material down into easy-to-understand pieces. More than 800 distinctive illustrations detail the movement and actions of the bones and muscles, and unique charts reveal the origins and insertions of the muscles. Packed with an extraordinary wealth of information, Classic Human Anatomy is sure to become a new classic of art instruction.

    One of these principles is what Harold Speed calls "dither," the freedom that allows realism and the artistic vision to play against each other. Very important to any artist or work of art, this quality separates the scientifically accurate from the artistically accurate. Speed's approach to this problem is now considered a classic, one of the few books from the early years of this century that has continued to be read and recommended by those in the graphic arts.In this work, Harold Speed approaches this dynamic aspect of drawing and painting from many different points of view. He plays the historical against the scientific, theory against precise artistic definition. He begins with a study of line drawing and mass drawing, the two basic approaches the artist needs to learn. Further sections carry the artistic vision through unity and variety of line and mass, balance, proportion, portrait drawing, the visual memory, materials, and procedures. Throughout, Speed combines historical backgrounds, dynamic aspects which each technique brings to a work of art, and specific exercises through which the young draughtsman may begin his training. Although not a technique book in the strict sense of the terms, The Practice and Science of Drawing brings to the beginner a clear statement of the principles that he will have to develop and their importance in creating a work of art. Ninety-three plates and diagrams, masterfully selected, reinforce Speed's always clear presentation.Harold Speed, master of the art of drawing and brilliant teacher, has long been cited for this important work. For the beginner, Speed will develop a sense for the many different aspects which go into an artistic education. For the person who enjoys looking at drawings and paintings, Speed will aid developing the ability to see a work of art as the artist meant it to be seen.

    "I believe that you must be able to draw things as you see them--realistically," wrote Rudy de Reyna in his introduction.Today, generations of artists have learned to draw what they see, to truly capture the world around them, using de Reyna's methods. How to Draw What You See shows artists how to recognize the basic shape of an object--cube, cylinder, cone, or sphere--and use that shape to draw the object, no matter how much detail it contains.

    What type of font to use? How big? How should those letters, words, and paragraphs be aligned, spaced, ordered, shaped, and otherwise manipulated? In this groundbreaking new primer, leading design educator and historian Ellen Lupton provides clear and concise guidance for anyone learning or brushing up on their typographic skills. Thinking with Type is divided into three sections: letter, text, and grid. Each section begins with an easy-to-grasp essay that reviews historical, technological, and theoretical concepts, and is then followed by a set of practical exercises that bring the material covered to life. Sections conclude with examples of work by leading practitioners that demonstrate creative possibilities (along with some classic no-no's to avoid).

    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.