How could looking at Monet’s water lily paintings help save your company millions? How can checking out people’s footwear foil a terrorist attack? How can your choice of adjective win an argument, calm your kid, or catch a thief?   In her celebrated seminar, the Art of Perception, art historian Amy Herman has trained experts from many fields how to perceive and communicate better. By showing people how to look closely at images, she helps them hone their “visual intelligence,” a set of skills we all possess but few of us know how to use properly. She has spent more than a decade teaching doctors to observe patients instead of their charts, helping police officers separate facts from opinions when investigating a crime, and training professionals from the FBI, the State Department, Fortune 500 companies, and the military to recognize the most pertinent and useful information. Her lessons highlight far more than the physical objects you may be missing; they teach you how to recognize the talents, opportunities, and dangers that surround you every day.   Whether you want to be more effective on the job, more empathetic toward your loved ones, or more alert to the trove of possibilities and threats all around us, this book will show you how to see what matters most to you more clearly than ever before.

    Divided into three sections – the movement, its fashion and advertising – the reader gains great insight into the artists and innovators that helped popularize the Art Deco movement, such as Georges Barbier, Erté, Cassandre and Paul Colin. While the main focus for this intriguing book is centred on graphic art, numerous examples of other forms of Art Deco are also featured. Nestled among the posters and paintings, sculpture, objets d'art and jewellery assert their similarity, whether through line, form or theme. These echoes serve to show the creativity fertility of the period as styles and ideas traversed artistic media.

    For the most part the book is a discussion of good writing style and effective research strategies. Some of the material is accepted wisdom, some is controversial, and some is my opinions. Although the book is brief, it is designed to be comprehensive: some readers may be interested in exploring topics further, but for most readers this book should be suf?cient. The ?rst edition of this book was almost entirely about writing. This e- tion, partly in response to reader feedback and partly in response to issues that arose in my ownexperiences as an advisor, researcher, and referee, is also about research methods. Indeed, the two topics writing about and doing research are not clearly separated. It is a small step from asking how do I write? to askingwhatisitthatIwriteabout? As previously, the guidance on writing focuses on research, but much of the material is applicable to general technical and professional communication. Likewise, the guidance on the practice of research has broader lessons. A pr- titioner trying a new algorithm or explaining to colleagues why one solution is preferable to another should be con?dent that the arguments are built on robust foundations. And, while this edition has a stronger emphasis on research than did the ?rst, nothing has been deleted; there is additional material on research, but the guidance on writing has not been taken away."

    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.

    Every building contains clues embedded in its design that identify not only its architectural style but also the story of who designed it, who it was built for, and why. Organized by architectural element (roofs, doors, windows, columns, domes, towers, arches, etc.), the book is roughly chronological within each section, examining the elements across history, through different architectural styles, and by geographical distribution. Additional chapters offer overviews of how architecture has been affected by geography, history, and religion, along with an illustrated timeline of architectural elements. Also included is a chapter on applied ornament and a handy introduction to naming each part of a building. All entries are accompanied by examples in the forms of period engravings, line drawings, and pictures. The extended captions make the book invaluable for anyone who has ever pondered the meaning or importance of a hipped roof, rounded doorway, or classical pediment.

    From the Nazi purges of 'degenerate art' and Goering's shopping sprees in occupied Paris to the perilous journey of the 'Mona Lisa' from Paris and the painstaking reclamation of the priceless treasures of liberated Italy, The Rape of Europa is a sweeping narrative of greed, philistinism, and heroism that combines superlative scholarship with a compelling drama.The cast of characters includes Hitler and Goering, Gertrude Stein and Marc Chagall--not to mention works by artists from Leonardo da Vinci to Pablo Picasso.

    Now, drawing on the green living lessons gained from 10 years of putting the Cradle to Cradle concept into practice with businesses, governments, and ordinary people, William McDonough and Michael Braungart envision the next step in the solution to our ecological crisis: We don't just use or reuse and recycle resources with greater effectiveness, we actually improve the natural world as we live, create, and build. For McDonough and Braungart, the questions of resource scarcity and sustainability are questions of design. They are practical-minded visionaries: They envision beneficial designs of products, buildings, and business practices—and they show us these ideas being put to use around the world as everyday objects like chairs, cars, and factories are being reimagined not just to sustain life on the planet but to grow it. It is an eye-opening, inspiring tour of our green future as it unfolds in front of us.The Upcycle is as ambitious as such classics as Rachel Carson's Silent Spring—but its mission is very different. McDonough and Braungart want to turn on its head our very understanding of the human role on earth: Instead of protecting the planet from human impact, why not redesign our activity to improve the environment? We can have a beneficial, sustainable footprint. Abundance for all. The goal is within our reach.

    He tells the stories of the inventor of the bentwood chair, Michael Thonet, and of the creators of the first molded-plywood chair, Charles and Ray Eames. He reveals the history of chairs to be a social history--of different ways of sitting, of changing manners and attitudes, and of varying tastes. The history of chairs is the history of who we are. We learn how the ancient Chinese switched from sitting on the floor to sitting in a chair, and how the iconic chair of Middle America--the Barcalounger--traces its roots back to the Bauhaus. Rybczynski weaves a rich tapestry that draws on art and design history, personal experience, and historical accounts. And he pairs these stories with his own delightful hand-drawn illustrations: colonial rockers and English cabrioles, languorous chaise longues, and no-nonsense ergonomic task chairs--they're all here.The famous Danish furniture designer Hans Wegner once remarked, "A chair is only finished when someone sits in it." As Rybczynski tells it, the way we choose to sit and what we choose to sit on speak volumes about our values, our tastes, and the things we hold dear.

    Over 100 illustrations spotlight dozens of different varieties, including Oak, Willow, Pine, and Palmetto. Topics include shading techniques, composition, portraying shadow and light, and approaches to outlining.Author and illustrator Victor Perard, a graduate of the École des Beaux-Arts in Paris, was an art instructor at New York City's Cooper Union for twenty years. This informative volume reflects his extensive teaching experience and provides practical advice for artists at every level.

    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.

    The authors, Frank Thomas and Ollie Johnston, worked with Walt Disney himself as well as other leading figures in a half-century of Disney films. They personally animated leading characters in most of the famous films and have decades of close association with the others who helped perfect this extremely difficult and time-consuming art form. Not to be mistaken for just a "how-to-do-it," this voluminously illustrated volume (like the classic Disney films themselves) is intended for everyone to enjoy.Besides relating the painstaking trial-and-error development of Disney's character animation technology, this book irresistibly charms us with almost an overabundance of the original historic drawings used in creating some of the best-loved characters in American culture: Mickey Mouse and Donald Duck, Snow White and Bambi (among many, many others) as well as early sketches used in developing memorable sequences from classic features such as Fantasia and Pinocchio. With the full cooperation of Walt Disney Productions and free access to the studio's priceless archives, the authors took unparalleled advantage of their intimate long-term experience with animated films to choose the precise drawings to illustrate their points from among hundreds of thousands of pieces of artwork carefully stored away.The book answers everybody's question about how the amazingly lifelike effects of Disney character animation were achieved, including charming stories of the ways that many favorite animated figures got their unique personalities. From the perspective of two men who had an important role in shaping the art of animation, and within the context of the history of animation and the growth of the Disney studio, this is the definitive volume on the work and achievement of one of America's best-known and most widely loved cultural institutions. Nostalgia and film buffs, students of popular culture, and that very broad audience who warmly responds to the Disney "illusion of life" will find this book compelling reading (and looking!).Searching for that perfect gift for the animation fan in your life? Explore more behind-the-scenes stories from Disney Editions:The Art of Mulan: A Disney Editions ClassicWalt Disney's Ultimate Inventor: The Genius of Ub IwerksOne Day at Disney: Meet the People Who Make the Magic Across the GlobeThe Walt Disney Studios: A Lot to RememberFrom All of Us to All of You: The Disney Christmas CardInk & Paint: The Women of Walt Disney's AnimationOswald the Lucky Rabbit: The Search for the Lost Disney Cartoons, Revised Special EditionDisney Villains: Delightfully Evil - The Creation, The Inspiration, The FascinationThe Art and Flair of Mary Blair: An Appreciation, Updated Edition

    Focusing on a popular art medium that has been around for over 50 years, The New Acrylics illustrates how artists can create lush textures, color, and luster with the modern acrylics readily available in any art supply store. These are nontoxic, environmentally sound, and exist in the most dazzling array of chemical formats—from the most fluid to the highly viscous. Not only do artists paint with acrylics these days, they can create rich metallic effects, or even 3-dimensional sculptures. Traditional technique based books on acrylics cover traditional methods of painting. However, The New Acrylics is geared toward more nonconventional ways in which to manipulate modern-day acrylics, and demonstrates new applications such as glazing, textured effects, soft sculpture effects, or staining, thus reinventing the old way of handling acrylics, and revealing a fabulous new artistic medium. The underlying theme of this dazzling and sophisticated book is to encourage artists to interpret and handle acrylic paints in a vibrant, fresh, and above all, individualistic style.

    - Quick, easy approach and a wealth of case studies give readers a crash course in the difference between good and bad branding. - Tons of tips and real-world advice plus a new branding dictionary help readers turn brand strategy into brand design and execution.

    Or, more difficult yet, imagine an America unaffected by the cultural expressions and forms of the twentieth-century social movements that have shaped our nation. The first broad overview of social movements and the distinctive cultural forms that express and helped shape them, The Art of Protest shows the vital importance of these movements to American culture. In comparative accounts of movements beginning with the African American civil rights movement of the 1950s and 1960s and running through the Internet-driven movement for global justice ("Will the revolution be cybercast?") of the twenty-first century, T. V. Reed enriches our understanding of protest and its cultural expression. Reed explores the street drama of the Black Panthers, the revolutionary murals of the Chicano movement, the American Indian Movement's use of film and video, rock music and the struggles against famine and apartheid, ACT UP's use of visual art in the campaign against AIDS, and the literature of environmental justice. Throughout, Reed employs the concept of culture in three interrelated ways: by examining social movements as sub- or countercultures; by looking at poetry, painting, music, murals, film, and fiction in and around social movements; and by considering the ways in which the cultural texts generated by resistance movements have reshaped the contours of the wider American culture. The United States is a nation that began with a protest. Through the kaleidoscopic lens of artistic and cultural expression, Reed reveals how activism continues to remake our world.

    Although each instance of creativity is singular and specific, Kyna Leski tells us, the creative process is universal. Artists, architects, poets, inventors, scientists, and others all navigate the same stages of the process in order to discover something that does not yet exist. All of us must work our way through the empty page, the blank screen, writer's block, confusion, chaos, and doubt. In this book, Leski draws from her observations and experiences as a teacher, student, maker, writer, and architect to describe the workings of the creative process.Leski sees the creative process as being like a storm; it slowly begins to gather and take form until it overtakes us--if we are willing to let it. It is dynamic, continually in motion; it starts, stops, rages and abates, ebbs and flows. In illustrations that accompany each chapter, she maps the arc of the creative process by tracing the path of water droplets traveling the stages of a storm.Leski describes unlearning, ridding ourselves of preconceptions; only when we realize what we don't know can we pose the problem that we need to solve. We gather evidence--with notebook jottings, research, the collection of objects--propelling the process. We perceive and conceive; we look ahead without knowing where we are going; we make connections. We pause, retreat, and stop, only to start again. To illustrate these stages of the process, Leski draws on examples of creative practice that range from Paul Klee to Steve Jobs, from the discovery of continental drift to the design of Antoni Gaud�'s Sagrada Familia.Creativity, Leski tells us, is a path with no beginning or end; it is ongoing. This revelatory view of the creative process will be an essential guide for anyone engaged in creative discovery.The Creative ProcessUnlearningProblem MakingGathering and TrackingPropellingPerceiving and ConceivingSeeing AheadConnectingPausingContinuing