Brandon Graham's (KING CITY, PROPHET, MULTIPLE WARHEADS) work combines influences from all over the globe into something uniquely personal.ROYALBOILER is a collection of work spanning Graham's twenty-year career: cover, Illustration, animation, and art show work, along with pages from his sketchbook.
Fascinating pavement chalk art by a master of the craft, now with new art.
"Beever's mastery and unbridled humor are on full display in these dazzling drawings, each accompanied by a description that details artistic techniques, discusses challenges the artist faced, and offers an inside look into his process."
-- Publishers Weekly (starred review, on the previous edition)
The pavement chalk artist is a master of art, perspective, creativity and performance. Julian Beever is one such extraordinary master. More than just traditional flat drawings, the works Beever creates are uniquely three-dimensional anamorphic drawings. They are drawn in perspective and distorted so the subject can be viewed properly only from one particular viewpoint. For those who are standing in the right place, his chalk drawings invite them to step right into the scene or, in the case of the artist's well-known "Swimming Pool in the High Street", dive right into the water.
Pavement Chalk Artist includes a fabulous selection of Beever's most intriguing anamorphic drawings. Each one is accompanied by a description of the techniques he used and the challenges he overcame. These photographs record the development of his unusual skill and understanding of perspective. Readers can see how his art progresses and matures as he takes on commissioned works and a wealth of original, inventive subjects in locations worldwide.
The photographs tell the story, giving readers both an understanding of the principles of this 3-D art form and the pleasure of sharing the scenes that passersby once enjoyed before these unique works disappeared forever. This new edition includes 16 new pages of Beever's recent art, in addition to the 16 added to the second edition, for a total of 32 new pages.
Everyone knows a Feiffer illustration when they see one: His characters leap across the page, each line belying humor and psychological insight. Over Feiffer's prolific 70-year career, his nimble and singular imagination has given us new perspectives as well as biting satires on politics, love, marriage, and religion--alternating with stories imbued with the playful anarchy of a child. Feiffer's varied output includes children's books (The Phantom Tollbooth and Bark, George), plays (Little Murders), movies (Carnal Knowledge and Popeye), and comic strips (most notably in his Pulitzer Prize-winning Village Voice comic strip of 42 years). Out of Line: The Art of Jules Feiffer is the long-awaited illustrated retrospective of Feiffer's celebrated career, providing a revealing glimpse into his creative process and his role as America's foremost Renaissance man of the arts.
Praise for the work of Jules Feiffer:
"Jules Feiffer is not only an Academy Award-winning filmmaker, but a Pulitzer Prize winner, a playwright, a teacher, a children's book author and illustrator, and a screenwriter. He is also one of the greatest cartoonists working today." --Robert Osborne
"Jules Feiffer is a long-distance runner. . . . He has been operating at the highest level of his craft, producing a body of work that ranks with the finest ever produced in this country." --Pete Hamill
"Samuel Johnson said he hoped God would think he had made good use of his God-given talents. Jules Feiffer need have no dread of such an audit. He came into this world capable of doing amusing and enchanting things with both language and drawing instruments. He has used these gifts as a faithful and tireless servant of humankind. What has made his services so welcome for so many years now is his possession, in addition to high intelligence, of something no hypocrite or egomaniac could claim, which is a humane sense of humor." --Kurt Vonnegut
"Jules Feiffer, prolific hand and eye behind so many brilliant comics, screenplays, novels, and] illustrations . . . remains one of the signature voices of a long era of American satire and dissent, the bridge from Lenny Bruce to the Simpsons." --Jonathan Lethem
"Jules Feiffer was one of (if not) the first of the early writer/artists to emerge from the comic book ghetto into the literary/art world." --Will Eisner
This book is a whimsical take on Paris, part guide book, part illustrated journal, it will appeal to both travelers and fashionistas. Sumptuous production with different stocks and inks will make this a must for anyone who loves fashion illustration and beautiful books.
What did Maya Angelou do to keep the words flowing? What is a NASA engineer's lucky charm? How does Thom Yorke prep for a concert? This book bottles the singular recipes for success of leading creatives, politicians, scientists, and athletes who made their own luck. Revealing an array of unique practices from quirky superstitions to preperformance rituals, this visual compendium celebrates in text and charming illustrated portraits the real personalities, creative processes, and curious habits of these influential people. Presented with a handsome silk-screened cloth spine, this treasure trove of inspiration is a smart and special choice for anyone who could use a little good fortune.
Provides a page upon page of exercises that can provide you with ample opportunities to create your own personal zoo of characters. This book features step-by-step renderings showing a line by line (shape by shape) progression, provided with blank spaces next to each step for one to follow along.
The Glasgow Style is the name given to the work of a group of young designers and architects working in Glasgow from 1890-1914. At its centre were four young friends who had trained at Glasgow School of Art; two architects and two artists - Charles Rennie Mackintosh, Herbert MacNair, Margaret Macdonald and Frances Macdonald - who were simply known by their friends and contemporaries as 'The Four'.
Their work was a personal vision in the new international style of the 1890s, Art Nouveau, and is perhaps best known for Mackintosh's architecture and furniture. But at the root of this new style was a graphic language which all four shared.
Charles Rennie Mackintosh and the Art of The Four presents the most coherent story to date of this important group, concentrating on the entirety of their artistic imagery and output, far beyond the best known work of the 1890s, and charting the constantly changing relationships between the artists and their work.
-This book will accompany a 'once in a generation' show, the like of which has not been seen for over thirty years The Ashmolean Museum and the Albertina are collaborating on a two-part exhibition project that will examine anew the role and the significance of drawing in Raphael's career. The Ashmolean holds the greatest collection of Raphael drawings in the world, and the Albertina is the custodian of a major collection including some of the most beautiful and important of the artist's sketches. Taken together, the two collections provide extraordinary resources that, amplified by carefully-selected international loans, will allow us to transform our understanding of the art of Raphael. The Oxford exhibition is based on new research by Dr Catherine Whistler of the Ashmolean Museum and Dr Ben Thomas from the University of Kent, in collaboration with Dr Achim Gnann of the Albertina. It will take Raphael's art of drawing as its focus, with the concept of eloquence as its underlying structure. Oratory runs as a linking thread in Raphael's drawings, which stand out for the importance given to the study of gestures, facial expressions, and drapery. Moreover, Raphael treated the expressive figure of the orator - poet, philosopher, muse, apostle, saint or sibyl - in fascinating and significant ways throughout his life. This selection of drawings demonstrates how Raphael created a specific mode of visual invention and persuasive communication through drawing. He used drawing both as conceptual art (including brainstorming sheets) and as a practice based on attentive observation (such as drawing from the posed model). Yet Raphael's drawings also reveal how the process of drawing in itself, with its gestural rhythms and spontaneity, can be a form of thought, generating new ideas. The Oxford exhibition will present drawings that span Raphael's entire career, encompassing many of his major projects and exploring his visual language from inventive ideas to full compositions. The extraordinary range of drawings by Raphael in the Ashmolean and the Albertina, enhanced by appropriate loans, will enable this exhibition to cast new light on this familiar artist, transforming our understanding of Raphael's art. This book preludes a major exhibition, which will run from June to September 2017, with a range of events happening throughout this time.
Phantoms, skulls, skeletons and other macabre figures populate the paintings, drawings and prints of James Ensor. His works are bizarre, ironic, occasionally belligerent and provocative, but always buoyed by a keen sense of humor, and his nightmarish motifs reveal the absurd and grotesque about everyday life. Ensor's interests were wide-ranging; he was as enthusiastic about Rembrandt's prints as he was about the Belgian Carnival festival and Japanese masks. In turn, early twentieth-century artists such as Alfred Kubin, Paul Klee and the German Expressionists Emil Nolde and Ernst Ludwig Kirchner were inspired by his creative power and radical rejection of traditional European ideals of beauty. This volume presents nearly 60 paintings and an equal number of drawings, which are published here for the first time.James Ensor (1860-1949) was born in Brussels where he studied at the Acad mie Royale des Beaux-Arts. He first exhibited his work in 1881, and received his first solo exhibition four years later. Despite initial attacks in the press, Ensor quickly found favor in his native Belgium. By 1920 he was the subject of major exhibitions; in 1929 he was named a baron by King Albert; and in 1933 he was awarded the L gion d'honneur. Ensor rarely left Belgium, and endeared himself to the people of Ostend, where he spent most of his life, as a familiar figure about town.