Book Description
Each card in this inspiring deck offers an idea to stretch your approach to observing and chronicling the daily events around you. You'll learn how to harness the power of words (what to write about, and what to write with), explore extreme photography techniques without having any previous photography experience, focus on the little things (like a two-inch section of a painted mural you drive by every day), and discover unusual ways to create a self-portrait (from plastic wrap and tree lights, to close-ups of your hands). Includes 50 cards and a creativity notebook to record your own art-journal explorations.
Customer Reviews:
Very Cool Concept.......2007-09-26
I love these creativity cards! The graphics on one side are unique, interesting, colorful, and eye catching. The prompts on the flipside are thought-provoking, meaningful, and different. The small journal is a great creative jumpstart in itself. I love the colors and techniques that were used to produce the backgrounds. Think I'll even attempt to create some of those myself. The box housing the creativity cards and journal is sturdy and pleasant to look at.
This is a fresh concept, and I am enjoying this package very much.
By the way, this is in no way a "how to" of any type. It is intended to make you think about doing old things in a fresh way or to help you attempt something new altogether.
Highly recommended.
Wow!.......2007-08-05
these cards are amazing. each one is a little piece of art in itself. you'll want to frame and hang them. except then you wouldn't be able to turn them over and get a shot in the arm of inspiration... yummy. i'm too afraid to work in the little workbook as yet, tho. i don't wanna mess it up. :)
if you're looking for cutesy, pretty art, tho, look somewhere else. this is real, gritty from-the-soul art. the kind that hits you "right there". and hopefully will help you make your own journal pages that do the same.
several of them are geared towards photography but lots of it is the kind that can be done with even an el cheapo camera. the author will also have you using tape, glue, spraypaint, and maybe a few things you never thought of as art supplies before. this is the kind of journaling that begs you to jump in and get messy.
if you do any kind of visual journaling, i highly recommend these cards and workbook.
So Much Fun.......2007-08-05
I got this after much thought. I figured it was just another "how to do a journal book". But, I found it to be much fun to do the exersizes and if you are an artist with a block, this will help to unblock you. It can give you ideas you never really thought of before on approaching your art work. Plus, as I said, it is a lot of fun to do the exersizes suggested on the individual cards. The kit also includes a fun little notebook/journal book to do as you please with. If you teach art, these are also fun ideas to inspire your students. I plan on doing that with my students this Fall.
This is a Gem.......2007-07-26
First of all, this will make a perfect gift for anyone crafty or involved in journaling, scrapbooking, altered books, ATCs, etc. It's a very affordable gift that keeps on giving.
The author opens your eyes to new ways to be creative in a way anyone, whether an "artist" or not, can use everyday observations to create real, unique, personal, fun, journal pages. She'll encourage you to take in all your surroundings and find a common element - she was able to find the common element while sitting in an Italian restaurant and watching war protesters: she, the waiter, the protesters were all waiting, caught up in a moment in time which was the theme she used for one one of her journal pages. She uses paint, photography and any object that she can use to express herself in her work -and makes no apologies. I LOVE this little gem. Just lovely and real. You won't be disappointed.
Great things come in little boxed sets..........2007-07-04
I noticed that there was a 1 star review of "Wide Open...". No offense, reviewer, but clearly you don't have a clue. Yes, the cards in the set are sort of vague -- if you are looking for step-by-step instructions for making something, don't waste your money on this. And, yes, you do need to own... and have some very basic knowledge of... art supplies (again, no offense, but if you've been within spitting distance of an art supply or craft store, then you'll know what gesso is).
[Ok, stepping off my soap box and done with the snarky comments.] Randi Feuerhelm-Watts is such an inspiration! I love her style and the ideas for inspiration that she presents on the cards go way beyond some of the tired, old suggestions that seem to always crop up in art/craft publications.
I read all the cards in one sitting (because I'm obsessive like that!) and I did notice that some of them related to each other. Not that they are dependent on each other or that you would be lost if you pick them at random... but I did observe some links between the individual ideas. I think this is great for continuing themes in your art work. Also, while she references photography quite a bit (she is a photographer after all), I definitely do not feel that any of the ideas are pigeonholed by the techniques. The author's basic ideas translate really well no matter what kind of visual artwork you might do.
The cards themselves each feature snippets of the author's artwork on the back. This alone is incredibly inspirational. You almost get double the bang for your buck - pull out one of the cards to interpret the visual side and then come back to it later for inspiration from the narrative side.
My only complaint would be about the Creativity Notebook... I wouldn't really call it a complaint, persay. I guess I'm just ambivalent about it's inclusion in the set. On one hand she has provided some great backgrounds to help you combat "white page syndrome" as well as some random instructions to offer a jump start to someone who is new to visual journaling. But on the other hand, I don't see myself personally using it since I already have half a dozen journals and prefer to make my own backgrounds (once you get on a roll, its half the fun).
The ideas and techniques are presented in Randi's conversational style, along with her great little stories. While I have not had the pleasure of taking a class with her or meeting her, she comes across as the kind of person you'd love to have as an art friend because she'd always be inspiring and challenging. I think that's the greatest thing about this kit... she's managed to package a ton of her personality and a lot of what I imagine she teaches in her workshops into one cool product. This set definitely gets a front row spot on my art-bookshelf.
Book Description
In this third edition of Photography and the Art of Seeing, Freeman Patterson reviews principles of composition and visual design and provides techniques and exercises for breaking away from traditional concepts. Aspiring photographers are made aware of the barriers to seeing and learn how to observe, imagine and express in a personal and creative way.
Customer Reviews:
Breaking the photographical routine.......2007-03-24
Freeman tries to get photographers to break out of their ways, to look at the world with different eyes, to question old habits. This is a good thing, in my opinion. But does he succeed?
I can only answer this from my own perspective: Yes, the book gives me impulses to try out different perspectives than the ones I'm used to.
The writing is fluent and to the point. The images underline the points in the text. I like many of them, even though they seem unspectacular at first. The printing quality could be better, though. I ordered the book together with two volumes by John Shaw ("Focus on Nature" and "The Field Book to Nature Photography", both Amphoto Books), and those are printed much better, with more contrast and color saturation.
Still, a recommended book for anyone who likes taking photos and would like to explore new grounds.
I deeply regret buying this book... RATED NO STARS AT ALL.......2007-02-16
I wrote a review as follows: 'Anyone can take a picture of a hot dog. If this photographer took a picture of a hot dog you would smell the french fries, hear the ocean, and taste the salt water taffy. The author offers the reader a chance to see the world through his eyes.
Then I looked through the book more closely. On page 137 I saw a picture that disgusted me. When I read what he wrote about the subject, I became angry. He wrote, "This photograph captures a moment in the life of a child, and suggests innocence. The little girl had withdrawn from her playmates on the beach; she wanted to be alone. She was crying a little. When I came along, she hid her face to preserve her privacy. I quickly made this picture and left. Note that the expanse of rocks and the girl's small space in the composition strengthen the sense of her privacy."
The picture is of a naked little child who was hiding her face crying and trying to turn away from the man taking her picture with his camera. It is only my opinion, but I think this man is greatly lacking in respect of human dignity.
I am sorry I put money in his pocket. I hope no one else will.
An excellent resource.......2006-12-15
If you have moved up from the technical aspects of photography, and are into "photography as an art", this is the book to buy to take you to that next level.
If there is just one book in the whole world that you can buy, this is it! I own all of patterson's instruction books - and they are all great! a worthy investment and proudly displayed in my bookshelf.
Don't buy this book - PLEASE!.......2006-11-30
Please don't buy this book. It will change your photography. I bought it, and now I have an advantage, and I want to keep it!
Seriously, this is probably the most disturbing photography book I have found. It will challenge everything you do in photography, and that is unsettling.
If you follow the exercises properly, you will develop a whole new way of seeing and taking photos.
Sure, if you want to, you can read it from cover to cover and go "Ho, hum, very nice." and take it no further. But if you want to improve your photography, take your time, and do the exercises carefully. You will be surprised at the results.
I especially like the one where you lock yourself in a small room (bathroom) and have to take 20 images. "If you don't feel desperation before you finish this exercise, then you have to take another 20 photos."
Don't buy this book! Run away and hide. Keep taking boring photos.
Stimulating Creativity.......2006-11-11
I found this book excellent for stimulating the creative process where photography is concerned.
Book Description
All artists are tired of persuading their nearest and dearest to look sad…look glad…look mad…madder…no, even madder…okay, hold it. For those artists (and their long-suffering friends), here is the best book ever. Facial Expressions includes more than 2,500 photographs of 50 faces—men and women of a variety of ages, shapes, sizes, and ethnicities—each demonstrating a wide range of emotions and shown from multiple angles. Who can use this book? Oh, only every artist on the planet, including art students, illustrators, fine artists, animators, storyboarders, and comic book artists. But wait, there's more! Additional photos focus on people wearing hats and couples kissing, while illustrations show skull anatomy and facial musculature. Still not enough? How about a one-of-a-kind series of photos of lips pronouncing the phonemes used in human speech? Animators will swoon—and artists will show a range of facial expressions from happy to happiest to ecstatic.
Customer Reviews:
Facial Expressions.......2007-09-29
This is a wonderful resource for artists. It offers a variety of models with a wide range of expressions. I Highly reccommend it.
ABSOLUTE NECESSITY!.......2007-09-19
I just recently started creating a webcomic and I never could have done it without this book. The expressions range from highly exaggerated to more subtle and, I promise you, will work for almost any expression you want to create. Also, many expressions are shot at multiple angles, making it much easier for me to create the exact image I am thinking of. Perfect.
Excellent reference for drawing comics.......2007-08-23
I'd used this book often when drawing my manga. However do note that the facial expressions are mostly very exaggerated. When drawing my characters talking or just a gentle smile, I could not find reference from there.I'd to use a mirror. I hope there's a volume two with two people interacting with each other and different camera angles.
Ummm a little disappointing great book.......2007-07-16
I think it's the only book right now which has addressed reference material for facial expressions. It's really useful, but professionals may get disappointed with the quality of some pictures and blurriness. It's not that all pictures are bad quality, but when you have such an amazing reference you ought to expect a lot and that's where this book is disappointing. But for sure this book will be useful for all beginners and probably higher level artists. For this price don't hesitate to buy if you really want a reference for facial expressions. Some people may not like the quality of the paper, but I think you should also consider the price.
good drawing book.......2007-07-05
i thought the book was something different from what i ordered. but i guess its good for artists
Customer Reviews:
Useful tool.......2007-07-27
Although the book is printed on a faily couarse grained paper and the photographs could have had better contrast, I have found the book useful. The poses are sufficiently varied to provide a good cross-section of body movement.
Good Ordinary.......2007-04-02
I bought this book when I saw it in the art store. I like it. The poses are natural and the models, while all WASPs, are of different shapes. I liked that the women were differently shaped-- some more curvacious like J-Lo, others like a Flapper with few curves. Their breasts are differently shaped which definitely helps in learning the figure. There are only a few male models and they could have been better had there been more-- I hate to judge a body as unattractive based on the amount of hair or what-have-they, and as an artist I appreciate the differences and these could be better appreciated had there been more. There was only one pregnant woman in the pregnant section and she is perhaps seven months pregnant-- she is not at the point where she is uncomfortable-pregnant or in the earlier stages-- this book could be greatly improved if Mr. Smith had done more women in different stages of pregnancy and a greater variation of models in general. I do know that when it comes to creating a book that publishers are at the mercy of meeting certain costs with a number of pages, so they try to be useful but original and try to meet several goals. This is all right-- it won't be my favourite book on the nude body, but it's not one that I will give away, either.
Will use this often.......2007-01-13
I found many usable poses in this book. Some diversity in body types, which is nice. I could do without the hairy armpits, but thankfully we all have the creative liscense to erase that.
I left out one star because the male nudes are terrible. I think there are only 3 different male models, and I don't even want to look at them, not to mention draw them. No muscle definition, one is pot bellied, and another with a bald head and flabby body completely covered with hair...easy to render as that is (a contour, then tons of hair)I'll pass. Two thumbs down on the choice of male models.
Designed to develop familiarity with the figure .......2006-08-08
First off, let me start off by saying that this is not a how-to guide for drawing the figure. It does not attempt to teach you, and it's not designed to do so. Also, don't expect this book to have great photos that will translate into beautiful, finished pieces of art--I don't think one should expect it to be. Instead, it is choke full of full figure poses with which a student can learn the human anatomy by repeated practice of drawing different poses.
The book is what it says it is--it is merely a visual reference. This book is designed to help those who are already familiar with drawing the figure, but needs to practice the full figure at home without the help of live models at their disposal. It is not a replacement for live models, so some may deem this inadequate--but note that this is probably the best book out there of this kind. Some of the reviewers complained about the homogeneity of the models and their poses--well, not everyone is looking to expand their figure drawing prowess by drawing ethnic, overweight, or innovative poses.
Speaking from personal experience, I feel that this book is helping me to develop familiarity with the figure, ultimately resulting in speed and better gestural expression. If this isn't what you're looking for, I don't recommend this book for you. As for Sarah Simblet's book, which this book is sometimes compared to, get it if you need to be taught how to draw the figure. Otherwise, I feel that book is useless, as most of the photos are of individual body parts, rather than the full human figure. It may be used to try to gain familiarity with individual body parts, but there aren't enough photos of each part to help become familiar with any of them. It does look pretty fancy though. Very glossy. Unlike this simple and functional book for those who believe in the value of repetition.
Love it.......2005-02-23
I browsed through this book at a Barnes & Nobles a few weeks ago, and almost immediately fell in love with it. But I did have to wait to go online as it was nearly 30.00 at B&N and I knew I could get it cheaper at amazon.com, which I did for a mere 22.00 with shipping.
Before "The Nude Figure" my best reference book was "Drawing the Female Nude" by Giovanni Civardi, which featured his drawings of two models in various poses. It is a great book for the beginner, but after five years of using it I needed something new - and Playboy just wasn't working.
The Nude Figure by Mark Smith featured only photographs of various models and all kinds of different poses. All of the photographs are in black and white which is a definite plus in my mind, helping you to see the defining lines and edges. The poses are divided into chapters as follows:
Standing Poses - This chapter is full of your basic standing poses. Arms up, arms down, from the side, from the back.
Seated Poses - Seated on the ground in different positions including Indian style, which I find very hard to draw.
Reclining Poses - All kinds of laying down positions, all from different perspectives. Some look quite easy to draw and others are quite hard.
The Figure on a stool - These I find quite difficult simply because of the stools - I am not good at any kind of still life, even if it has a woman sitting on it.
Kneeling Poses - The Kneeling poses are quite useful, but some of them just look awkward and I don't see how you could use them in a work of art - but I guess there is always a way.
Bending Poses - Most of these look like stretching before a workout poses. I don't se how they could be useful in a work, but for practice everything is good.
Crouching Poses - A lot of these poses make the model look like she is ready for a race.
The Figure in motion - I am very happy with this section as I do a lot of fairies and it is full of people jumping up in the air - something you could never get a live model to hold.
The Pregnant Figure - There are only a few pages of this, and I'm glad they put in here. It's not too often that you get to see a nude pregnant woman to draw from. I think this will come in handy someday.
Unusual Poses - Just like it sounds, many of these aren't very practical, but very useful in learning how different muscles shift in different positions.
The bulk of the photo's are in Standing, Seated, and reclining poses. Those fill up most of this book.
If you are wanting to learn how to draw men, this book is not for you. In all of the chapters (excluding the pregnant figure), men are only featured on about two pages. But this is a very good thing for me, as I only draw women.
Also the people in this book are all pretty fit. There aren't any fat people in here, not a big scope of different shapes. Again, I am happy with this as I don't want to draw fat people, but other artist might be disappointed by this lack of diversity. Some of the women have hairy armpits though, and some don't - that's diverse enough for me. Plus the women may all be over-all fit, but they are all built differently.
The photo quality is OK, but not fantastic, no glossy pictures in here, in fact some are grainy. But they are all adequate, and I think they did this to keep the cost of the book down, which makes me happy, as I would not have paid 40.00 just to have more glossy pictures. They use a lot of different lighting techniques in this book, but some of them I hate only showing the outlines of the figures when I want to see muscle.
Overall I am quite happy with this book. I know it will give me plenty of ideas for years to come, and I would recommend it to anyone wanting lots of good poses to use in their art. It is the best book of poses I have found thus far. 90% of the poses are very usable, my only problem is trying to choose which one I want to try out next.
Average customer rating:
- Not much written about timecode
|
Timecode: A User's Guide, Third Edition
J. Ratcliff
Manufacturer: Focal Press
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Book Description
Recent radical changes in timecode technology, location shooting and post-production working practices have been brought about by the fragmentation of the television programme making industry and by a dramatic increase in affordable digital transmission and editing equipment and systems.
With the expansion of non-traditional television service producers (cable, satellite and video-on-demand) almost anything hoes as far as shooting and editing formats are concerned.
Timecode: A User's Guide is an indispensable reference for anyone needing to get to grips with the many aspects of timecode, whether in-house or on location.
Taking into account these changes this book has now been brought completely up to date to include:
* timecode and DVD, LTC & VITC in HANC packets in the serial digital TV interfaces
* timecode in IEEE1395 (Firewire)
* timecode and digital video cassettes
* new recording formats of DVD, DV mini cassettes and D6 are included
* 4:3 scanning for wide-screen films - standards updated
* new material to cover new working practices
* new appendices to cover the global LF time data transmissions and time data embedded in BBC transmissions
Advice is also given on avoiding and remedying faults and errors.
Comprehensive technical coverage of timecode provides a complete overview of the technology
Have the most up to date information on working practices at your fingertips
Benefit from the expertise and inside knowledge of the author
Customer Reviews:
Not much written about timecode.......2007-06-18
I professionally work in the field of computer based digital video and know that there simply isn't much written about timecode. This book is a great reference, I have used it to successfully implement VITC and LTC encoders/decoders in software, timecode math libraries and the like. This is the book I refer to and recommend when these often confusing topics arise. I have used the first two editions but have not seen the third. I hope it adds more information about digital production.
Book Description
Sometimes seeing is more difficult for the student of art than believing. Taylor, in a book that has sold more than 300,000 copies since its original publication in 1957, has helped two generations of art students "learn to look."
This handy guide to the visual arts is designed to provide a comprehensive view of art, moving from the analytic study of specific works to a consideration of broad principles and technical matters. Forty-four carefully selected illustrations afford an excellent sampling of the wide range of experience awaiting the explorer.
The second edition of Learning to Look includes a new chapter on twentieth-century art. Taylor's thoughtful discussion of pure forms and our responses to them gives the reader a few useful starting points for looking at art that does not reproduce nature and for understanding the distance between contemporary figurative art and reality.
Customer Reviews:
Regularly chosen by instructor.......2006-09-07
I have used this textbook a number of times in teaching Art Appreciation classes. The choice of chapter topics works fairly well with beginning students: one chapter discusses the structure, composition and style of two specific paintings in contrast with one another; another chapter makes a study of the work of one artist. There is even a chapter devoted to modern art (a tough sell with some first-time students). I only fault the highly specific and somewhat tedious chapter discussing all aspects of color. I tend to skip over this one and leave it for the independent reading of anyone interested. Otherwise good, and I will use it again until something comes along with a better overview. Mostly black and white illustrations -- only two in color.
A worthy course........2005-06-18
Interesting, accesible and ultimately enlightening but inclined also to be dry in an "Idiot's guide" kind of way, this renders the topic a little lack lustre which for me detracts from the point of veiwing art and getting any kind of personal, emotional experience from it. Excellent for making art accesible nonetheless and demystifying the nonsense that art glitterarty types surround the topic in so needlessly and prentiontiously.
Book Description
Since its original publication, Erwin Panofsky's Meaning in the Visual Arts has been standard reading for students of art history. It is both an introduction to the study of art and, for those with more specialized interests, a profound discussion of art and life in the Middle Ages and Renaissance. Panofsky's historical technique reveals an abundance of detail, detail he skillfully relates to the life and work of individual painters and their times.
The papers in this volume represent a cross-section of Panofsky's major work. Included are selections from his well-known Studies in Iconology and The Life and Art of Albrecht Dürer, plus an introduction and an epilogue—"The History of Art as a Humanistic Discipline" and "Three Decades of Art History in the United States: Impressions of a Transplanted European"—as well as pieces written especially for this collection. All display Panofsky's vast erudition and deep commitment to a humanistic conception of art and art history.
Customer Reviews:
Essays by a great scholar in the field .......2005-01-09
Panofsky was one of the great founding fathers of Art History. His studies in Iconology opened up a whole new way of reading meaning into works of Art. In this work he combines masterful scholarship with great theoretical innovativeness to provide his own reading of the world of Art. Though his systematic approach can at times feel abstract he nonetheless continually gives the sense that the understanding of works of Art is an intellectual adventure of the highest order and of the most profound meanings.
A masterpiece in Art History.......2000-03-30
This book is a collection of different papers written by Panofsky during the years of his exile in America. Their content is often technical and hard to read, but some of them (like the one about the meaning of Poussin's and Guercino's "Et in Arcadia Ego" and the last one about the History of Art in America) are brilliant and sometimes even funny. This is one of the first book I've read about "iconology" and (together with the book about Duhrer's Melancholy) has made me falling in love with Art History. I think that this book is one of the best results of the interaction between different cultures (here, European and American).
Book Description
Visual effects are among the most exciting-and one of the most in-demand-aspects of contemporary film-making. But not all visual effects are created using prohibitively expensive equipment. For the first time, this compelling art form is explained and made accessible to aspiring film-makers and artists in a unique book/DVD combination. Exploring Visual Effects describes and illustrates each phase of visual effects production, from design and research through model building, photography, digital editing, and composition. The authors, drawing on extensive industry and classroom teaching experience, present a range of options for creating Hollywood-style effects using traditional and contemporary technologies-with explanations on how to choose the right technique based on content, budget, and time. The creative and budget-conscious ideas in this book can be explored using commonly available supplies and software-an important consideration when it comes to building the confidence to create convincing visual effects. The accompanying DVD provides a striking visual counterpoint to the text and features a gallery of downloadable stills and video clips for practicing techniques used in the video demonstrations.
Customer Reviews:
Strictly For Beginners.......2006-11-27
I might recommend this book to somebody studying to be in the visual effects business. It has some of the basic information for beginners but even there it falls short on what you would need to know.
I did enjoy the interviews with Bill Taylor, who I would consider a master of the art form, but this book only scratches the surface.
The price is also very high for what you get, which in my opinion is not very much.
Good book for someone starting out..........2006-06-29
This book has a lot of good information. It focuses more on practical effects and model building rather than digital effects, which is cool. However, if you are already in the business of creating visual effects, you probably will not get a lot out of it. With that said, the book is good and I DO recommend it for people getting started.
Informative, Entertaining, and Very Freakin' Cool.......2006-05-20
I'm not a professional filmmaker (I'm barley a hobbyist), but I totally dug this book! I've always been fascinated with visual effects, and I've read plenty of books on the subject...but none were as clear, concise, and easy to understand as this one. As I was reading, I had to look up a couple of technical terms, but like I said, I don't do this for a living. I have to believe that as much as I enjoyed the read, someone who will actually implement the author's techniques, will freakin' love this thing.
Excellent for beginner and veteran .......2006-05-16
I have woked in visual efeects for over 10 years and I like to think I know a great deal about my field but I still found that this book provded me with additional information on subjects I was already aquainted with. If you are new to visual effetcs the book provides a good overview of the many crafts associated with VFX and it is also a great refresher for those with experience. Mr Woodys book covers a wide spectrum of concpets and disciplines used in visual effects work in an enjoyable, easy to read style. If you're looking to get into VFX this is a great place to start.
A must have for learning visual effects.......2006-05-03
This was a fantastic book that covers a variety of areas of visual effects. I found the examples and DVD to be a huge help. I found it to be well written and the practical industry information is great. A must have for anyone learning the industry.
Book Description
Artists and others who appreciate sublime depictions of the natural world will relish this contemporary exploration of what constitutes the poetic in landscape painting today. The luminous, richly rendered paintings that grace these pages all illustrate the book's fresh, timely approach that landscape painting represents a source of emotional and spiritual well-being, a fitting antidote to the hectic alienation of modern life, both for the artist who creates the work and the viewers who derive pleasure from looking at it. The author proposes that through his or her imagination, intellect, and feelings, an artist can evoke an emotional response in the viewer by the arrangement of the landscape's natural elements. In thoughtful examinations of her paintings, the author analyzes their color, time of day, season of year, climate and atmosphere, and the more elusive qualities that define this genre: a sense of place recognition and grace of line. The book is full of fresh insights that will enhance landscape painting for years to come.
Customer Reviews:
Study the pictures, forget the essays.......2003-07-31
Ms. Mowry is a talented artist, with great finesse in shaping dramatic landscapes. This book is filled with fine, instructive examples of her work. She does tend to get carried away, though, as she writes about the significance of Art, and Life, and Stuff. All that palaver tends to wear thin after awhile. But the pictures are well worth studying.
Study the pictures, forget the essays.......2003-07-31
Ms. Mowry is a talented artist, with great finesse in shaping dramatic landscapes. This book is filled with fine, instructive examples of her work. She does tend to get carried away, though, as she writes about the significance of Art, and Life, and Stuff. All that palaver tends to wear thin after awhile. But the pictures are well worth studying.
A Beautiful Book...............2002-06-07
I found that this book was one of the best art books that I have read in a long time.Ms. Mowry's insights into the poetic landscape will stay with you .Though I do not work in pastels I found that the ideas expressed by the author will be of insight to all artists regardless of medium used.The paintings illustrated are beautifull and express the meaning of the poetic landscape.This is a great book for artists looking to make thier own statement.If you do not paint this book will be of help in appreciating art and it may make you want to start painting!I strongly recommend this book to landscape painters and anyone who appreciates fine art.It will become one of your most read books.
Sublime.......2001-11-12
I became lost in this book. Better than any "how-to" book on painting landscapes, Ms. Mowry opens ones mind to the poetry and philosophy of creating great art. The time spent reading this book is like attending a very, very good workshop where one learns to paint with his or her heart. And even if you never read the first word of this book, it's worth owning for the exquisite reproductions of Ms. Mowry's landscapes.
Sublime.......2001-11-12
I became lost in this book. Better than any "how-to" book on painting landscapes, Ms. Mowry opens ones mind to the poetry and philosophy of creating great art. The time spent reading this book is like attending a very, very good workshop where one learns to paint with his or her heart. And even if you never read the first word of this book, it's worth owning for the exquisite reproductions of Ms. Mowry's landscapes.
Book Description
"This collection of classic essays in the study of visual culture fills a major gap in this new and expanding intellectual field. Its major strength is its insistence on the importance of three central aspects of the study of visual culture: the sign, the institution and the viewing subject. It will provide readers, teachers and students with an essential text in visual and cultural studies." -
Janet Wolff, University of Rochester
Visual Culture: The Reader provides an invaluable resource of over 30 key statements from a wide range of disciplines. Although underpinned by a focus on contemporary cultural theory, this reader puts issues of visual culture and the rhetoric of the image at centre stage.
Divided into three parts, The Culture of the Visual, Regulating Photographic Meaning, Looking and Subjectivity, this reader enables students to make hitherto unmade connections across art, film and photography history and theory, semiotics, history, semiotics and communications, media studies, and cultural theory. The key statements are from the work of:
Visual Culture: The Reader sets the agenda for the study of Visual Culture and will be an essential sourcebook for researchers and students alike.
This is the reader for the module The Image and Visual Culture (D850) - part of The Open University Masters in Social Sciences Programme.
Customer Reviews:
great selection of essays dealing with visual culture.......2000-09-20
this selection of essays offer a wide understanding of all the arenas in which visual analysis can take place. it has an introduction about what is visual culture and essays from academics such as j. clifford, m. de certeau, g. pollock, etc. it is a review on the history of visuality and the implications of visual culture in the arenas of the representation of race, class, gender, sexual orientation, etc. You wont regret buying this book if you are interested in the study of visual culture.
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