The perfect primer for anyone - no matter their age or artistic abilities - to learn how to draw flowers! Featuring easy-to-follow tutorials on doodling and drawing 100 flowers, 30 leaves and vines, and 20 more doodle art, all in five simple steps, this beginner-friendly instructional guide will also show you how to combine what you've learned to create gorgeous works of art for larger drawing projects. With its easy step-building approach, hundreds of motifs to draw and combine, and a helpful overview on tools and supplies, Drawing Florals in 5 Easy Steps is a must-have guide for aspiring artists of all ages to learn the basics of floral drawing! Artist, doodler, and coloring book author Marty Woods was voted the 2016 Top Doodler in Malaysia. An official Faber-Castell art workshop instructor, Marty has also collaborated with Disney Malaysia, Faber-Castell, Nespresso, and several other international companies.

This book collects together about sixty drawings of fishing boats at Arbroath Harbour, completed between 1989 to 1995. There are also fifteen drawings of the harbour at Montrose, and of other Scottish harbours relevant to Arbroath, in the same period. The author's viewpoint is that of an interested spectator who likes fishing boats. While drawing, he gained valuable background information from the local people, including some fishermen, that he met as he worked. His notes on the harbours he draws, and on the boats and people within them, are written in the hope that everyone reading the book will 'feel close to the sea'. The main story unfolds gradually, starting in 1989 and running through to 1995. It begins with a bird's eye view of Arbroath Harbour, 'so that even if you have never been to Arbroath, you will soon know your way around'. At the end of the book there is a map that show the positions of all the Scottish harbour towns mentioned in the text. 'I have written not just for Arbroath people, or just for Scottish people, or even just for British people. I have written the book for people everywhere. The call of the sea is universal.'

"The Landscape Series" of 2002 to 2006 was made in quantities of thirty to one hundred 1' square panels, each of the thirty sets generally taking three weeks to complete. The panels were worked on flat, painting eighteen at a time in fifteen minute bursts. They were laid out on an old framed 6' x 3' piece which also served as a container for the pools of colour washed over the textured surface. Two inch square wooden cubes were used to stack the paintings in small towers to dry out. Various factors steered the series development: there was reference to an initial colour plan, thoughts about the load-bearing pressures on a place, tracks and crossing points, airflow, water, spaces and intervals, the nature of settlement in the land. For a city: light and shadows on buildings, streets, side alleys and hidden courtyards, people, stores, traffic, noise, incidents and interruptions. Titles were assigned later to photographs of the line of production. The identity of a place was achieved not by literal description but as an equivalent found by coincidence in the passage of an abstract process.

They ate garlic and didn't always bathe; they listened to Wagner and worshiped Diaghilev; they sent their children to coeducational schools, explored homosexuality and free love, vegetarianism and Post-impressionism. They were often drunk and broke, sometimes hungry, but they were of a rebellious spirit. Inhabiting the same England with Philistines and Puritans, this parallel minority of moral pioneers lived in a world of faulty fireplaces, bounced checks, blocked drains, whooping cough, and incontinent cats.

They were the bohemians.

Virginia Nicholson -- the granddaughter of painter Vanessa Bell and the great-niece of Virginia Woolf -- explores the subversive, eccentric, and flamboyant artistic community of the early twentieth century in this "wonderfully researched and colorful composite portrait of an enigmatic world whose members, because they lived by no rules, are difficult to characterize" (San Francisco Chronicle).