Have you ever wondered what beats beneath an animal's skin? Well, you wouldn't be the first one. The study of comparative anatomy has led to some of the most striking images ever created. For two and a half thousand years, the animal body has been picked apart to drive arguments in natural philosophy, to reinforce dogma, to remind us of death, to horrify, educate, and enthral. This book recounts the intertwined intellectual and artistic journeys of comparative anatomy from antiquity to the present day. Rather than offering an exhaustive listing, it focuses on the distinctive artistic flavors of five great phases of anatomical endeavour. Horses opened like books, the leer of a shark's eye, the humming loom of the brain-all life is here, dissected, and depicted. Lyrically written and accompanied by captivating illustrations from history's animal anatomists, this is the ideal read for designers, art lovers and scientists alike.

In this book, Professor Martin Robertson, author of A History of Greek Art (CUP 1975) and A Shorter History of Greek Art (CUP 1981), draws together the results of a lifetime's study of Greek vase-painting, tracing the history of figure-drawing on Athenian pottery from the invention of the "red-figure" technique in the later archaic period to the abandonment of figured vase-decoration two hundred years later. The book covers red-figure and also work produced over the same period in the same workshops in black-figure and other techniques, especially that of drawing in outline on a white ground. This book is a major contribution to the history of Greek vase-painting and anyone seriously interested in the subject--whether scholar, student, curator, collector or amateur--will find it essential reading.

A light-hearted interactive guide to comics and cartoon-making that uses an activity book format and creatively stimulating prompts to teach the fundamentals of cartooning in a fun and easy-to-follow fashion. From a working cartoonist and comic book making instructor, this all-ages activity book uses humorous and informative one-page comics and exercise prompts to guide young readers (and readers who are young at heart) through easy-to-master lessons on the skills needed to make comics. The activities cover a range of essential comics-making tasks from creating expressions for characters to filling in blank panels to creating original characters and placing them in adventures of their own. Each exercise can stand on its own or work together with others in the book to stimulate creativity via the comics medium. In the end, readers who complete the activities inside the book itself will have created several comics of their own, and will have generated many ideas for more sequential art creations. Praise for Let's Make Comics! "At once playful and complex, this book is a perfect introduction to cartooning, as well as a lovely (and lovingly crafted) tribute to the comics form and a timely reminder that artmaking can be fun."-Roman Muradov, creator of Vanishing Act and On Doing Nothing "Let's Make Comics is a book I wish I had when I was 9, but 29 works too! It's so fun and brilliant and packed with oodles of awesome activities. Great book for learning to make comics or for a seasoned cartoonist to find some new inspiration."-Ben Clanton, creator of the Narwhal and Jelly books "It's fantastic! This book will make you a better writer and a better artist and show you how to think like a comic star."-Charise Harper, creator of the Fashion Kitty and Crafty Cat books "Warning! This book will make you make comics, and it will be fun!"-Greg Pizzoli, creator of The Watermelon Seed, Number One Sam, and The Book Hog "If only we'd had this book! Our comics would be much better."-Elizabeth Pich and Jonathan Kunz, creators of War and Peas

Dealing with forces is part of the basic inventory of artistic processes. In giving shape and movement to material, such forces are manifested in a specific form; as push and pull, for example, as heaviness and lightness, but also as attachment and dissolution. The articles in the book examine notions of formative and motive forces using examples from art, music, dance, theater, photography and literature. The questions posed not only cover how historical notions of force (such as energeia and vis from ancient rhetoric) are adopted, taken further, and correlated with mechanically, metaphysically and organologically based concepts of force, but also how, in the examination of form and movement, the inherent concepts of force are manifested or presented in a new light.

Presents new ways in which art therapy is being used. Describes a wealth of cases where art therapy has been used with bereaved children, refugees, psychotics, psychosomatic patients, and many others. Discusses a variety of methods employed by art therapists, including the creative use of photography, video, computers, and psychodrama. Describes ways of introducing art therapy to children, and a new method of working with depressed patients. Also covers training issues, such as countertransference through art-making, using art in supervision, and training in termination.