The first book to consider the importance of commercial art and design for Ed Ruscha's work Ed Ruscha (b. 1937) emerged onto the Los Angeles art scene with paintings that incorporated consumer products, such as Spam and Sun-Maid raisins. In this revelatory book, Jennifer Quick looks at and beyond the consumer imagery in Ruscha's work, examining it through the tools, techniques, and habits of mind of commercial art and design. Quick shows how his training and early work as a commercial artist helped him become an incisive commentator on the presence and role of design in the modern world. Back to the Drawing Board explores how Ruscha mobilized commercial design techniques of scale, paste-up layout, and perspective as he developed his singular artistic style. Beginning with his formative design education and focusing on the first decade of his career, Quick analyzes previously unseen works from the Ruscha archives along - side his celebrated paintings, prints, and books, demonstrating how Ruscha's engagement with commercial art has been foundational to his practice. Through this insightful lens, Quick affirms Ruscha as a powerful and witty observer of the vast network of imagery that permeates visual culture and offers new perspectives on Pop and conceptual art.

In a contemporary and ever-changing society, 'the visual' has become a dynamic element that traverse all parts of current life all over the world - what in this book series is termed transvisuality. The present book is volume 3, which attempts to study the visual as it comes about: through the dynamic involvement in all sorts of articulations. The topics are in all volumes covered by introductions bring everything together under the new theme of transvisuality: the notion of visual as a cultural practice and constant dynamic that knows no representational limits and no framings. In this volume, the visual is seen as dynamic new and nonrepresentational matter - a 'flesh' which is researched from the particular vantage points of design of the visual and branding of the visual. In dialogue with radical new theories of the present, non-representational theory and new materialism, design and branding are surveyed from the viewpoint of business research, design studies, cultural studies, and practice - all focused on the visual. Topics covered are fashion blogging, DIY, Junk Space, handmade signage and public spaces in New Delhi, city branding, dance festivals and youtubing, visual branding in China and Multi-Sensory Retrieval Methods.

From the 1787 Wedgwood antislavery medallion featuring the image of an enchained and pleading black body to Quentin Tarantino's Django Unchained (2012) and Steve McQueen's Twelve Years a Slave (2013), slavery as a system of torture and bondage has fascinated the optical imagination of the transatlantic world. Scholars have examined various aspects of the visual culture that was slavery, including its painting, sculpture, pamphlet campaigns, and artwork. Yet an important piece of this visual culture has gone unexamined: the popular and frequently reprinted antislavery illustrated books published prior to Harriet Beecher Stowe's Uncle Tom's Cabin (1852) that were utilized extensively by the antislavery movement in the first half of the nineteenth century. The Illustrated Slave analyzes some of the more innovative works in the archive of antislavery illustrated books published from 1800 to 1852 alongside other visual materials that depict enslavement. Martha J. Cutter argues that some illustrated narratives attempt to shift a viewing reader away from pity and spectatorship into a mode of empathy and interrelationship with the enslaved. She also contends that some illustrated books characterize the enslaved as obtaining a degree of control over narrative and lived experiences, even if these figurations entail a sense that the story of slavery is beyond representation itself. Through exploration of famous works such as Uncle Tom's Cabin, as well as unfamiliar ones by Amelia Opie, Henry Bibb, and Henry Box Brown, she delineates a mode of radical empathy that attempts to destroy divisions between the enslaved individual and the free white subject and between the viewer and the viewed.

Der Zeichner und Karikaturist Erich Ohser (1903-1944) wurde beruhmt durch seine Bildgeschichten: "Vater und Sohn," die er als Gegner des Nationalsozialismus nur unter dem Pseudonym e. o. plauen veroffentlichen durfte. - Nach einer Denunziation entzog er sich in der Nacht zum 6. April 1944 durch Freitod der Verurteilung durch den Volksgerichtshof. Er hinterliess seine Ehefrau mit dem kleinen Sohn Christian. Die bis heute unverandert beliebten und bewunderten Bildgeschichten hat die Verfasserin mit eigenen Versen versehen

Der Zeichner und Karikaturist Erich Ohser (1903-1944) wurde ber hmt durch seine Bilgeschichten: "Vater und Sohn," die er als Gegner des Nationalsozialismus nur unter dem Pseudonym e. o. plauen ver ffentlichen durfte. - Nach einer Denunziation entzog er sich in der Nacht zum 6. April 1944 durch Freitod der Verurteilung durch den Volksgerichtshof. Er hinterlie seine Ehefrau mit dem kleinen Sohn Christian. Die bis heute unver ndert beliebten und bewunderten Bildgeschichten hat die Verfasserin mit eigenen Versen versehen.

A truly astonishing, illustrated history of Science fiction, covering fantasy, and horror, with forays into crime, mystery and the gothic. Using timelines, online links, illustrations, posters, movie stills, book covers, and more, this amazing new book propels us into the well of modern imagination, from its roots in Frankenstein, through Verne, H.G. Wells, the late gothic and weird horror of Lovecraft to the mass market sensationalism of the Pulp magazines. The Pulps then invoked a new generation of writers (such as Ray Bradbury and Robert Bloch) of the Golden Age before many transitioned to screenwriting for the movies and early TV (Psycho, Star Trek, Twilight Zone), inspiring, in turn, the invasion of superheroes, gigantic spaceships, and dystopian landscapes onto our data-streaming tablets and computers. The book explores the interplay between great writers, (Asimov and Arthur C. Clarke) and story-telling directors (Kubrick, James Cameron, Ridley Scott, Christopher Nolan, George Lucas) who create powerful Sci-Fi, reflecting and challenging the developments of technology, science and society. Each have played a major role in this all-consuming, speculative form of world-building, from its early manifestation as a shocking literary event, to the mass market sensation is today.

Featuring excerpts from Fred's varied career, as well as his personal multimedia project 'Dark Shepherd', this monograph is a must-have for science fiction art fans.

This is the fourth book by the award-winning science-fiction and fantasy artist Stephan Martiniere. Following his previous books, Quantum Dreams, Quantumscapes and Velocity, Trajectory showcases Stephan's phenomenal artistic range and skills in a stunning new visionary collection of sci-fi book covers, theme park and animation concepts, video game designs and never-before-seen artwork.

Since 1964, beginning with a reproduction of Jan van Eycke's St Jerome in His Study, the front cover of JAMA: The Journal of the American Medical Association has featured full-color images of renowned works of fine art as well as many lesser-known gems. Vincent van Gogh, Claude Monet, Winslow Homer, Mary Cassatt, and hundreds of other artists have graced the covers of this eminent medical journal. For the past four decades, these images have been selected by JAMA senior contributing editor Dr. M. Therese Southgate, who writes marvelous accompanying essays exploring the background of the artist and the circumstances under which the work was completed, followed by astute commentary on the work itself. These engaging articles have been regularly rated as one of the top-read sections in JAMA by readers throughout the world.
In this third volume of The Art of JAMA, Dr. Southgate brings together a new selection of 100 wonderful covers. Each painting is displayed in a two-page spread, with Dr. Southgate's essay on the work on the facing page. The volume includes works by Marc Chagall, Leonardo da Vinci, James Ensor, Paul Gauguin, Frida Kahlo, Rene Magritte, Edouard Manet, Edvard Munch, Georgia O'Keeffe, Rembrandt van Rijn, Henri de Toulouse-Lautrec, Vincent van Gogh, and many more. And, of course, Dr. Southgate also includes less famous artists, treating readers to the pleasure of unexpected discovery.
Lavishly illustrated, exquisitely designed, and printed on high-quality paper, The Art of JAMA is a beautiful book that will be a perfect graduation present from medical school and an excellent gift for physicians, other health care professionals, art historians, and anyone interested in art and medicine."

This beautifully illustrated book is the first complete handbook to visual information. Lucidly written and carefully indexed, it describes the full range of charts, graphs, maps, diagrams, and tables used daily to manage, analyse, and communicate information. It features over 3,000 illustrations, making it an ideal source for ideas on how to present information. It is an invaluable tool for anyone who writes or designs reports, whether for scientific journals, annual reports, or magazines and newspapers.

Celebrate your uniqueness. Inspiring and captivating, Tattoo Street Style is a tribute to creativity and self-expression, a celebration of body, beauty and style, a manifesto for redefining the rules. Over four hundred original portraits capture extraordinary tattooed people from around the world, in New York, LA, Melbourne, Berlin, Amsterdam, Paris, London and Brighton. A curated and eclectic snapshot of today's modern tattoo culture. Features profiles and interviews with some of the world's most creative and exciting artists and studios. Also includes comprehensive infographic-style directories; perfect if you're looking for inspiration.

Professor Nordenfalk's work over the last forty years has represented perhaps the most important effort made in these decades to clarify the development of book illumination in the late antique and early medieval periods. His papers on late antique and insular manuscript painting in particular are recognized as standard works on the subject. This volume brings together twenty-three of the author's most significant papers on manuscript illumination, covering the period from the origins of the art in late antiquity to the flowering of insular and Ottonian illumination. Seven articles cover the late antique period, seven subsequent papers deal with insular manuscripts, and six are concerned with Ottonian illumination. All of the studies have been reset, and have been extensively revised by the author just prior to his death in 1992. There is a comprehensive index.

Ewa-Mari Johansson's personal research should be interpreted as a general work-in-progress. It is endowed with a sort of internal coherence that appears as stages of a single dialectic path without a real beginning or a definite end. Ewa-Mari Johansson's work is endowed with a sort of internal coherence that appears as stages of a single dialectic path without a real beginning or a definite end. But it has developed in a circular manner - often returning to investigate the same field, but each time with a different and heightened critical and aesthetic awareness. Text in English and Italian.