Go beyond lettering and learn to use your brush pen markers to create vibrant, colorful watercolor paintings! In this easy-to-follow guide, noted artist Jessica Mack teaches all the techniques you need to get started and practice through a series of fun projects.Markers are vibrant, inexpensive, and extremely versatile. They re also less messy than paints, and require less equipment to get started, making them the ideal tool for creating at home or on the go. And when you blend them with water you really unleash their magic!With over 35 projects you re bound to find something that suits your mood. From fashion illustration to florals, galaxies to food, each project will help you hone your painting skills, and you ll have a beautiful, finished piece of art at the end. Whether you re new to painting, or looking for another way to use your markers, these fun projects will provide you with a relaxing and enjoyable way to grow your skills.

The book is a study on Dutch painting, drawing and printmaking of the 17th century, focused on interlocking its descriptive realism with the visual strategy of illusion. The author analyzes this relationship as a conjunction rather than an opposition. Illusionistic compositional devices were current not only in mythological, biblical and allegorical images but also in proper realistic representations of the world. At the same time, many visual inventions, which included illusionistic concepts, were presented with persuasive realism of the forms. Thus, different seventeenth-century Dutch artists - such as Hendrick Goltzius, Hendrick Vroom, Rembrandt, Vermeer - attempted to produce "open images" and to conduct a visual game with their beholders.

Award-winning artist Angela Gaughan shares with you a life time's worth of experience in art. This book provides an insight into the distinctive techniques Angela Gaughan uses to achieve her amazingly detailed, life-like wildlife paintings. It is an inspirational guide to painting in acrylics; both for experienced artists who are interested in Angela's methods, and those wishing to improve their skills. Sumptuous colour is at the heart of Angela's vivid, beautiful art work. Her unique techniques combine the advantages of acrylics and oils. In this inspirational book, Angela shares with you a lifetime's worth of experience in art. Learn her unique approach to using acrylics to produce depth and character in your own wildlife artwork, and follow the step-by-step demonstrations as you build up your skills. The book begins with detailed coverage of the materials, tools and media Angela uses. Chapters on colour and light, gathering reference, and composition build upon Angela's working method guiding you through her stages of working, from using photographic references, through completing a tonal drawing, to using transparent washes and opaque colours to create a full painting. The instructional techniques then connect into substantial chapters on colour, composition and finish off with masterwork techniques to help more advanced artists push their artwork further.

A FLAME TREE NOTEBOOK. Beautiful and luxurious the journals combine high-quality production with magnificent art. Perfect as a gift, and an essential personal choice for writers, notetakers, travellers, students, poets and diarists. Features a wide range of well-known and modern artists, with new artworks published throughout the year. BEAUTIFULLY DESIGNED. The highly crafted covers are printed on foil paper, embossed then foil stamped, complemented by the luxury binding and rose red end-papers. The covers are created by our artists and designers who spend many hours transforming original artwork into gorgeous 3d masterpieces that feel good in the hand, and look wonderful on a desk or table. PRACTICAL, EASY TO USE. Flame Tree Notebooks come with practical features too: a pocket at the back for scraps and receipts; two ribbon markers to help keep track of more than just a to-do list; robust ivory text paper, printed with lines; and when you need to collect other notes or scraps of paper the magnetic side flap keeps everything neat and tidy. THE ARTIST. Ambrosius Bosschaert the Elder was a Dutch Golden Age painter. The flowers in this arrangement, which include lilies, tulips, roses, and carnations, are painted with almost scientific precision. Bosschaert's choice of a smooth copper support enhances the extraordinary detail of his brushwork. The bouquet itself, however, is a fiction: these flowers do not bloom at the same time, and would have been far too precious to cut for temporary display. THE FINAL WORD. As William Morris said, "Have nothing in your houses that you do not know to be useful, or believe to be beautiful."

The volume Nicolas Party | L'Heure Mauve collects a vast visual epic in which Party plays a variety of roles, sometimes impersonating the artist, others the scenographer, the conservator, or the sculptor. His work, and the title of the show, are inspired by L'Heure Mauve, a piece created in 1921 by the Canadian painter Ozlas Leduc that highlights the different interpretations given to the relationship between man and nature throughout the history of art. The result is a constantly changing natural environment: it can be a place full of danger and catastrophe, a territory to be conquered, an expanse disseminated with ancient ruins, or even silences where there are no traces of human presence. Nature finally becomes the theatre for the Anthropocene, its connection with humanity by now inextricable, and the passing of time and the finiteness of existence make way for a feeling of melancholy. Our artist interrogates the world's image, and he does so by dialoguing very concretely with the spaces and the works belonging to the collection of the Montreal Museum of Fine Arts. The present volume reflects this personal evolution by employing a unique graphic framework and a packaging that is as precious as its contents. Text in English and French.

Indian art, increasingly popular in the west, cannot be fully appreciated without some knowledge of the religious and philosophical background. This book, first published in 1985, covers all aspects of Hindu iconography, and explains that its roots lie far back in the style of prehistoric art. The dictionary demonstrates the rich profusion of cults, divinities, symbols, sects and philosophical views encompassed by the Hindu religious tradition.

This title was first published in 2000: In their stunning simplicity, George Romney's portraits of eighteenth-century gentry and their children are among the most widely recognised creations of his age. A rival to Reynolds and Gainsborough, Romney was born in 1734 on the edge of the Lake District, the landscape of which never ceased to influence his eye for composition and colour. He moved in 1762 to London where there was an insatiable market for portraits of the landed gentry to fill the elegant picture galleries of their country houses. Romney's sitters included William Beckford and Emma Hart, later Lady Hamilton. An influential figure, one of the founding fathers of neo-classicism and a harbinger of romanticism, Romney yearned to develop his talents as a history painter. Countless drawings bear witness to ambitious projects on elemental themes which were rarely executed on canvas. Richly illustrated, this is the first biography of Romney to explore the full diversity of his oeuvre.

Published in 1981: This book is two-hundred Catalogues of the Major Exhibitions reproduced in facsimile in forty-seven volumes.

Varied and deliberately diverse, this group of essays provides a reassessment of the life and work of the popular nineteenth-century artist Samuel Palmer. While scholarly publications have been published recently which reassess Palmer's achievement, those works primarily consider the artist in isolation. This volume examines his work in relation to a wider art world and analyses areas of his life and output that have until now received little attention, reinstating the study of Palmer's work within broader debates about landscape and cultural history. In Samuel Palmer Revisited, the contributors provide a fresh perspective on Palmer's work, its context and its influence.

A highly anticipated biography of the enigmatic and popular Swedish painter. The Swedish painter Hilma af Klint (1862-1944) was 44 years old when she broke with the academic tradition in which she had been trained. While her naturalistic landscapes and botanicals were shown during her lifetime, her body of radical, abstract works never received the same attention. Today, it is widely accepted that af Klint produced the earliest abstract paintings by a trained European artist. But this is only part of her story. Not only was she a successful woman artist, but she was also an avowed clairvoyant and mystic. Like many of the artists at the turn of the twentieth century who developed some version of abstract painting, af Klint studied Theosophy, which holds that science, art, and religion are all reflections of an underlying life-form that can be harnessed through meditation, study, and experimentation. Well before Kandinsky, Mondrian and Malevich declared themselves the inventors of abstraction, af Klint was working in a non-representational mode, producing a powerful visual language that continues to speak to audiences today. The exhibition of her work in 2018 at the Guggenheim Museum in New York City attracted more than 600,000 visitors, making it the most-attended show in the history of the museum/institution. Despite her enormous popularity, there has not yet been a biography of af Klint-until now. Inspired by her first encounter with the artist's work in 2008, Julia Voss set out to learn Swedish and research af Klint's life-not only who the artist was but what drove and inspired her. The result is a fascinating biography of an artist who is as great as she is enigmatic.

This book is an exploration of how art-specifically paintings in the European manner-can be mobilized to make knowledge claims about the past. No type of human-made tangible thing makes more complex and bewildering demands in this respect than paintings. Ivan Gaskell argues that the search for pictorial meaning in paintings yields limited results and should be replaced by attempts to define the point of such things, which is cumulative and ever subject to change. He shows that while it is not possible to define what art is-other than being an open kind-it is possible to define what a painting is, as a species of drawing, regardless of whether that painting is an artwork or not at any given time. The book demonstrates that things can be artworks on some occasions but not necessarily on others, though it is easier for a thing to acquire artwork status than to lose it. That is, the movement of a thing into and out of the artworld is not symmetrical. All such considerations are properly matters not of ontology-what is and what is not an artwork-but of use; that is, how a thing might or might not function as an artwork under any given circumstances. These considerations necessarily affect the approach to paintings that at any given time might be able to function as an artwork or might not be able to function as such. Only by taking these factors into account can anyone make viable knowledge about the past. This lively discussion ranges over innumerable examples of paintings, from Rembrandt to Rothko, as well as plenty of far less familiar material from contemporary Catholic devotional works to the Chinese avant garde. Its aim is to enhance philosophical acuity in respect of the analysis of paintings, and to increase their amenability to philosophically satisfying historical use. Paintings and the Past is a must-read for all advanced students and scholars concerned with philosophy of art, aesthetics, historical method, and art history.

A SUNDAY TIMES BESTSELLER 'We have lost touch with nature, rather foolishly as we are a part of it, not outside it. This will in time be over and then what? What have we learned?... The only real things in life are food and love, in that order, just like [for] our little dog Ruby... and the source of art is love. I love life.' DAVID HOCKNEY Praise for Spring Cannot be Cancelled: 'This book is not so much a celebration of spring as a springboard for ideas about art, space, time and light. It is scholarly, thoughtful and provoking' The Times 'Lavishly illustrated... Gayford is a thoughtfully attentive critic with a capacious frame of reference' Guardian 'Hockney and Gayford's exchanges are infused with their deep knowledge of the history of art ... This is a charming book, and ideal for lockdown because it teaches you to look harder at the things around you' Lynn Barber,The Spectator 'Designed to underscore [Hockney's] original message of hope, and to further explore how art can gladden and invigorate ... meanders amiably from Rembrandt, to the pleasure principle, andouillette sausages and, naturally, to spring' Daily Telegraph On turning eighty, David Hockney sought out rustic tranquillity for the first time: a place to watch the sunset and the change of the seasons; a place to keep the madness of the world at bay. So when Covid-19 and lockdown struck, it made little difference to life at La Grande Cour, the centuries-old Normandy farmhouse where Hockney set up a studio a year before, in time to paint the arrival of spring. In fact, he relished the enforced isolation as an opportunity for even greater devotion to his art. Spring Cannot be Cancelled is an uplifting manifesto that affirms art's capacity to divert and inspire. It is based on a wealth of new conversations and correspondence between Hockney and the art critic Martin Gayford, his long-time friend and collaborator. Their exchanges are illustrated by a selection of Hockney's new, unpublished Normandy iPad drawings and paintings alongside works by van Gogh, Monet, Bruegel, and others. We see how Hockney is propelled ever forward by his infectious enthusiasms and sense of wonder. A lifelong contrarian, he has been in the public eye for sixty years, yet remains entirely unconcerned by the view of critics or even history. He is utterly absorbed by his four acres of northern France and by the themes that have fascinated him for decades: light, colour, space, perception, water, trees. He has much to teach us, not only about how to see... but about how to live. With 142 illustrations in colour

From domestic cats and dogs to wild lions and giraffes, best-selling artist and author Jean Haines shows the reader how to bring a vitality of life to their animal artwork. Known for the vibrant colours and exciting, innovative painting techniques that she brings to her work, Jean's latest book invites beginners and more experienced artists alike to share a journey through painting animals from around the world. Painting animals requires a delicacy of touch. Jean starts with simple monochrome artworks and progresses on to more vivid paintings that incorporate exciting textural effects. Using lessons from nature to help bring the reader closer to the animals, Jean shows how to portray the animal's spirit and bring vitality to the reader's artwork. Suitable for all abilities, from first-time painters to experienced artists, Jean shares all the materials and unique techniques she uses, and provides a wealth of expert tips and advice inspired by the animals themselves, helping the reader to progress and find their own path. Scattered throughout the book are dozens of Jean's wonderful paintings, showcasing a veritable Noah's Ark of different animals to inspire the reader on their artistic journey.

With over 10 million views and growing, Mark Crilley's "Realism Challenge" YouTube videos have an enormous worldwide legion of fans and have been featured on sites such as Yahoo News and Reddit. Now, for the first time, Crilley pulls back the curtain to reveal his artistic tricks and secret methods for creating these astonishing renderings. The Realism Challenge leads artists through Crilley's use of pencil, watercolour, pastel, and gouache to produce life-like, seemingly impossible drawings of common household objects like playing cards, crumpled paper, leaves, and seashells that look just like photographs. Each lesson builds off the previous, with sidebars covering specific techniques-such as rendering drop shadows, applying white highlights, and building from light to dark-that artists can master in order to conquer The Realism Challenge.

This book introduces the fundamentals of sign painting, allowing readers to learn about the tools, materials and techniques needed to create painted signs. All the basics are covered, from choosing and using brushes, paints, mahl sticks, dippers and pencils, to how to prepare and finish surfaces, transfer designs, mix paint and work with the brush. A gallery section of original alphabets, created for the book by sign painters around the world, provides visual inspiration and demonstrates a wide variety of styles and approaches.

This book draws a comparison between two of the most prominent Jewish artists in the twentieth-century: Polish-born magician story-teller Isaac Bashevis-Singer (1904-1991) and Russian-born creator of visual magic Marc Chagall (1887-1985). In addition to their East European Jewish background both were exposed to Western culture. Chagall absorbed such turn-of-the-century avant-garde styles as Expressionism, Fauvism, Cubism, Abstract Art, Surrealism; from these he created a unique blend, to which he brought the various Russian influences he had absorbed and his own special highly imaginative and inventive personal style. Bashevis-Singer brought to his works philosophical, psychological, scientific, medical and legal knowledge. While both artists were affected by these Western influences, they remained firmly entrenched within the Jewish culture - the Yiddish language and life in the "shtetl" - from which they drew their inspiration. Their world consisted of a special blend of reality and dream, realism and fantasy. Ruth Dorot demonstrates that they shared, albeit unwittingly, a common "meta-realistic" style combining the earthly with the supernatural and the transcendental. Their works allude to real place names, dates, facts and historical events; but at the same time contain occult forces, angels, demons, mysticism and mystery. Comparisons range over the Jewish "shtetl", Jewish artists, Love and Despair, the Holocaust and war, religion and mysticism. In the works of both artists, hope springs eternal; it is a hope emanating from the mystical realm of life as it relates to the magic of creation and the cosmic logic of the Creator. Artist and story-teller sail between hard-core reality and the yearning for redemption, between Judaism and universal values, between exile and revelation.