Creating Stylized Characters gives readers a valuable insight into the popular art of character design. Professional illustrators, animators and cartoonists, well versed in creating characters for video games, comics and film, guide the reader through accessible tutorial projects packed with images and advice. Any budding artist will soon be able to draw characters of all ages, shapes and sizes! This entertaining, beginner-friendly book is applicable to both digital and traditional media, and delves into many essential aspects of the character development process, from real-world research, to sketching gestures and poses, to exploring different genres, personalities and styles.

In 2009, Susan Boyle's debut roused Simon Cowell from his grumbling slumber on the television show "Britain's Got Talent" and viewers across the world rallied to the side of the unemployed, older woman with the voice of a trained Broadway star. In Mismatched Women, author Jennifer Fleeger argues that the shock produced when Boyle began to sing belies cultural assumptions about how particular female bodies are supposed to sound. Boyle is not an anomaly, but instead belongs to a lineage of women whose voices do not "match" their bodies by conventional expectations, from George Du Maurier's literary Trilby to Metropolitan Opera singer Marion Talley, from Snow White and Sleeping Beauty to Kate Smith and Deanna Durbin. Mismatched Women tells a new story about female representation in film by theorizing a figure regularly dismissed as an aberration. The mismatched woman is a stumbling block for both sound and feminist theory, argues Fleeger, because she has been synchronized yet seems to have been put together incorrectly, as if her body could not possibly house the voice that the camera insists belongs to her. Fleeger broadens the traditionally cinematic context of feminist psychoanalytic film theory to account for literary, animated, televisual, and virtual influences. This approach bridges gaps between disciplinary frameworks, showing that studies of literature, film, media, opera, and popular music pose common questions about authenticity, vocal and visual realism, circulation, and reproduction. The book analyzes the importance of the mismatched female voice in historical debates over the emergence of new media and unravels the complexity of female representation in moments of technological change.

This first-of-its-kind compendium unites perspectives from artists, scholars, arts educators, policymakers and activists to investigate the complex system of values surrounding artistic-educational endeavors. Addressing a range of artistic domains, ranging from music and dance, to visual arts and storytelling, contributors offer an exploration and criticism of the conventions that govern our interactions with these practices. Artistic Citizenship focuses the responsibilities, and functions of amateur as well as professional artists in society, and introduces a novel set of ethics that are conventionally dismissed in discourses on the topic. The authors address the questions: How does the concept of citizenship relate to the arts? What socio-cultural, political, and ethical "goods" can artistic engagements create for people worldwide? Do particular artistic endeavors have distinctive potentials for nurturing artistic citizenship? What are the most effective strategies in the arts to institute change and/or resist local, national, and world problems? What responsibilities do artists and consumers of art have in order to facilitate the relationship between the arts and citizenship? How can artistic activities contribute to the eradication of various 'ism's? A substantial accompanying website features video clips of arts-in-action, videotaped interviews with scholars and practitioners in a variety of global sites, a blog, and supplementary resources about existing and emerging initiatives. Thoroughly researched and engagingly written, Artistic Citizenship is an essential text for artists, scholars, policy makers, educators, and students.

In De Gustibus Peter Kivy deals with a question that has never been fully addressed by philosophers of art: why do we argue about art? We argue about the 'facts' of the world either to influence people's behaviour or simply to get them to see what we take to be the truth about the world. We argue over ethical matters, if we are ethical 'realists,' because we think we are arguing about 'facts' in the world. And we argue about ethics, if we are 'emotivists,' or are now what are called 'expressionists,' which is to say, people who think matters of ethics are simply matters of 'attitude,' to influence the behaviour of others. But why should we argue about works of art? There are no 'actions' we wish to motivate. Whether I think Bach is greater than Beethoven and you think the opposite, why should it matter to either of us to convince the other? This is a question that philosophers have never faced. Kivy claims here that we argue over taste because we think, mistakenly or not, that we are arguing over matters of fact.

Hegel gave lecture series on aesthetics or the philosophy of art in various university terms, but never published a book of his own on this topic. His student, H. G. Hotho, compiled auditors' transcripts from these separate lecture series and produced from them the three volumes on aesthetics in the standard edition of Hegel's collected works. Annemarie Gethmann-Siefert has now published one of these transcripts, the Hotho transcript of the 1823 lecture series, and accompanied it with a very extensive introductory essay treating many issues pertinent to a proper understanding of Hegel's views on art. She persuasively argues that the evidence shows Hegel never finalized his views on the philosophy of art, but modified them in significant ways from one lecture series to the next. In addition, she makes the case that Hotho's compilation not only concealed this circumstance, by the harmony he created out of diverse source materials, but also imposed some of his own views on aesthetics, views that differ from Hegel's and that the ongoing interpretation of the aesthetics part of Hegel's philosophy has unfortunately taken to be Hegel's own. This translation of the German volume, which contains the first publication of the Hotho transcript and Gethmann-Siefert's essay, makes these important materials accessible to the English reader, materials that should put the English-speaking world's future understanding and interpretation of Hegel's philosophy of art on a sounder footing.

Since the late 1990s, contemporary art markets have emerged rapidly outside of Europe and the United States. China is r s1the world's second largest art market. In counties as diverse as Brazil, Turkey and India, modern and contemporary art has been recognized as a source of status, or a potential investment tool among the new middle classes. At art auctions in the US, London and Hong Kong, new buyers from emerging economies have driven up prices to record levels. The result of these changes has been an increase in complexity, interconnectedness, stratification and differentiation of contemporary art markets. Our understanding of them is still in its early stages and empirical research in the field of globalization of high arts is still scarce. This book brings together recent, multidisciplinary, cutting edge research on the globalization of art markets. Focusing on different regions, including China, Russia, India and Japan, as well as different institutions and organizations, the chapters in this volume study the extent to which art markets indeed become global. They show the various barriers to, and the effects of, globalization on the art market's organizational dynamics and the everyday narratives of people working within the art industry. In doing so, they recognize the coexistence of various ecologies of contemporary art exchange, and sketch the presence of resilient local networks of actors and organizations. Some chapters show Europe and the US continue to dominate, especially when taking art market rankings and the most powerful events such as Art Basel into account. However, other chapters argue that things such as art fairs are truly global events and that the 'architecture of the art market' which has originally been developed in Europe and the US from the 19th century onwards, is increasingly adopted across the world.

This study reconstructs F.W.J. Schelling's philosophy of language based on a detailed reading of 73 of Schelling's lectures on the Philosophy of Art. Daniel Whistler argues that the concept of the symbol present in this lecture course, and elsewhere in Schelling's writings of the period, provides the key for a non-referential conception of language, where what matters is the intensity at which identity is produced. Such a reconstruction leads Whistler to a detailed analysis of Schelling's system of identity, his grand project of the years 1801 to 1805, which has been continually neglected by contemporary scholarship. In particular, Whistler recovers the concepts of quantitative differentiation and construction as central to Schelling's project of the period. This reconstruction also leads to an original reading of the origins of the concept of the symbol in German thought: there is not one 'romantic symbol', but a whole plethora of experiments in theorising symbolism taking place at the turn of the nineteenth century. At stake, then, is Schelling as a philosopher of language, Schelling as a systematiser of identity, and Schelling as a theorist of the symbol.

The first single-volume anthology of Brecht's writings on both art and politics This volume contains new translations to extend our image of one of the twentieth century's most entertaining and thought provoking writers on culture, aesthetics and politics. Here are a cross-section of Brecht's wide-ranging thoughts which offer us an extraordinary window onto the concerns of a modern world in four decades of economic and political disorder. The book is designed to give wider access to the experience of a dynamic intellect, radically engaged with social, political and cultural processes. Each section begins with a short essay by the editors introducing and summarising Brecht's thought in the relevant year.

This is the first of two volumes of the only English edition of Hegel's Aesthetics, the work in which he gives full expression to his seminal theory of art. The substantial Introduction is his best exposition of his general philosophy of art. In Part I he considers the general nature of art as a spiritual experience, distinguishes the beauty of art and the beauty of nature, and examines artistic genius and originality. Part II surveys the history of art from the ancient world through to the end of the eighteenth century, probing the meaning and significance of major works. Part III (in the second volume) deals individually with architecture, sculpture, painting, music, and literature; a rich array of examples makes vivid his exposition of his theory.

Learn about the creative ways Americans help their communities. This nonfiction book includes a short fiction piece related to the topic, fun activity, glossary, and other helpful tools. With this fun and informative book, students will see all the wonderful things that can happen when communities create together! This 32-page full-color book describes the importance of community involvement while giving examples of creative leaders across the country. It also explores concepts such as creative problem-solving and volunteerism and includes an extension activity for grade 3. Perfect for the classroom, at-home learning, or homeschool to explore working together, civic responsibility, and ways to improve one s community.

In More Than Meets the Eye, Georgina Kleege explores the ways that ideas about visual art and blindness are linked in many facets of the culture. While it may seem paradoxical to link blindness to visual art, western theories about art have always been haunted by the specter of blindness. The ideal art viewer is typically represented as possessing perfect vision, an encyclopedic knowledge of art, and a photographic memory of images, all which allow for an unmediated wordless communion with the work of art. This ideal viewer is defined in polar opposition to a blind person, presumed to be oblivious to the power of art, and without the cognitive capacity to draw on analogous experience. Kleege begins her study with four chapters about traditional representations of blindness, arguing that traditional theories of blindness fail to take into account the presence of other senses, or the ability of blind people to draw analogies from non-visual experience to develop concepts about visual phenomena. She then shifts focus from the tactile to the verbal, beginning with Denis Diderot's remarkable range of techniques to describe art works for readers who were not present to view them for themselves, and how his criticism offers a powerful warrant for bringing the specter of blindness out of the shadows and into the foreground of visual experience. Through both personal experience and scholarly treatment, Kleege dismantles the traditional denigration of blindness, contesting the notion that viewing art involves sight alone and challenging traditional understandings of blindness through close reading of scientific case studies and literary depictions. More Than Meets the Eye introduces blind and visually impaired artists whose work has shattered stereotypes and opened up new aesthetic possibilities for everyone.

By the time you read this book, the art world may have witnessed the sale of its first $500 million painting. Whilst for some people money is anathema to art this is clearly a wealthy international industry, and a market with its own conventions and pressures. Drawing on the vast experience of Sotheby's Institute of Art, The Art Business exposes the realities of the commercial trade in fine art and antiques. Attention is devoted to the role of auction houses, commercial galleries and art museums as key institutions, with the text divided into four thematic sections covering: technical and structural elements of the art market cultural policy and management in art business regulatory legal and ethical issues in the art world the views, through interviews, of leading art market experts. This book provides a thorough examination of contemporary issues in the art business, and the mechanisms and influences which underpin its evolution. It is essential reading for students of art history or international business, or anyone with an interest in pursuing a career in this area.

Since its first publication, The Artist's Way has inspired the genius of Elizabeth Gilbert, Tim Ferriss and millions of readers to embark on a creative journey and find a deeper connection to process and purpose. Julia Cameron guides readers in uncovering problems and pressure points that may be restricting their creative flow and offers techniques to open up opportunities for self-growth and self-discovery. The program begins with Cameron's most vital tools for creative recovery: The Morning Pages and The Artist Date. From there, she shares hundreds of exercises, activities, and prompts to help readers thoroughly explore each chapter. A revolutionary programme for personal renewal, The Artist's Way will help get you back on track, rediscover your passions, and take the steps you need to change your life.

All normal human beings alive in the last fifty thousand years appear to have possessed, in Mark Turner's phrase, "irrepressibly artful minds." Cognitively modern minds produced a staggering list of behavioral singularities--science, religion, mathematics, language, advanced tool use, decorative dress, dance, culture, art--that seems to indicate a mysterious and unexplained discontinuity between us and all other living things. This brute fact gives rise to some tantalizing questions: How did the artful mind emerge? What are the basic mental operations that make art possible for us now, and how do they operate? These are the questions that occupy the distinguished contributors to this volume, which emerged from a year-long Getty-funded research project hosted by the Center for Advanced Study in the Behavioral Sciences at Stanford. These scholars bring to bear a range of disciplinary and cross-disciplinary perspectives on the relationship between art (broadly conceived), the mind, and the brain. Together they hope to provide directions for a new field of research that can play a significant role in answering the great riddle of human singularity.

WELCOME TO LAWBRANDAuroboros: Coils of the Serpent is a 5E campaign setting by Chris Metzen and Warchief Gaming. The first release in this universe, Worldbook: Lawbrand, is based on the roleplaying campaign that Chris ran with his childhood friends in the eighties and nineties, before heading to Blizzard to work on worlds such as Warcraft, StarCraft, and more.As a 5E compatible source book, Worldbook: Lawbrand gives players and GMs all the tools they'll need to create their own adventures in this epic fantasy world.Containing over a hundred pages of lore, as well as being loaded to the brim with new options for character customization, Worldbook: Lawbrand also features a comprehensive Adventures section, designed to give GMs a way to launch imaginative adventures for their party.Key Features: - Background and lore for each Trade-City, faction, and key players that run them.- Four brand new sub-classes and five new races unique to the setting, as well as new magic items, spells, and magical tattoos known as sigils.- Guides and recommendations on how to run adventures in Lawbrand, including creating compelling stories, using the Mark of the Serpent in your party, and more.Will you tame the world - or shatter it?

Scientific techniques developed in materials science offer invaluable information to archaeology, art history, and conservation. A rapidly growing number of innovative methods, as well as many established techniques, are constantly being improved and optimized for the analysis of cultural heritage materials. The result is that on the one hand more complex problems and questions can be confronted, but on the other hand the required level of technical competence is widening the existing cultural gap between scientists and end users, such as archaeologists, museum curators, art historians, and many managers of cultural heritage who have a purely humanistic background.
The book is intended as an entry-level introduction to the methods and rationales of scientific investigation of cultural heritage materials, with emphasis placed on the analytical strategies, modes of operation, and resulting information rather than on technicalities. The extensive and updated reference list should be a useful starting point for further reading. Students and researchers from the humanities approaching scientific investigations should find it useful, as well as scientists applying familiar techniques and methods to unfamiliar problems related to cultural heritage.

Most of our expereince is visual. We obtain most of our information and knowledge through sight, whether from reading books and newspapers, from watching television or from quickly glimpsing road signs. Many of our judgements and decisions, concerning where we live, what we shall drive and sit on and what we wear, are based on what places, cars, furniture and clothes look like. Much of our entertainment and recreation is visual, whether we visit art galleries, cinemas or read comics. This book concerns that visual experience. Why do we have the visual experiences we have? Why do the buildings, cars, products and advertisements we see look the way they do? How are we to explain the existence of different styles of paintings, different types of cars and different genres of film? How are we to explain the existence of different visual cultures? This book begins to answer these questions by explaining visual experience in terms of visual culture. The strengths and weaknesses of traditional means of analysing and explaining visual culture are examined and assessed. Using a wide range of historical and contemporary examples, it is argued that the groups which artists and designers form, the audiences and markets which they sell to, and the different social classes which are produced and reproduced by art and design are all part of the successful explanation and critical evaluation of visual culture.

Using examples from architecture, film, literature, and the visual arts, this wide-ranging book examines the place and significance of New York City in the urban imaginary between 1890 and 1940. In particular, Imagining New York City considers how and why certain city spaces - such as the skyline, the sidewalk, the slum, and the subway - have come to emblematize key aspects of the modern urban condition. In so doing, the book also considers the ways in which cultural developments in the late nineteenth and early twentieth centuries set the stage for more recent responses to a variety of urban challenges facing the city, such as post-disaster recovery, the renewal of urban infrastructure, and the remaking of public space.