From New York Times best-selling author of the Dinotopia series, James Gurney, comes a carefully crafted and researched study on color and light in paintings. This art instruction book will accompany the acclaimed Imaginative Realism: How to Paint What Doesna (TM)t Exist.
James Gurney, "New York Times" best-selling author and artist of the Dinotopia series, follows "Imaginative Realism" with his second art-instruction book, "Color and Light: A Guide for the Realist Painter." A researched study on two of art's most fundamental themes, "Color and Light" bridges the gap between abstract theory and practical knowledge. Beginning with a survey of underappreciated masters who perfected the use of color and light, the book examines how light reveals form, the properties of color and pigments, and the wide variety of atmospheric effects. Gurney cuts though the confusing and contradictory dogma about color, testing it in the light of science and observation. A glossary, pigment index, and bibliography complete what will ultimately become an indispensible tool for any artist.
This book is the second in a series based on his blog, gurneyjourney.com. His first in the series, "Imaginative Realism," was widely acclaimed in the fantastical art world, and was ranked the #1 Bestseller on the Amazon list for art instruction.
"James Gurney's new book, "Color and Light," cleverly bridges the gap between artistic observation and scientific explanation. Not only does he eloquently describe all the effects of color and light an artist might encounter, but he thrills us with his striking paintings in the process." --Armand Cabrera, Artist

An award-winning fantasy artist and the creator of "Dinotopia," James Gurney instructs and inspires in "Imaginative Realism: How to Paint What Doesn't Exist." Renowned for his uncanny ability to incorporate amazing detail and imagination into stunningly realistic fantasy settings, James Gurney teaches budding artists and fans of fantasy art step-by-step the techniques that won him worldwide critical acclaim. This groundbreaking work examines the practical methods for creating believable pictures of imaginary subjects, such as dinosaurs, ancient Romans, alien creatures, and distant worlds.
Beginning with a survey of imaginative paintings from the Renaissance to the golden Age of American illustration, the book then goes on to explain not just techniques like sketching and composition, but also the fundamentals of believable world building including archaeology, architecture, anatomy for creatures and aliens, and fantastic engineering. It concludes with details and valuable advice on careers in fantasy illustration, including video game and film concept art and toy design.
More than an instruction book, this is the ultimate reference for fans of science fiction and fantasy illustration.
"Gurney's "Imaginative Realism" is a gold mine for artists who want to create images that sing with authority and delight the viewer with rich otherworldly visuals." --Erik Tiemens, concept artist, "Star Wars: Episodes II and III"
""Imaginative Realism" is an indispensable, flawless reference for vision makers in any discipline to create their own imaginative realms." --Frank M. Costantino, ASAI, SI, FSAI, JARA, cofounder, American Society of Architectural Illustrators

A visual masterpiece featuring more than 100 works of art, 'Dinotopia' explores a fully rendered world, complete with its own language, geographic locations and history and confluence of cultures and characters.

Digitally re-rendered from the original transparencies, this 20th century edition takes the bestselling tale of mystical humans and intelligent dinosaurs to a new generation. Includes a new Foreword by Gurney as well as a special section of behind-the-scenes studies.

A visual masterpiece featuring more than 100 works of art, 'Dinotopia' explores a fully rendered world, complete with its own language, geographic locations and history and confluence of cultures and characters.

The summer of 2020 has shown us how much we all depend on one another. Whatever else they do, pandemics show us we are not alone. Covid-19 is proof that, yes, there is such a thing as society; the disease has spread precisely because we aren't autonomous individuals disconnected from each other, but rather all belong to one great body of humanity. The pain inflicted by the pandemic is far from equally distributed. Yet it reveals ever more clearly how much we all depend on one another, and how urgently necessary it is for us to bear one another's burdens. It's a good time, then, to talk about solidarity. The more so because it's a theme that's also raised by this year's other major development, the international protests for racial justice following George Floyd's death. The protests, too, raised the question of solidarity in guilt, even guilt across generations. By taking up our common guilt with all humanity, we come into solidarity with the one who bears it and redeems it all. In Christ, sins are forgiven, guilt abolished, and a new way of living together becomes possible. This solidarity in forgiveness gives rise to a life of love. This issue of Plough explores what solidarity means, and what it looks like to live it out today, whether in Uganda, Bolivia, or South Korea, in an urban church, a Bruderhof, or a convent.

After many years of searching, artist James Gurney discovered in a used bookstore a never-before-seen journal by the nineteenth-century explorer Arthur Denison. Denison's previous travel accounts, published as Dinotopia: A Land Apart from Time and Dinotopia: The World Beneath, introduced a lost island where dinosaurs and humans live together in peaceful interdependence. Now Professor Denison and his saurian companion, Bix, set out on a perilous journey to the forbidden empire of Chandara. When their personal invitation from the emperor goes missing, they are forced to cross the border penniless and in disguise. Every step of the way, Denison documents in exquisite detail and the creatures, characters, and architecture he encounters: a village composed of three ships propped by on end, a fifty-foot-tall Brachiosaurus outfitted for fire fighting, an Allosaurus tending its hatchlings, young pilots air jousting on giant pterosaurs, and much more.

This work introduces not only the techniques of oil painting but also the underlying principles of figure drawing. The book features 32 full-colour pages and an introduction by James Gurney.