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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.
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.
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.
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.
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.
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