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This book is about taking an image- a drawing, painting, digital
photograph, computer design or photocopy- and, using simple
methods, turning it into a piece of textile art. The author takes
you through a variety of techniques for creating the image, such as
scanning mixed-media artwork and digital photographs, or using
imaging software to create exciting patterns and effects. No
technical knowledge is required to use this book, as it offers
easy-to-follow instructions, and the materials, technology and
equipment are all readily available. But at the centre of the book
lies the use of stitch. Having produced the image and transferred
it to fabric, the next step is to enhance it with hand or machine
embroidery. Innovative methods, both in the image transfer and the
stitch, are simplified and broken down into the easy stages.
Throughout the book, inspirational ideas are offered to get your
creativity going. From books to bangles, panels, bags and vessels,
the book offers all textile artists ideas to expand their creative
work.
This book explores Alan Moore's career as a cartoonist, as shaped
by his transdisciplinary practice as a poet, illustrator, musician
and playwright as well as his involvement in the Northampton Arts
Lab and the hippie counterculture in which it took place. It traces
Moore's trajectory out from the underground comix scene of the
1970s and into a commercial music press rocked by the arrival of
punk. In doing so it uncovers how performance has shaped Moore's
approach to comics and their political potential. Drawing on the
work of Bertolt Brecht, who similarly fused political dissent with
experimental popular art, this book considers what looking
strangely at Alan Moore as cartoonist tells us about comics, their
visual and material form, and the performance and politics of their
reading and making.
This book explores Alan Moore's career as a cartoonist, as shaped
by his transdisciplinary practice as a poet, illustrator, musician
and playwright as well as his involvement in the Northampton Arts
Lab and the hippie counterculture in which it took place. It traces
Moore's trajectory out from the underground comix scene of the
1970s and into a commercial music press rocked by the arrival of
punk. In doing so it uncovers how performance has shaped Moore's
approach to comics and their political potential. Drawing on the
work of Bertolt Brecht, who similarly fused political dissent with
experimental popular art, this book considers what looking
strangely at Alan Moore as cartoonist tells us about comics, their
visual and material form, and the performance and politics of their
reading and making.
This book explores what the methodologies of Art History might
offer Comics Studies, in terms of addressing overlooked aspects of
aesthetics, form, materiality, perception and visual style. As well
as considering what Art History proposes of comic scholarship,
including the questioning of some of its deep-rooted categories and
procedures, it also appraises what comics and Comics Studies afford
and ask of Art History. This book draws together the work of
international scholars applying art-historical methodologies to the
study of a range of comic strips, books, cartoons, graphic novels
and manga, who, as well as being researchers, are also educators,
artists, designers, curators, producers, librarians, editors, and
writers, with some undertaking practice-based research. Many are
trained art historians, but others come from, have migrated into,
or straddle other disciplines, such as Comparative Literature,
American Literature, Cultural Studies, Visual Studies, and a range
of subjects within Art & Design practice.
This book explores what the methodologies of Art History might
offer Comics Studies, in terms of addressing overlooked aspects of
aesthetics, form, materiality, perception and visual style. As well
as considering what Art History proposes of comic scholarship,
including the questioning of some of its deep-rooted categories and
procedures, it also appraises what comics and Comics Studies afford
and ask of Art History. This book draws together the work of
international scholars applying art-historical methodologies to the
study of a range of comic strips, books, cartoons, graphic novels
and manga, who, as well as being researchers, are also educators,
artists, designers, curators, producers, librarians, editors, and
writers, with some undertaking practice-based research. Many are
trained art historians, but others come from, have migrated into,
or straddle other disciplines, such as Comparative Literature,
American Literature, Cultural Studies, Visual Studies, and a range
of subjects within Art & Design practice.
This book looks at comics through the lens of Art History,
examining the past influence of art-historical methodologies on
comics scholarship to scope how they can be applied to Comics
Studies in the present and future. It unearths how early comics
scholars deployed art-historical approaches, including stylistic
analysis, iconography, Cultural History and the social history of
art, and proposes how such methodologies, updated in light of
disciplinary developments within Art History, could be usefully
adopted in the study of comics today. Through a series of
indicative case studies of British and American comics like Eagle,
The Mighty Thor, 2000AD, Escape and Heartbreak Hotel, it argues
that art-historical methods better address overlooked aspects of
visual and material form. Bringing Art History back into the
interdisciplinary nexus of comics scholarship raises some
fundamental questions about the categories, frameworks and values
underlying contemporary Comics Studies.
The words kept running through her head: There's gotta be something
more. With Zach Baker, there just might be. Divorce. Dead-end
career. Disaster. Then fate steps in and changes Jesse's life in an
instant. With her dreams now close enough to touch, she moves to
the mountain splendor of Montana with her young daughter. Far from
city life, her plans to start her own riding school start to take
shape-with the help of a certain cowboy down the road. A girl with
money and a passing interest in horses sure isn't enough to turn
Zach Baker's head. With the ice wall around his heart firmly in
place, he isn't about to let Jesse chip away at it. It'll take more
than just the heat of attraction to melt that ice, and attraction
is all he feels for Jesse, isn't it? But then, he has been wrong
before. Reviews and Other Information: "The author did a wonderful
job of creating a believable and real couple complete with flaws
and emotions. I became emotionally invested in the story, and
couldn't help but root for Jesse and Zach throughout the ups and
downs of their relationship. THERE'S GOTTA BE SOMETHING MORE is a
highly satisfying story...!"-Long & Short Reviews
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