Line Shape Texture Book in PDF, ePub and Kindle version is available to download in english. Read online anytime anywhere directly from your device. Click on the download button below to get a free pdf file of Line Shape Texture book. This book definitely worth reading, it is an incredibly well-written.
A Journal Notebook for Art Students, Art Teachers and those who love Art. With the 7 Elements of Art written on the cover: Line, Shape, Colour, Texture, Value, Form and Space. With 130 lined interior pages. Cream pages. Useful for writing notes, ideas, thoughts etc. A great gift for all artists or as a gift to yourself. Use as a notebook or journal.
This new guide will introduce you to the language and technique of frame-loom weaving. Foundation skills and key elements of woven design are presented together, giving you a thorough understanding of how woven pieces are formed. It will help give you the confidence to design and plan your own successful pieces and will quickly become your go-to weaving reference.
Creative Art: Methods and Materials educates readers about a variety of art methods and the ways different civilizations have used them in artistic expression. Each of the fourteen chapters is designed around a specific art method and material, and includes examples of art works and the artists who created them. Students learn about bronze casting, stone carving, clay sculpture, woodcuts and posters, glass work, and installation art. Each method is matched to artists both ancient and modern. Rather than adhering to a standard approach that focuses on white, male, European artists, the book broadens the student's perspective by including often overlooked female artists. Global in approach and comprehensive in coverage of arts forms, representations, and styles throughout history, Creative Art has been developed for sixteen-week courses in art appreciation, or introductory survey courses in art history.
How do you establish trust and meaningful connection with a sibling who suffers from schizophrenia? In an attempt to rekindle her relationship with her estranged brother Steve, Joan meets him at the Art Studios in Vancouver, where he takes part in art classes for individuals with a mental illness in a safe, supportive environment. This marks the beginning of a remarkable journey into the healing power of art. Schizophrenia had already done its worst, confounding Steve with voices, hallucinations and delusions. At fifty-five, Steve was in a burn-out phase of schizophrenia with a hunger for creativity. Joan's efforts to connect with him through art soon become the vehicle of change. Over the next eight years, Steve progresses both artistically and personally. Together, Steve and Joan explore their art, drawing upon their own resources as they learn to trust one another. Steve's artwork provides a glimpse into his perspective, at once both troubled and beautiful. His paintings and drawings are eventually displayed in two solo exhibits at Basic Inquiry Gallery. He attended what would become his final solo show shortly before his death in 2013. Normal 0 false false false EN-CA X-NONE X-NONE
Introduction to Art: Design, Context, and Meaning offers a deep insight and comprehension of the world of Art. Contents: What is Art? The Structure of Art Significance of Materials Used in Art Describing Art - Formal Analysis, Types, and Styles of Art Meaning in Art - Socio-Cultural Contexts, Symbolism, and Iconography Connecting Art to Our Lives Form in Architecture Art and Identity Art and Power Art and Ritual Life - Symbolism of Space and Ritual Objects, Mortality, and Immortality Art and Ethics
White Space Is Not Your Enemy is a practical graphic design and layout guide that introduces concepts and practices necessary for producing effective visual communication across a variety of formats—from web to print. Sections on Gestalt theory, color theory, and WET layout are expanded to offer more in-depth content on those topics. This new edition features new covering current trends in web design—Mobile-first, UI/UX design, and web typography—and how they affect a designer’s approach to a project. The entire book will receive an update using new examples and images that show a more diverse set of graphics that go beyond print and web and focus on tablet, mobile and advertising designs.
Gardening with Shape, Line and Texture bridges the gap between garden design books and plant reference encyclopedias. Leading landscaper Linden Hawthorne looks at plants from a designer's perspective (where color is often a secondary consideration) and emphasizes the important roles of plant shape. Part One reviews fine art principles and shows how they can be successfully applied to plant compositions by grouping plants into three heights: ground to knee, knee to navel, and navel to crown. She identifies different plant shapes—buns, mounds, tiers, fountains, uprights—and shows how the use of them contributes to the success of the finished design. Part Two is a plant sourcebook with plants listed alphabetically within their key plant shape categories. This innovative plant reference delivers plant information in a form that neatly dovetails with the garden design process and will inspire gardeners to look beyond color and begin to appreciate the whole plant.
Art Teacherin' 101 is a book for all elementary art teachers, new and seasoned, to learn all things art teacherin' from classroom management, to taming the kindergarten beast, landing that dream job, taking on a student-teacher, setting up an art room and beyond. It's author, Cassie Stephens, has been an elementary art teacher for over 22 years and shares all that she's learned as an art educator. Art teachers, home school parents and classroom teachers alike will find tried and true ways to make art and creating a magical experience for the young artists in their life.
As in the case of "The Bases of Design," to which this is intended to form a companion volume, the substance of the following chapters on Line and Form originally formed a series of lectures delivered to the students of the Manchester Municipal School of Art. There is no pretension to an exhaustive treatment of a subject it would be difficult enough to exhaust, and it is dealt with in a way intended to bear rather upon the practical work of an art school, and to be suggestive and helpful to those face to face with the current problems of drawing and design. These have been approached from a personal point of view, as the results of conclusions arrived at in the course of a busy working life which has left but few intervals for the elaboration of theories apart from practice, and such as they are, these papers are now offered to the wider circle of students and workers in the arts of design as from one of themselves. They were illustrated largely by means of rough sketching in line before my student audience, as well as by photographs and drawings. The rough diagrams have been re-drawn, and the other illustrations reproduced, so that both line and tone blocks are used, uniformity being sacrificed to fidelity. WALTER CRANE. Outline, one might say, is the Alpha and Omega of Art. It is the earliest mode of expression among primitive peoples, as it is with the individual child, and it has been cultivated for its power of characterization and expression, and as an ultimate test of draughtsmanship, by the most accomplished artists of all time. The old fanciful story of its origin in the work of a lover who traced in charcoal the boundary of the shadow of the head of his sweetheart as cast upon the wall by the sun, and thus obtained the first profile portrait, is probably more true in substance than in fact, but it certainly illustrates the function of outline as the definition of the boundaries of form. Silhouette As children we probably perceive forms in nature defined as flat shapes of colour relieved upon other colours, or flat fields of light on dark, as a white horse is defined upon the green grass of a field, or a black figure upon a background of snow. Definition of Boundaries To define the boundaries of such forms becomes the main object in early attempts at artistic expression. The attention is caught by the edges—the shape of the silhouette which remains the paramount means of distinction of form when details and secondary characteristics are lost; as the outlines of mountains remain, or are even more clearly seen, when distance subdues the details of their structure, and evening mists throw them into flat planes one behind the other, and leave nothing but the delicate lines of their edges to tell their character. We feel the beauty and simplicity of such effects in nature. We feel that the mind, through the eye resting upon these quiet planes and delicate lines, receives a sense of repose and poetic suggestion which is lost in the bright noontide, with all its wealth of glittering detail, sharp cut in light and shade. There is no doubt that this typical power of outline and the value of simplicity of mass were perceived by the ancients, notably the Ancient Egyptians and the Greeks, who both, in their own ways, in their art show a wonderful power of characterization by means of line and mass, and a delicate sense of the ornamental value and quality of line. Formation of Letters Regarding line—the use of outline from the point of view of its value as a means of definition of form and fact—its power is really only limited by the power of draughtsmanship at the command of the artist. From the archaic potters' primitive figures or the rudimentary attempts of children at human or animal forms up to the most refined outlines of a Greek vase-painter, or say the artist of the Dream of Poliphilus, the difference is one of degree.