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Fashion imagery has existed for hundreds of years and yet the methods used by scholars to understand it have remained mostly historical and descriptive. The belief informing these approaches may be that fashion imagery is designed for one purpose: to depict a garment and how to wear it. In this interdisciplinary book, Sanda Miller suggests a radical alternative to these well-practiced approaches, proposing that fashion imagery has stories to tell and meanings to uncover. The methodology she has developed is an iconography of fashion imagery, based on the same theory which has been key to the History of Art for centuries. Applying Panofsky's theory of iconography to illustrations from books, magazines and fashion plates, as well as fashion photography and even live fashion events, Miller uncovers three levels of meaning: descriptive, secondary (or conventional) and tertiary or 'symbolic'. In doing so, she answers questions such as who is the model; what did people wear and why; and how did people live? She proves that fashion imagery, far from being purely descriptive, is ripe with meaning and can be used to shed light on society, class, culture and the history of dress.
The classic work on the evaluation of city form. What does the city's form actually mean to the people who live there? What can the city planner do to make the city's image more vivid and memorable to the city dweller? To answer these questions, Mr. Lynch, supported by studies of Los Angeles, Boston, and Jersey City, formulates a new criterion—imageability—and shows its potential value as a guide for the building and rebuilding of cities. The wide scope of this study leads to an original and vital method for the evaluation of city form. The architect, the planner, and certainly the city dweller will all want to read this book.
Turn your photos into beautiful art with this collection of 5 books by Nitsa Malik. From a complete beginner's introduction to image and photo transfer to advanced DIY mixed media and image transfer projects.Hand-coloring and painting photos made easy using watercolors, oils, acrylics, inks, color pencils and more. Part four of this book introduces the art of adding textures & layers to any photo. The book ends with a practical and unique collection of articles and techniques of creative photography.
"One of the most renowned jazz photographers of all time, Francis Wolff (1907-1971) was essential to the success of the Blue Note record label ... This book compiles more than 150 Francis Wolff photos of jazz stars, most of which are published here for the very first time ... Among the many artists portrayed are Art Blakey, Tina Brooks, Clifford Brown, Donald Byrd, Don Cherry, Ornette Coleman, John Coltrane, Miles Davis, Dexter Gordon, Grant Green, Herbie Hancock, Joe Henderson, Freddie Hubbard, Elvin Jones, Thelonious Monk, Lee Morgan, Bud Powell, Sonny Rollins, and Wayne Shorter"--Back cover.
Images have always stirred ambivalent reactions. Yet whether eliciting fascinated gazes or iconoclastic repulsion from their beholders, they have hardly ever been seen as true sources of knowledge. They were long viewed as mere appearances, placeholders for the things themselves or deceptive illusions. Today, the traditional critique of the spectacle has given way to an unconditional embrace of the visual. However, we still lack a persuasive theoretical account of how images work. Emmanuel Alloa retraces the history of Western attitudes toward the visual to propose a major rethinking of images as irreplaceable agents of our everyday engagement with the world. He examines how ideas of images and their powers have been constructed in Western humanities, art theory, and philosophy, developing a novel genealogy of both visual studies and the concept of the medium. Alloa reconstructs the earliest Western media theory—Aristotle’s concept of the diaphanous milieu of vision—and the significance of its subsequent erasure in the history of science. Ultimately, he argues for a historically informed phenomenology of images and visual media that explains why images are not simply referential depictions, windows onto the world. Instead, images constantly reactivate the power of appearing. As media of visualization, they allow things to appear that could not be visible except in and through these very material devices.
While Detective Antoinette Conway and her partner Stephen Moran work a seemingly routine investigation of a lovers' quarrel gone bad, they discover the case isn't as by-the-numbers as they thought.
This book of photography represents National Geographic's Photo Ark, a major cross-platform initiative and lifelong project by photographer Joel Sartore to make portraits of the world's animals -- especially those that are endangered. His message: to know these animals is to save them. Sartore intends to photograph every animal in captivity in the world. He is circling the globe, visiting zoos and wildlife rescue centers to create studio portraits of 12,000 species, with an emphasis on those facing extinction. He has photographed more than 6,000 already and now, thanks to a multi-year partnership with National Geographic, he may reach his goal. This book showcases his animal portraits: from tiny to mammoth, from the Florida grasshopper sparrow to the greater one-horned rhinoceros. Paired with the prose of veteran wildlife writer Douglas Chadwick, this book presents an argument for saving all the species of our planet.
Using the tale of "Little Red Riding Hood" as an example, Bang uses boldly graphic artwork to explain how images and their individual components work to tell a story that engages the emotions. 3-color.
If a picture is worth a thousand words, then it's a good bet that at least half of those words relate to the picture's copyright status. Art historians, artists, and anyone who wants to use the images of others will find themselves awash in byzantine legal terms, constantly evolving copyright law, varying interpretations by museums and estates, and despair over the complexity of the whole situation. Here, on a white—not a high—horse, Susan Bielstein offers her decades of experience as an editor working with illustrated books. In doing so, she unsnarls the threads of permissions that have ensnared scholars, critics, and artists for years. Organized as a series of “takes” that range from short sidebars to extended discussions, Permissions, A Survival Guide explores intellectual property law as it pertains to visual imagery. How can you determine whether an artwork is copyrighted? How do you procure a high-quality reproduction of an image? What does “fair use” really mean? Is it ever legitimate to use the work of an artist without permission? Bielstein discusses the many uncertainties that plague writers who work with images in this highly visual age, and she does so based on her years navigating precisely these issues. As an editor who has hired a photographer to shoot an incredibly obscure work in the Italian mountains (a plan that backfired hilariously), who has tried to reason with artists' estates in languages she doesn't speak, and who has spent her time in the archival trenches, she offers a snappy and humane guide to this difficult terrain. Filled with anecdotes, asides, and real courage, Permissions, A Survival Guide is a unique handbook that anyone working in the visual arts will find invaluable, if not indispensable.
This is the resource you've been waiting for. Tailored specifically to those in "party plan" direct selling businesses, Social Media for Direct Selling Representatives is the first volume in a series of books to help you accelerate your business using social media marketing as a vibrant part of your overall marketing plan. Based on 18 years' experience in the field and working with companies, this book was written by someone with the technical expertise to know what works, and the industry knowledge to explain it in a way that makes sense.