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"Artists: Hector Acebes, Derrick Adams, Karo Akpokiere, Deborah Anzinger, Keturah Ariel, April Bey, Charles Bohannah, Margaret Bowland, Nakeya Brown, Jean-Baptiste Carpeaux, Tawny Chatmon, Sonya Clark, David Driskell, Sarah Duah, Andrew Esiebo, Joseph Eze, Amber Ford, Yrneh Gabon, Olaf Hajek, Nakazzi Hutchinson, Shara K. Johnson, Eric Lafforgue, Annie Lee, Delita Martin, Charlotte Mensah, Lebohang Motaung, Zanele Muholi, Althea Murphy-Price, Nontsikelelo Mutiti, Woodrow Nash, Sharon Norwood, Glenford Nuñez, Charly Palmer, Gordon Parks, Faith Ringgold, Lezley Saar, Augusta Savage, Ngozi Schommers, Devan Shimoyama, Mary Sibande, Lorna Simpson, Nelson Stevens, Ibrahima Thiam, James Van Der Zee, Lina Viktor, Nafis White, Kehinde Wiley, Masa Zodros (and dozens of unidentified artists across African and American people groups)."-- Publisher website.
101 Textures in Colored Pencil provides step-by-step instruction and examples of a multitude of textures for creating realistic masterpieces in colored pencil.
Learning to render a variety of textures is a fundamental skill for any fine artist, no matter the chosen media or subject matter. The Complete Book of Textures for Artists features more than 275 step-by-step lessons, tips, and techniques for rendering a wide range of textures in a variety of media, including graphite pencil, charcoal, colored pencil, oil, and acrylic. Whether you're an experienced artist or just starting out, The Complete Book of Textures for Artists features a wide variety of both traditional and contemporary techniques. After an introduction to the basic tools and materials, discover a variety of drawing and painting techniques, such as hatching, crosshatching, shading, blending, layering, burnishing, and more. Organized into sections based on subject matter and media, each page features easy-to-follow steps demonstrating how to create each specific texture. Not only will you learn a variety of techniques, but you’ll also discover new ideas and inspiration for using the techniques in your own projects. Packed with easy-to-follow instructions and plenty of helpful artist tips, The Complete Book of Textures for Artists is the perfect resource for beginning and established artists who are ready to master the intricacies of rendering realistic texture in their artwork.
Soft, gooey, fluffy, prickly—textures are all around us. What clever words will you use to describe the textures pictured in this book? Jane Brocket's appealing photography and simple, whimsical text give a fresh approach to a topic all young children learn about.
Drawing on the work of Irigaray, Merleau-Ponty and Levinas, this study of the importance of light in Western thought aims to show the ambivalent role light plays within philosophy.
"This book addresses the phenomenon called "interactive architecture that challenges artists, architects, designers, theorists, and geographers to develop a language and designs toward the "use" of these environments"--Provided by publisher.
The longstanding European conception that Roma and non-Roma are separated by unambiguous socio-cultural distinctions has led to the construction of Roma as “non-belonging others.” Challenging this conception, Textures of Belonging explores how Roma negotiate and feel belonging at the everyday level. Inspired by material culture, sensorial anthropology, and human geography approaches, this book uses ethnographic research to examine the role of domestic material forms and their sensorial qualities in nurturing connections with people and places that transcend socio-political boundaries.
This 1973 comprehensive catalogue examines the many presences and absences found within the characteristics of different types of quartz grain sand. The focal point of this work is the numerous micrographs, selected specifically for their ability to demonstrate the many variations in the surface textures of quartz grain sand.
A broadly enhanced new edition of Luke Ahearn's cornerstone game art book "3D Game Textures" is here. When digital art software was in its infancy, most digital art, especially vector art, was textureless. With the advance in software, it is now possible to incorporate texture into most types of digital art. However, if the artists cannot build their own textures, they are limited to using commercial textures. In this enhanced 3rd edition of Luke Ahearn's gem of a book, not only does Luke teach you how to create your own unique textures, he also teaches how to create shaders (the visual effects - reflections, refractions, opacity - that make textures come to life) and materials (collections of shaders that fill well together to map to a particular scene or environment). You can now expand your skill set immeasurably, and create more compelling, varied art work from scratch. Unlike anything on the market, this book provides an in-depth guide to game textures, shaders and materials- with hundreds of high-quality examples. The companion website includes: demo versions of relevant software; resource images; all images from the book.
The classical, phenomenological theory of plastically anisotropic materials has passed a long way: from the work of von Mises presented in 1928, and the HilI formulation given in 1948, to the latest papers on large elastic-plastic deformations of anisotropic metal sheets. A characteristic feature of this approach is a linear flow rule and a quadratic yield criterion. Mathematical simplicity of the theory is a reason of its numerous applications to the analysis of engineering structures during the onset of plastic deformations. However, such an approach is not sufficient for description of the metal forming processes, when a metal element undergoes very large plastic strains. If we take an initially isotropic piece of metal, it becomes plastically anisotropic during the forming process, and the induced anisotropy progressively increases. This fact strongly determines directions of plastic flow, and it leads to an unexpected strain localization in sheet elements. To explain the above, it is necessary to take into account a polycrystalline structure of the metal, plastic slips on slip systems of grains, crystallographic lattice rotations, and at last, a formation of textures and their evolution during the whole deformation process. In short, it is necessary to introduce the plasticity of crystals and polycrystals. The polycrystal analysis shows that, when the advanced plastic strains take place, some privileged crystallographic directions, called a crystallographic texture, occur in the material. The texture formation and evolution are a primary reason for the induced plastic anisotropy in pure metals.