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Because nature is so expansive and complex, so varied in its range of light, landscape painters often have to look further and more deeply to find form and structure, value patterns, and an organized arrangement of shapes. In Landscape Painting, Mitchell Albala shares his concepts and practices for translating nature's grandeur, complexity, and color dynamics into convincing representations of space and light. Concise, practical, and inspirational, Landscape Painting focuses on the greatest challenges for the landscape artist, such as: • Simplification and Massing: Learn to reduce nature's complexity by looking beneath the surface of a subject to discover the form's basic masses and shapes.• Color and Light: Explore color theory as it specifically applies to the landscape, and learn the various strategies painters use to capture the illusion of natural light.• Selection and Composition: Learn to select wisely from nature's vast panorama. Albala shows you the essential cues to look for and how to find the most promising subject from a world of possibilities. The lessons in Landscape Painting—based on observation rather than imitation and applicable to both plein air and studio practice—are accompanied by painting examples, demonstrations, photographs, and diagrams. Illustrations draw from the work of more than 40 contemporary artists and such masters of landscape painting as John Constable, Sanford Gifford, and Claude Monet. Based on Albala's 25 years of experience and the proven methods taught at his successful plein air workshops, this in-depth guide to all aspects of landscape painting is a must-have for anyone getting started in the genre, as well as more experienced practitioners who want to hone their skills or learn new perspectives.
In the New York Times Michael Kimmelman called them "sleek, whimsical contraptions in a modernist mode"; the Basler Zeitung termed them "net-like structures . . . like hedgehogs or serpents." The kinetic sculptures of Tim Prentice create a novel geometry of air and light. Concentrating on movement rather than object, Prentice harnesses natural elements into his art machines-delicate structures that walk the tightrope between order and chaos, control and serendipity, understated technique and extravagant wonder. Prentice purposely circumscribes the artist's prerogatives, distilling the power of wind and sun into an ever-changing dance of light and shadow. These understated, subtle inventions provide endless distraction, delighting the child in all of us. Drawing on Air offers a many-sided vision of the kinetic sculptor and his works. An essay by Nicholas Fox Weber introduces the artist and his work, while a chapter on "Mechanics" explains some of the physical principles underlying Prentice's whimsical sculptures. Photographs of works-in-progress, principal public commissions as well as occasional pieces created for casual amusement are punctuated by the artist's mordant, sometimes mischievous comments. "Prentice's sculptures . . .are about fluid movement and change, reminding us that everything is in flux. . . . Wonders of engineering, they create evanescent drawings in thin air." -Michael Amy, Art in America "What is grand in these sculptures is the sense of immensity created by their movements, a sense resonant with our most pleasurable apprehensions of land, sea, and sky." -Elaine Bleakney, Sculpture "These refined sculptures are never ponderous, plump or boring but constantly and slowly transforming themselves as though imbued by perpetuum mobile." -Karen Gerig, Basler Zeitung Experiencing Tim Prentice's work is like taking a ride on a roller coaster" -Catalog of the Connecticut Biennial
Featuring hundreds of carefully hand-crafted illustrations as well as significant tuition on how to best compose and use images to create the most powerful frames, this book is potentially Hans P. Bacher's life's work encapsulated in one volume. Here, the internationally renowned production designer shares his expertise in an easy-to-follow and imaginative way – giving tips, exercises, and a depth of knowledge garnered from a lifetime in the industry. Bacher's production designs have established the look of many seminal animated films such as The Lion King, Balto, Mulan and Beauty and the Beast, so fans of his work will be delighted. While keeping the focus on storytelling, Bacher instructs readers in the art of animated cinematography with the ever-present aim of soliciting an emotional response from the audience. Vision: Color and Composition for Film represents an amazing depth of experience — and is visually arresting to boot.
Vocation is more than a job. It is our relationships and responsibilities woven into the work of God. In following our calling to seek the welfare of our world, we find that it flourishes and so do we. Garber offers here a book for parents, artists, students, public servants and businesspeople—for all who want to discover the virtue of vocation.
This volume presents an integrated view of how we perceive the spatial relations in our visual world, covering anatomical, physiological, psychophysical, and perceptual aspects. The authors discuss the visual system primarily in terms of spatial frequency analysis using a linear systems approach. They review evidence supporting a local, patch-by-patch spatial frequency filtering of visual information rather than the global Fourier analysis other researchers have proposed. A separate chapter addresses the special issues surrounding color vision, and a brief, nonmathematical introduction to linear systems analysis is included for the uninitiated reader.
The Present Book Covers The Syllabus Of Biotechnology-3 Prescribed By Bangalore University And Second Year Degree, Biotechnology Vocational Course (Ugc), New Delhi. The Book Endeavours To Furnish A Simple, Understandable Text For Students. This Book Has Been Divided Into Two Major Parts, Part A Includes Molecular Biology And Part B Includes Biophysics.One Of The Highlights Of This Book Is That, Part B (Biophysics) Elaborates The Information On Biological Science At The Backdrop Of Physics Concepts.
Sanford Gifford (American, 1823-1880), a leading Hudson River School landscape painter and a founder of The Metropolitan Museum of Art, was so esteemed by the New York art world that, at his untimely death, the Museum mounted a show of his work-the first monographic exhibition accorded any artist-and published a Memorial Catalogue that, for nearly a century, remained the principal source on his oeuvre. Gifford's art, which was inspired by the work of Thomas Cole, the founder of the Hudson River School, and by that of British artist J.M.W. Turner, and enriched by his travels in Europe (from 1855 to 1857, and from 1868 to 1869), came to be called "air painting," for he made the ambient light of each scene-color saturated and atmospherically potent-the key to its expression. His approach to painting and his unique style gave rise to a highly distinctive body of work with enchanting and mesmerizing effect. This publication examines seventy paintings by the artist and includes comparative illustrations of related works by Gifford, his Hudson River School mentors and colleagues, and those painters, in addition to Cole and Turner, who exerted influence on his art, including Frederic Edwin Church and John F. Kensett. The essays discuss Gifford's place in the Hudson River School, his numerous Catskill Mountain subjects, his experiences and perceptions as a traveler both at home and abroad, and the variety of his patrons. -- Metropolitan Museum of Art website.