Line Color Form

A full-color graphic guide to the foundational vocabulary needed to discuss art and design at the undergraduate, graduate, and commercial levels.

Design students today are more visually literate than ever before, and their learning style naturally favors the visual over the textual. So why should they learn art and design theory from a traditional textbook? The only guide of its kind, Line Color Form offers a thorough introduction to design theory and terminology in a visually appealing and accessible format. With hundreds of illustrations and minimal text, this primer was created with visual learners in mind, making it ideal for art students as well as those for whom English is a second language. Each chapter focuses on a single aspect of visual composition, such as line, color, or material. After an illustrated discussion of fundamental vocabulary, the chapters move on to applications of the concepts covered. These applications are again demonstrated through images, including photographs, color wheels, significant works of art, and other visual aids. Each image is accompanied by a descriptive paragraph offering an example of how the vocabulary can be applied in visual analysis. The book culminates with a section on formal analysis, aimed at teaching readers how to express their observations in formal writing and critical discourse. With its emphasis on the visual, this unique guide is a highly effective learning tool, allowing readers to gain an ownership and mastery of terms that will benefit them academically and professionally. Whether you are a design educator, student, or professional, native or non-native English speaker, this bright and concise reference is a must.

Ellsworth Kelly first conceived Line Form Color in 1951 as a series of studies, both drawings and collages. In this volume, Kelly has brought Line Form Color to completion. Its 40 plates correspond to the original collages. This is the French language edition.

From Egyptian wall paintings to the Venetian Renaissance, impressionism to digital images, Philip Ball tells the fascinating story of how art, chemistry, and technology have interacted throughout the ages to render the gorgeous hues we admire on our walls and in our museums. Finalist for the 2002 National Book Critics Circle Award.

For David Smith (19061965), widely considered one of the foremost American abstract expressionist sculptors of the 20th century, there was no conceptual boundary between mediums. Focusing on works from the late 1950s until the artists untimely death in 1965, this oversized but trim exhibition catalog charts the development of 21 stunning works couched among historic images culled from the artists archive. The physical qualities of Smiths welded-steel sculptures transmit a strong industrial presence but part of their impact and power derives from their gestural and tactile surfaces that give painting and drawing and sculpture the same visual impact and spatial weight. Smith paved the way for such artists as John Chamberlain, Mark di Suvero and Richard Serra by moving the site of sculptures construction from the 19th-century confines of the artists atelier and fine-art foundry into the expansive, industrial context of the 20th century. Essay by Menil Collection curator Michelle White.

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.

Foundations of Design by Jeff Davis provides a straightforward examination of the basic principles of two-dimensional design. Written in a clear and concise style, this textbook presents the elements of design in a logical order, with each chapter building on the next. The book employs a highly visual design with numerous diagrams that elegantly illustrate the fundamental design concepts. The diagrams are paired with relevant examples of contemporary art that connect theory to application. Foundations of Design has been written to be accessible by anyone with an interest in art or design. The efficient, practical approach provides useful guidance for beginning students and practicing professionals alike. The universal ideas on visual communication are appropriate for any creative field, including fine art, graphic design, advertising, illustration, web design, and photography. Foundations of Design is an essential addition to any art and design library. TABLE OF CONTENTS Chapter 1 - Design Chapter 2 - Format Chapter 3 - Line Chapter 4 - Shape Chapter 5 - Size Chapter 6 - Color Chapter 7 - Texture Chapter 8 - Composition Chapter 9 - Space Chapter 10 - Grouping Chapter 11 - Contrast Chapter 12 - Balance Chapter 13 - Emphasis Chapter 14 - Movement Chapter 15 - Unity

At last a history of Australia in its dynamic global context. In the late nineteenth and early twentieth centuries, in response to the mobilisation and mobility of colonial and coloured peoples around the world, self-styled 'white men's countries' in South Africa, North America and Australasia worked in solidarity to exclude those peoples they defined as not-white--including Africans, Chinese, Indians, Japanese and Pacific Islanders. Their policies provoked in turn a long international struggle for racial equality. Through a rich cast of characters that includes Alfred Deakin, WEB Du Bois, Mahatma Gandhi, Lowe Kong Meng, Tokutomi Soho, Jan Smuts and Theodore Roosevelt, leading Australian historians Marilyn Lake and Henry Reynolds tell a gripping story about the circulation of emotions and ideas, books and people in which Australia emerged as a pace-setter in the modern global politics of whiteness. The legacy of the White Australia policy still cases a shadow over relations with the peoples of Africa and Asia, but campaigns for racial equality have created new possibilities for a more just future. Remarkable for the breadth of its research and its engaging narrative, Drawing the Global Colour Line offers a new perspective on the history of human rights and provides compelling and original insight into the international political movements that shaped the twentieth century.