Despite living through some of the most dramatic changes of the twentieth century, Stanley Anderson CBE (1884-1966) created a vision of an essentially timeless English rural tradition in his etchings and woodcuts. His training was as an engraver, first on a heraldic engraving apprenticeship with his father and later at the Royal College of Art and Goldsmiths College, London. Anderson became a master of his craft: elected a fellow of the Royal Society of Painter-Etchers and Engravers in 1923. When he later took up woodcutting, he became immersed in a technique that was considered as deeply English as the subjects he depicted. Anderson was a key figure in the revival of engraving in the 1920s. The techniques exacting craftsmanship, intimate scale and indelible sense of historicism were a stark contrast to the modernist explosion. This catalogue raisonne gathers together for the first time the complete uvre of Anderson's prints, from the townscapes of his early career to the fascinating twenty-year study of rural crafts, including hedge-laying, carpentry and barrel-making, that he carried out towards the end of his life, and for which he is best known.

Window-Shopping through the Iron Curtain presents a selection of more than 100 images of shop windows shot by David Hlynsky during four trips taken between 1986 and 1990 to Poland, Czechoslovakia, Hungary, Yugoslavia, Bulgaria, East Germany, and Moscow. Using a Hasselblad camera, Hlynsky captured the slow, routine moments of daily life on the streets and in the shop windows of crumbling Communist countries. The resulting images could be still-lifes representing the intersection of a Communist ideology and a consumerist, Capitalist tool the shop window with the consumer stuck in the middle. Devoid of overt branding or calculated seduction, the shop windows were typically adorned with traditional yet incongruous symbols of cheer: homey lace curtains, paper flowers, painted butterflies, and pictures of happy children. Some windows were humble in their simple offerings of loaves and tinned fishes; others were zanily artistic, as in the modular display of military shirts in a Moscow storefront; and some illustrated intense professional pride, such as a sign in a Prague beauty salon depicting a pedicurist smiling fiendishly over an imperfect sole. The photographs are accompanied by essays by art historian Martha Langford and cultural studies specialist Jody Berland, as well as Hlynsky s own account of his time as a flaneur in the shopping plazas of the collapsing Soviet empire a vast ad-hoc museum of a failing utopia that in 1989 began to close forever.

Like its economy and art scene, Chinese fashion is on the rise, with an increasingly prominent international presence. Spurred by a new generation of creative and ambitious designers, and championed by actresses like Fan Bingbing and Zhang Ziyi, as well as China s First Lady, Peng Liyuan, Chinese fashion now walks the runways, not only in Shanghai and Beijing but also in London, Paris, Tokyo, and New York. Fashion China is an important new survey of the top Chinese fashion designers working today, selected for the book by a jury of experts on Chinese fashion that includes supermodel Liu Wen; Director of Harper s Bazaar China, Lucia Liu; and TV host and fashion writer Hung Huang. Profiles of each designer include a description of their styles and an interview with Gemma Williams, exploring their training, inspiration, and technical approaches. These are accompanied by 450 illustrations offering a rich survey of the looks that make Chinese fashion unique. From the opulent couture of Guo Pei to the minimalist ready-to-wear of Uma Wang and the surreal structuralism of Xiao Li, the designers featured here offer an unexpected and enticing combination of tradition and modernity, of Asian heritage and Western influence.

Designers often look to the past to inform their work. In Stencil Type, design gurus Steven Heller and Louise Fili explore the variety and influence of the world s most ubiquitous typographic style, which dates to prehistoric times and has been used on a range of surfaces from street signs, buildings, and bridges to packaging and posters. This expansive sourcebook presents hundreds of international examples of stencil typography from the late nineteenth through the twentieth centuries. The wonderful array of stencil types highlights surprising instances of artistry and ingenuity from a broad range of locations and objects from military, traffic, and transportation to home decoration, mass communication, and street art. And the survey is global, drawing on design from America, France, Italy, Spain, Germany, the Netherlands, Great Britain, and Eastern Europe. An introduction surveys the history and applications of stencil typography, and samples of stencil type are presented in order of their geographic origin.

Fanny is an extended portrait of a young girl's transition from child to woman. Made over a period of 23 years, the images are at once beautiful in their detail of light and identity and also frankly anthropological in their descriptive effect. A naturist since birth, Fanny's comfort with nudity and her natural self has allowed Sturges to draw an engaging portrait of the evolution of a human being with few social distractions. His access to the girl's and woman's character is direct and fascinating. Long known for his extended portraits of children and adolescents, this work is strong evidence of Sturges' permanent commitment to the people in his work.

A chronicle of the key ideas that have shaped the adverts we see everyday, 100 Ideas That Changed Advertising offers a fascinating insight into an ever- changing and fast-moving industry. Arranged broadly chronologically, the book looks at the overnight revolutions, the flashes of inspiration and the long-term evolutions that advertisers have wrought upon their industry. Author Simon Veksner guides us through the key ideas behind these changes, from the development of the first advertising formats and the history of branding, to the creative revolutions of the 1960s and the digital age. Looking forward, the book considers the most recent thinking in reaching new audiences, including the rise of neuromarketing and the latest behavioural economics. Illustrated with hundreds of examples of adverts and explaining their power to inspire, delight and annoy, but above all, to make us buy, the book is an absorbing guide to a turbulent, highly-creative industry.

Every year since 1958 an international jury has convened in Holland under the auspices of the World Press Photo Foundation to choose the finest press photographs of the year. Universally recognized as the definitive competition for photographic reporting, it draws submissions from photojournalists, newspapers, and magazines throughout the world. Publishing the results of the most recent competition, this book contains the most haunting and inspiring photographs from 2014 some 150 pictures selected from more than 100,000 images submitted. These prize-winning works are extraordinary not only for their technique but also because they capture the most powerful, moving, and sometimes disturbing moments of the year.

Japanese houses today have to contend with unique factors that condition their design, from tiny plots in crowded urban contexts to ever-present seismic threats. These challenges encourage their architects to explore alternating ideas of stability and ephemerality in various ways, resulting in spaces that are as fascinating as they are idiosyncratic. Their formal innovation and attention to materials, technology and measures to coax in light and air while maintaining domestic privacy make them cutting-edge residences that suggest new ways of being at home. Contemporary Japanese architecture has emerged as a substantial force on the international scene ever since Kenzo Tange won the Pritzker Prize in 1987. This overview of 50 recent houses powerfully demonstrates Japans enduring commitment to design innovation.

Piero Fornasetti was a master of the decorative imagination. His motifs conjure up the illusionism of Arcimboldo, the grand architectural fantasies of Piranesi and Palladio, and something of the wit of Pirandello or even Picasso. Fornasettis decorations transform furniture, created in collaboration with Gio Ponti, into art objects touched by trompe loeil humour. His designs endure in an astonishing variety of forms: chairs, desks, screens, pianos, plates, masks and other objects all present the artists timeless vocabulary. Fornasettis endless invention is celebrated here in a book published to coincide with a major retrospective exhibition in Paris. His visual puns and decorative devices are set out in the context of his paintings, little considered until now. Bibliophilia occupies centre stage, with graphic schemes, designs for imaginary libraries and bookcases set in ironic interiors. The book gathers a plentiful array of his famous Themes and Variations, a series of plate designs drawing on over 500 variations on the face of a famous operatic beauty. A full chronology of Fornasettis life and work accompanies the text.

The act of drawing has long been considered the foundation of an artistic education, and the life class essential to the formation of an artists style and technique. Yet in the contemporary art world drawing is increasingly regarded as a medium in its own right, and the figure as a subject for ongoing exploration well beyond the sketchbook. Drawing People is a thoughtful and beautifully illustrated survey of the most compelling and inventive drawings of the human form being produced today. An introduction places the medium of drawing in its historical context, discussing its intersection with photography, painting, collage and illustration. Five chapters Body, Self, Personal Lives, Social Reality and Fictions include short introductions outlining each theme, followed by commentaries on individual artists exploring their style, ideas and techniques, accompanied by finely reproduced images of their recent work.

Coe and Houston update this classic account of the New Worlds greatest ancient civilization, incorporating the most recent research in a fast-changing field. New discoveries of spectacular stucco sculptures at El Zotz and Holmul reveal surprising aspects of Maya royalty; the Classic Maya themselves can be understood as occupants of royal courts, full of Machiavellian intrigue yet operating in close communion with gods and cosmos. Just-discovered texts at Xultun show a strong concern with astronomy and numerology, as well as evidence of lost books. Other finds include the discovery in an underwater cavern of the earliest known occupant of the region, the Hoyo Negro girl, and new evidence for the first architecture at Ceibal. The Maya highlights the vitality of current scholarship into this brilliant civilization.

This third, updated and expanded edition of Christiane Pauls acclaimed book investigates key areas of digital art practice that have gained in prominence in recent years, including the emergence and impact of location-based media, interactive public installation, augmentive and mixed reality, social networking and file-sharing and tablet technologies. It explores themes raised by digital artworks, such as viewer interaction, artificial life and intelligence, political and social activism, networks and telepresence, and issues surrounding the collection, presentation and preservation of digital art. It also looks at the impact of digital techniques and media on traditional forms of art such as printing, painting, photography and sculpture, as well as exploring the ways in which entirely new forms such as internet and software art, digital installation and virtual reality have emerged as recognized artistic practices.

The Viennese artists' association Hagenbund had a decisive influence on the art scene between 1900 and 1938, not only at home but also in Central Europe. It united different art movements under its umbrella and introduced a new creative dynamic at a time when the Vienna Secession was slowly losing its impact after 1918. The liberal attitude of the Hagenbund artists was revolutionary. The Hagenbund represented an early network of European art with a regional focus on Vienna. In 1907 a first joint exhibition featured Hungarian, Polish, Czech and German artists. This volume analyses for the first time in an art-historical context, the network of relationships between artists in Vienna, Prague, Munich, Budapest, Lviv, Krakow and Trieste. The members of the Hagenbund included Oskar Laske, Carry Hauser and Otto Rudolf Schatz. They welcomed illustrious guests such as Anton Faistauer, Oskar Kokoschka and Anton Kolig. The early network established an extremely open approach to exhibitions and a lively intercommunication between European artists.

Ur, one of the world's first cities, was highly important politically and economically around 2600 2500 BC when the Sumerian rulers of the city were buried in tombs filled with ornate, valuable objects and with evidence of elaborate rituals and human sacrifice. Without the artefacts from the tombs of Ur it would be very difficult for us today to visualise Sumerian history and know anything about Sumerian art. Of all the objects found in the royal tombs of Ur, the Standard is the most informative yet also the most enigmatic. The Standard was given its name because it lay in a tomb near the shoulder of a man as if it had been carried like a battle standard. However, its real function and purpose within the tomb is still unknown. It was originally hollow, like a box, and is decorated on four sides with mosaic images created with inlays of shell, lapis lazuli and red limestone that were set into bitumen on a wooden frame. The two main, rectangular sides sometimes referred to as war and peace, show scenes of a battle and of a banquet. Both of these themes, commonly depicted in Mesopotamian art, are shown on the Standard using a narrative technique that was to be used in Mesopotamia for almost two thousand years and can still be appreciated today. Viewed as a remarkable work of ancient art the Standard testifies to sophisticated Sumerian craftsmanship and the wide trade networks and wealth of the city of Ur. More importantly for us today, it is also a realistic and lively representation of aspects of the life and concerns of people who lived in one of the world's great ancient civilisations during the third millennium BC. This beautifully illustrated short introduction tells the story of discovery and significance of this splendid object.

Cuneiform script on tablets of clay is, as far as we know, the oldest form of writing in the world. The choice of clay as writing medium in ancient Mesopotamia meant that records of all kinds could survive down to modern times, preserving fascinating documents from ancient civilization, written by a variety of people and societies. From reading these tablets we can understand not only the history and economics of the time but also the beliefs, ideas and superstitions. This new book will bring the world in which the cuneiform was written to life for the non-expert reader, revealing how ancient inscriptions can lead to a new way of thinking about the past. It will explain how this pre-alphabetic writing really worked and how it was possible to use cuneiform signs to record so many different languages so long ago. Richly illustrated with a wealth of fresh examples ranging from elementary school exercises to revealing private letters or beautifully calligraphic literature for the royal library, we will meet people that arent so very different from ourselves. We will read the work of many scribes from mundane record keepers to state fortune tellers, using tricks from puns to cryptography. For the first time cuneiform tablets and their messages are not remote and inaccessible, but wonderfully human documents that resonate today.

Typeface combinations dont always work together naturally. For an experienced designer, the process becomes largely intuitive after years of practice, but even seasoned professionals sometimes struggle to come up with the perfect typeface pairing. Its often obvious what not to use, but its less obvious what you should use when a range of good typefaces can differ in very subtle ways. Developed with typographers, graphic designers and font geeks in mind, Type Team is the ultimate guide for anyone wishing to get to grips with the best techniques for combining individual typefaces from all classifications and styles for any category of creative project. It explores 150 typeface combinations grouped into 25 contrasting categories, ranging from Classical and Scholarly to Edgy and Vibrant, and with a full page devoted to each entry. In addition, 50 typographic principles are paired with selected combinations and illustrated using the typefaces from the spread. Within the pages of this unique reference for font spotters, designers, and users, the perfect typeface combination for any creative project can be found.

London 1996: Alexander McQueen took over the Hawksmoor masterpiece Christ Church in Londons East End for what was quite possibly the greatest fashion show on Earth. A candle-lit, cruciform catwalk with a backdrop of stained-glass windows set the tone for an extraordinary collection. Lace sat against chiffon and rubbed shoulders with couture and club-culture clothing and digital print. Dante was the seminal collection that would resonate throughout Alexander McQueens career. This book features unique photographs shot behind the scenes, with raw, unseen pictures of the designer, models and clothes. The fashion creatives who worked with McQueen to make the show such a success recall this pivotal time in the designers career and reflect on what made Dante truly groundbreaking. Newly created imagery of clothes shown on the catwalk gives an insight into why this collection was so special.

How does visual creativity arise in the first place and how can visual methods be developed and applied in the production of ideas and variety? Various methods for doing this are presented here under the chapter headings Basis, Interpretation, Variation, Relation and Sequence with over 3000 illustrations. In the course of this work numerous methodical design approaches are presented and mediated. One of the reasons that the results presented here are so varied and frequently surprising, is the variety of the procedures described. For over two decades Armin Lindauer and Betina Muller have searched out, collected and produced work dealing with their understanding of how experimental design can be created by using methodical design processes. They show numerous parallels from completely different areas of activity including advertising, product design, poster art, the fine arts and the sciences. On the one hand historic work is discussed in the book prologue such as that of Gustave Courbet, Claude Monet, Alexej Jawlensky, Pablo Picasso, Josef Albers, Bernd and Hilla Becher, and on the other the work of wellknown designers such as Daniele Buetti, Gunther Kieser or Stefan Sagmeister is considered. The book is thus simultaneously both a highly specialized technical work and an extensive and very rich atlas of ideas and inspirations. It is an impulse giver without dictating the way and demonstrates once again that creativity is frequently based firmly on methods which in turn it also promotes.

Death is universal, but the human response to death varies widely. In Western society, death is usually medicalized and taboo, and kept apart from the world of the living, while in much of the rest of the world, and for much of human history, death has commonly been far more integrated into peoples daily existence, and human remains are as much a reminder of life, memento vitae, as of death, memento mori. Through photos taken at more than 250 sites in thirty countries over a decade, Paul Koudounaris has captured death around the world. From Bolivia s festival of the little pug-nosed ones, where skulls are festooned with flowers and given cigarettes to smoke and beanie hats to protect them from the weather to Indonesian families who dress mummies and include them in their household routines; from naturally preserved Buddhist monks and memorials to genocide in Rwanda and Cambodia to the dramatic climax of Europe s great ossuaries, Memento Mori defies taboo to demonstrate how the dead continue to be present in the lives of people everywhere.

This book, by Britains most distinguished historian of ancient Greek art, recounts the influence of Greek communities and their culture through Central Asia, India and Western China, from the Bronze Age through to the rise of Islam. Boardman examines a wealth of art and artifacts as well as literary sources to reveal the remarkable influence of Greek culture upon peoples Anatolians, Levantines, Persians, Asiatics, Indians, Chinese whose settled civilizations were far older, with their own strong traditions in life, government and the arts. The Greeks were not empire-builders. They did not seek to conquer or rule. However, they were highly literate and adept at trade; they spread a monetary economy through Eurasia; their religion was easily adapted to that of others; their art developed a form of narrative that was to be dominant for centuries to come; and their poets and philosophers were widely respected outside their homeland. As Boardman notes, They are an odd phenomenon in world history. Through their travels they came to leave a very distinctive imprint on the lives and arts of many distant peoples, and over centuries, some to the present day.