Libros de Bellas Artes y Aplicadas, página 43 de 247

Understanding Jewellery is a comprehensive guide to 19th and 20th Century jewellery. From the methods used to identify and date pieces, to the factors that can affect their value, this volume contains an abundance of expertise relating to precious stones and metals.With almost 1000 magnificent colour illustrations accompanied by straightforward but thorough explanations, this publication offers a richer and more accessible reading experience than traditional text-dominated books. Including introductions to precious and semi-precious stones, and details of the stylistic developments of jewellery over the last 200 years, this volume is a standard work of reference and aninvaluable tool for collectors and dealers alike.

Dry glazes, also known as matte glazes, provide ceramic artists with an alternative to conventional glossy and transparent finishes. Potters such as Lucie Rie and Hans Coper frequently used matte and opaque coatings in their work. Contemporary sculptors employ dry glazes to add texture and depth to the surface of their pieces. Still, little information has been published on matte glaze techniques until now.In Dry Glazes, artist and educator Jeremy Jernegan covers everything ceramicists need to know to create and manipulate a range of matte glazes, from satin to cratered. This compact yet complete guide contains more than 270 formulas and recipes for slips, sigillatas, vitreous englobes, oxides, and stains. Jernegan gives clear and thorough instruction on application and firing methods, including raku. He also explains safe and environmentally responsible ways to handle the chemicals involved. Dry Glazes not only contains step-by-step color photographs of test tiles and procedures; it features illustrations of works by contemporary makers who have used matte glazes to great effect.With over one hundred illustrations and an in-depth treatment of techniques, materials, and creative approaches, Dry Glazes is a smart addition to any clay worker''s library. It is a practical and inspirational resource for ceramics practitioners, instructors, and students who want to make or alter their own glazes.

This extensive how-to book puts you in touch with all the creative potential of the extruder.With more than 50% new material, this book features new works by artists, up-to-date information on extruders, and sixteen great step-by-step demonstrations, making it a must for anyone with an extruder in their studio.

When it comes to innovation, ceramic artists rank at the top. What is it about clay that brings out the creative spirit in us? Unlike a canvas to be painted or a stone to be carved, clay presents unlimited possibilities. You can shape it, throw it, pour it, carve it, stamp it, paint itanything. Its the most versatile of mediums. For creative artists choosing clay, theres no telling what the results will be. In this collection of techniques, profiles and projects, more than 25 innovative artists explore some of the vast possibilities clay has to offer. From Amy Santoferraros Plate-O-Matic and Shuji Ikedas elegant woven baskets to using clay as a canvas, theres no end to the possibilities.Ceramic Art: Innovative Techniques touches on the many creative things you can do with clay. During any stage of forming, decorating or firing, infinite variables allow you to explore and expand the many creative opportunities clay has to offer. Discover some of the things that thousands of potters around the world do in this wonderful medium.

For thousands of years, the special properties of porcelain - its delicacy, translucency and remarkable strength - have fascinated and inspired, and these qualities continue to have an enduring appeal for ceramic artists. However, porcelain is also a notoriously demanding medium that presents unique challenges for the maker.In this inspiring practical guide, porcelain artist Vivienne Foley introduces ceramicists to the material she has been working with for more than forty years. The book takes a comprehensive look at all aspects of porcelain, and covers everything from its composition and workability, to decorating and glazing. Methods of throwing and building are thoroughly covered, with a focus on techniques and faults specific to porcelain. Drying and firing is also discussed, and there is a useful troubleshooting section on all the most likely problems and faults along with suggested remedies.Beginning with the fascinating history of making in porcelain, from the Imperial kilns of China to the Meissen factory of Germany and beyond, this book offers an insight into the way porcelain has been used in the past and how it has been adapted and developed for contemporary work, by current artists who are constantly looking to push the boundaries of possiblity.Illustrated throughout with helpful how-to images, as well as the beautiful works of current artists, Porcelain is the essential handbook for any ceramic student or artist seeking to understand and work with this extraordinary material.

Los que hemos vivido a lo largo de estos años pasados tenemos la obligación de ayudar a los más jóvenes a conocer la compleja realidad de nuestra historia en toda su verdad. En nuestra sociedad hay demasiadas tensiones, demasiados rechazos, demasiadas exclusiones. Los españoles, desde la Ilustracion, tenemos necesidad de aprender a convivir, necesitamos aceptarnos unos a otros, tal como somos. Tenemos detras una gran historia y un gran patrimonio cultural que nos hace ser lo que somos. Tenemos que aprender a aceptarlo con gratitud, sin eximentes. Y desde este realismo podremos trabajar juntos para ser cada vez mejores. Para ello, si uno quiere cumplir sus obligaciones de cristiano y ciudadano, esta obligado a manifestar y ofrecer su parte de verdad. Es mi caso. De esta reflexion y en respuesta a semejante obligacion ha nacido este libro.

MIENTRAS SE PINTA SE MOTIVAN LO CONCIENCIA PLENA Y LA CREATIVIDAD, SE MEJORA LA COORDINACIÓN Y SE PERFECCIONAN LAS HABILIDADES ARTÍSTICAS.

Arte

Una pieza gráfica impresa a mano, incluso si se trata de una tirada de múltiples copias, adquiere el carácter de obra de arte original, ya que, debido a la propia naturaleza del proceso de impresión manual, cada una de las piezas sera siempre ligeramente distinta de las demas. Con este libro aprenderas a transformar en un ejemplar unico cualquier pieza cotidiana, desde objetos del hogar hasta ropa y complementos, imprimiendo a mano tus propios diseños.La autora te enseñara la riqueza de las diversas tecnicas de impresion manual desde la serigrafia a los monotipos, pasando por el estarcido, la impresion con gelatina, con bloques de madera o mediante luz solar, los estilos que puedes obtener con cada una de ellas, y el manejo de los procedimientos y herramientas que estas implican.El libro incluye 23 proyectos accesibles con instrucciones paso a paso para imprimir pañuelos de seda, fundas de cojines, camisas, tarjetas de felicitacion, espejos, piezas de vajilla e incluso papel de pared. Se incluyen tambien utiles consejos para asegurar la calidad de la impresion, plantillas muy faciles de usar e ilustraciones que te guiaran paso a paso por los procesos de cada proyecto.

Mi tío no se llama Sam reúne por vez primera piezas icónicas que la propaganda cubana utilizó desde 1959 para hablar de los diferentes temas y episodios que han marcado la relación entre Estados Unidos y Cuba. El Tio Sam con las manos cortadas, la cabeza de la Estatua de la Libertad clavada en una bayoneta, o un cubo de basura con los colores de la bandera norteamericana son algunas de las llamativas imagenes con las que la propaganda cubana ha representado a los Estados Unidos, y que se incluyen en este libro.Desde que Fidel Castro llego al poder, cientos de vallas y carteles han hecho referencia al enemigo de su revolucion: el gobierno norteamericano, con su poderio militar y la CIA a su servicio. Mi tio no se llama Sam reune por primera vez una seleccion de esas obras, en su mayoria ineditas. Ofrece un recorrido visual por el discurso grafico que la propaganda cubana ha utilizado para hablar de los diferentes temas y episodios que desde 1959 han marcado la relacion entre Estados Unidos y Cuba.