The Art of the Paperblue is a must have art book for artists, entertainment designers, and anyone who wants to learn to paint creative environment paintings. Paperblue shares his knowledge of creating environment conceptual paintings for movies, games, and other entertainment industry fields. This book shows more than 10 full-length step-by-step tutorials with detailed explanations and hundreds of stunning art works and numerous quick sketches. In addition, Paperblue shares his techniques of using custom brushes, smudge tools, color theories, compositions, and many other techniques helpful in creating imaginative art works. This book features Sci-Fi environment paintings, fantasy paintings, vehicle designs, Mechs, ships, fighters, aircrafts and more. Get ready to be inspired by the gorgeous artwork of Paperblue, all while learning his painting techniques via step-by-step tutorials.

Take a deep dive into the design process behind the iconic characters of the Street Fighter franchise. This includes a detailed showcase of the raw concept art behind Street Fighter V, as well as a look back at classic Street Fighter and Final Fight games. The book is packed with in-depth interviews, creator commentary, anatomy tips, sprite illustrations, costume designs, rejected characters, and more! How To Make Capcom Fighting Characters is a must-have reference guide for all artists and fighting game fans.

In her authoritative new book, Maite Conde introduces readers to the crucial early years of Brazilian cinema. Focusing on silent films released during the First Republic (1889-1930), Foundational Films explores how the medium became implicated in a larger project to transform Brazil into a modern nation. Analyzing an array of cinematic forms, from depictions of contemporary life and fan magazines, to experimental avant-garde productions, Conde demonstrates the distinct ways in which Brazil's early film culture helped to project a new image of the country.

For more than ten years artist Gary Pullin has been taking art galleries, movie theater walls, and social media by storm with his fresh, inventive takes on film, music, and television properties. Equal parts nightmare and nostalgia, his instantly recognizable style always strikes a chord with fans, and his coveted and acclaimed pieces sell out in lightning speed. A go-to artist for official film artwork, concert merchandise, LP packaging, and endless other pieces of pop culture ephemera, Pullin has put pencil to paper for film posters such as Friday the 13th, A Nightmare on Elm Street, Halloween, The Big Lebowski, Vertigo, and The Babadook, soundtracks including Creepshow, Scream, Christine, and Tales from the Crypt, and concert merch for the likes of Jack White, Alice Cooper, and Misfits. Featuring hundreds of full-color illustrations, lavish cover galleries, and never-before-seen concept and process shots, Ghoulish: The Art of Gary Pullin is both a celebration of one artist's remarkable career and an indispensable snapshot of the thriving world of genre art. Go behind the scenes with Gary, let your jaw drop at his brilliant, long out of print artwork, and get ghoulishly inspired by an unforgettable pop artist.

Making Images Move reveals a new history of cinema by uncovering its connections to other media and art forms. In this richly illustrated volume, Gregory Zinman explores how moving-image artists who worked in experimental film pushed the medium toward abstraction through a number of unconventional filmmaking practices, including painting and scratching directly on the film strip; deteriorating film with water, dirt, and bleach; and applying materials such as paper and glue. This book provides a comprehensive history of this tradition of "handmade cinema" from the early twentieth century to the present, opening up new conversations about the production, meaning, and significance of the moving image. From painted film to kinetic art, and from psychedelic light shows to video synthesis, Gregory Zinman recovers the range of forms, tools, and intentions that make up cinema's shadow history, deepening awareness of the intersection of art and media in the twentieth century, and anticipating what is to come.

The book illustrates that supposedly outmoded, analog practices in contemporary photographic and cinematic art not only have maximum actuality, but also critical potential. Using the example of artists' practices that are motivated by the idea of the photographic and/or the cinematic but do not necessarily lead to photographs or films, the book shows how, in multiple ways, the display tool-the apparatus-can be explored, taken apart, reflected, modified, and newly arranged. The contributions that have also emerged from cooperative efforts between artists and scientists focus on the required technical/material processes and demonstrate that knowledge of medial difference is also socio-politically relevant.

There has been much scaremongering about the 'death of the book', and how, as words find new ways and means of transmission, young people might gradually begin to shun writing. In the digital age, text becomes information, and information strives to become free. But what value can text hold in the sphere of visual art? How is such text different from poetry? Can the poetic itself be visual art, or is text in this context consigned to the realms of gimmick and catchphrase? Looking at the work of a broad range of artists including Bruce Nauman, Julien Breton, Jeremy Deller, Takashi Murakami, Tracey Emin, Christian Boltanski and many more, The Word is Art examines each of these questions, contending above all that in the digital and online age, words have become more important than ever. With the advent of texting and social media, many predicted the debasement of language, and some have pointed to evidence of this in our so-called 'post-truth' culture. Artist Michael Petry demonstrates that, on the contrary, words remain critical, powerful and central to art practice. Digital communication has seen the word as text permeate life in ways that the poets and artists of yesterday could never have imagined. Presenting a brief history of word- and book-based art, and examining major areas where the word has dominated artistic practice, this book takes us on a fascinating and richly illustrated global tour of diverse contemporary art forms.

Dinosaurs have filled us with wonder since the first monstrous bones were pulled from the earth thousands of years ago. For centuries, we imagined dinosaurs as giant, clumsy brutes-but science has since revealed them to be so much more. They were living, breathing animals that had moments of great power and ferocity, but also periods of quiet beauty. Of course, science cannot tell us how they behaved or how they interacted with their environments. For that, we need our imaginations. The Amazing World of Dinosaurs is an intersection where imagination and knowledge meet. It features James Kuether's breathtaking dinosaur paleoart that accurately reflects our current knowledge. These captivating images are paired with Kuether's research and insights, which make dinosaurs and the Mesozoic Era accessible to anyone. From famous creatures like Tyrannosaurus rex to lesser-known species such as Monolophosaurus, dinosaurs continue to spark the imaginations of children and adults everywhere. Let The Amazing World of Dinosaurs guide you through this incredible time in history.

One of the visionary multimedia artists of our time, Doug Aitken has worked in every medium: from architecture and photography, to sculpture and film, to installations and interventions. While Aitken's art varies in both theme and context, his installations encourage audience interaction and communal gathering, whether this is accomplished by staging a series of happenings, such as those that took place at the Museum of Modern Art, New York, during his Sleepwalkers exhibition in 2007, or by the creation of large-scale, outdoor installations such as 2009's Sonic Pavilion in Brazil, where he amplified the sounds of the Earth. His film and photography often explore themes of displacement and travel, united by his keen awareness of motion, sound, and color that come together to create his signature, dreamlike landscapes and the futurist aesthetic for which he has become known. His projects defy convention, creating new perspectives by challenging traditional linear narratives. Aitken has collaborated with talents from a broad range of disciplines, from Werner Herzog and Rem Koolhaas to Lou Reed. This beautifully designed book, made in close collaboration with the artist, is the first to examine Aitken's artistic development and surveys his work in all mediums.

This book introduces an archaeological approach to the study of media - one that sifts through the evidence to learn how media were written about, used, designed, preserved, and sometimes discarded. Edited by Erkki Huhtamo and Jussi Parikka, with contributions from internationally prominent scholars from Europe, North America, and Japan, the essays help us understand how the media that predate today's interactive, digital forms were in their time contested, adopted and embedded in the everyday. Providing a broad overview of the many historical and theoretical facets of Media Archaeology as an emerging field, the book encourages discussion by presenting a full range of different voices. By revisiting 'old' or even 'dead' media, it provides a richer horizon for understanding 'new' media in their complex and often contradictory roles in contemporary society and culture.

Canadian artist Michael Snow (born 1929) has been a central figure in North American postwar art; his influential films, such as Wavelength, rank alongside those of avant-garde auteurs such as Stan Brakhage and Gregory Markopoulos. Sequences is a complete monograph of this contemporary Renaissance man, who characterizes his oeuvre thus: "my paintings are done by a filmmaker, sculpture by a musician, films by a painter, music by a filmmaker, paintings by a sculptor, sculpture by a filmmaker, films by a musician, music by a sculptor." Accordingly, Snow's texts acknowledge the difficulties an artist faces in approaching multiple disciplines. Across 17 chapters, the artist offers a complete overview of his own work--an editorial task with which he is intimately familiar after having produced several remarkable artists' books. At almost 400 pages, this hardcover is a tour- de-force on and by one of the most outstanding artists of our time.

Tracing the rise and development of the Ghanaian video film industry between 1985 and 2010, Sensational Movies examines video movies as seismographic devices recording a culture and society in turmoil. This book captures the dynamic process of popular film-making in Ghana as a new medium for the imagination and tracks the interlacing of the medium's technological, economic, social, cultural, and religious aspects. Stepping into the void left by the defunct state film industry, video movies negotiate the imaginaries deployed by state cinema on the one hand and Christianity on the other. Birgit Meyer analyzes Ghanaian video as a powerful, sensational form. Colliding with the state film industry's representations of culture, these movies are indebted to religious notions of divination and revelation. Exploring the format of "film as revelation," Meyer unpacks the affinity between cinematic and popular Christian modes of looking and showcases the transgressive potential haunting figurations of the occult. In this brilliant study, Meyer offers a deep, conceptually innovative analysis of the role of visual culture within the politics and aesthetics of religious world making.

What is a photographic image? Can a photograph ever tell the truth? These are some of the questions artist Walid Raad (born 1967) has been investigating for the past 20 years, in a practice that encompasses photography, film and video, sculpture, installation and performance. This publication brings together three major bodies of work: the photographic and video works produced under the fictional collective name The Atlas Group; various series of seemingly "straight" photography of his native Beirut titled "Sweet Talk: Commissions (Beirut)"; and his most recent project, "Scratching on Things I Could Disavow: A History of Art in the Arab World." The publication includes an exchange between the artist and curator Achim Borchardt-Hume; an essay on conceptions of truth by poet and writer Alan Gilbert; a text on Raad's use of photography and its ties to Beirut by Blake Stimson; and an essay by Helene Chouteau-Matikian.

This is the fourth book by the award-winning science-fiction and fantasy artist Stephan Martiniere. Following his previous books, "Quantum Dreams," "Quantumscapes" and "Velocity," "Trajectory"showcases Stephan's phenomenal artistic range and skills in a stunning new visionary collection of sci-fi book covers, theme park and animation concepts, video game designs and never-before-seen artwork.