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Relevant bibliographies by topics / Artist characters / Books

Books on the topic 'Artist characters'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

1937-, Kartiganer Donald M., and Abadie Ann J, eds. Faulkner and the artist. Jackson, Miss: University Press of Mississippi, 1996.

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2

Veyu, Ernest L. The making of the modern artist: Stephen Dedalus and Will Brangwen. Newcastle upon Tyne: Cambridge Scholars Pub., 2012.

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3

Dobrinsky, Joseph. The artist in Conrad's fiction: A psychocritical study. Ann Arbor, Mich: UMI Research Press, 1989.

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4

Hart, Christopher. Basic anatomy for the manga artist: Everything you need to start drawing authentic manga characters. New York: Watson-Guptill Publications, 2011.

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5

ill, Pacheco David, and Wakeman Diana ill, eds. How to Draw The Lion King: Disney's Magic Artist. Laguna Hills, Calif: Walter Foster, 1994.

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6

Drawing superheroes step-by-step: The complete guide for the aspiring comic book artist. New York: Sixth&Spring Books, 2016.

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7

The imaginative claims of the artist in Willa Cather's fiction: "possession granted by a different lease". Selinsgrove, Pa: Susquehanna University Press, 1996.

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8

The artist, society, and sexuality in Virginia Woolf's novels. New York: Routledge, 2004.

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9

Lisa, Williams. The artist as outsider in the novels of Toni Morrison and Virginia Woolf. Westport, Conn: Greenwood Press, 2000.

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10

A cohesive presence: The girl image as subtext in James Joyce's "A portrait of the artist as a young man". Bern: P. Lang, 1992.

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11

Empric, Julienne H. The woman in the portrait: The transforming female in James Joyce's A portrait of the artist as a young man. San Bernardino, Calif: Borgo Press, 1997.

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12

service), SpringerLink (Online, ed. Computer Graphics for Artists II: Environments and Characters. London: Springer London, 2009.

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13

David, Corbett. The art of character: Creating memorable characters for fiction, film, and tv. New York: Penguin Books, 2013.

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14

Waddell, Martin. Alice the artist. London: Little Mammoth, 1989.

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15

Waddell, Martin. Alice the artist. London: Methuen Children's, 1988.

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16

Kwiat, Ernie. Big Bird the artist. Somerville, Mass: Candlewick Press, 2011.

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17

George, Michael Louis. Characters in search of a cafeteria. San Francisco: Bohemian Press, 2004.

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18

Silva, Daniel. The kill artist. London: Weidenfeld & Nicolson, 2001.

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19

Belisario: Sketches of character : a historical biography of a Jamaican artist. Kingston, Jamaica: Mill Press, 2008.

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20

Artist Zurab Tsereteli: A chronicle, with citations from the main character. Moscow: Golos-Press, 2004.

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21

printer, Maret Russell, Maret Russell book designer, Maret Russell type designer, Currier, Micah Slawinski, type designer, Jensen, Craig (Craig William), 1951-, binder, Maret Russell signer, Velké Losiny Mill (Firm), Dale Guild Type Foundry, and Press Collection (Library of Congress), eds. Specimens of diverse characters. [New York, N.Y.]: [Russell Maret], 2011.

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22

Dorfman, Elena. Fandomania: Characters & cosplay. New York, NY: Aperture Foundation, Inc., 2007.

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23

Dorfman, Elena. Fandomania: Characters & cosplay. New York: Aperture, 2007.

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24

Characters in fictional worlds. New York: De Gruyter, 2010.

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25

Dorfman, Elena. Fandomania: Characters & cosplay. New York, NY: Aperture Foundation, Inc., 2007.

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26

Frémaux, Léon Joseph. Leon Fremaux's New Orleans characters. Gretna, La: Pelican Pub. Co., 1987.

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27

Silva, Daniel. The Kill Artist. New York: Penguin USA, Inc., 2009.

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28

Santlofer, Jonathan. The Death Artist. New York: HarperCollins, 2005.

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29

Parlá, José. José Parlá: Character gestures, Los Angeles, CA, 2011. New York, NY: OHWOW, LLC, 2011.

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30

The artist as anthropologist: The representation of type and character in Victorian art. Cambridge [England]: Cambridge University Press, 1989.

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31

Portrait of the artist as a bad character: And other essays on writing. London: Pimlico, 1996.

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32

Character dance. London: Dance Books, 1986.

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33

Character mentor: Learn by example to use expressions, poses, and staging to bring your characters to life. Boston: Focal Press, 2012.

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34

Dixon, Franklin W. Comic con Artist. Simon & Schuster, Limited, 2012.

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35

Dixon, Franklin W. con Artist in Paris. Simon & Schuster Children's Publishing, 2017.

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36

Barrett, Eileen. The female artist as "outsider" in the writing of Virginia Woolf. 1987.

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37

Dixon, Franklin W. A Con Artist in Paris. Aladdin, 2017.

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38

The Disney Creative Development Storybook Art Staff. Disney Magic Artist: How to Draw Brother Bear. Walter Foster, 2004.

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39

Scott, Jill, Robert Atkins, Anne Marsh, and Yvonne Spielmann. Coded Characters: Media Art By Jill Scott. Hatje Cantz Publishers, 2003.

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40

(Illustrator), David Pacheco, and Diana Wakeman (Illustrator), eds. How to Draw the Lion King: Disney's Magic Artist. Laguna Hills, Calif: Walter Foster, 2003.

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41

Webb, Heather. Dante, Artist of Gesture. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192866998.001.0001.

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Abstract Dante, Artist of Gesture proposes a visual technique for reading Dante’s Commedia, as if the striking gestural images that it imprints on the reader’s mind were arranged in an architectural space. Art historians have shown how series of discrete images or scenes in medieval places of worship, such as the programme of mosaics in the Baptistery of San Giovanni in Florence or the programme of frescoes in the Scrovegni Chapel in Padua, establish not only narrative sequences but also typological parallelisms between registers, forging links between those registers by the use of colour and gestural forms. This book takes up those techniques to show that the Commedia likewise invites the reader to make visual links between disparate, non-sequential moments in the text. In other words, Dante’s poem asks readers to view its verbally articulated sequences of images with a set of observational tools that could be acquired from the practice of engaging with and meditating on the bodily depictions of vice and virtue in fresco cycles or programmes of mosaics in places of worship. One of the most inherently visible aspects of the Commedia is the representation of signature gestures of the characters described in each of the realms. The tracing of described gestures and bodily signs across the canticles of the poem provides a key for identifying affective and devotional itineraries within the text.

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42

Dixon, Franklin W. Comic Con Artist (Hardy Boys, Undercover Brothers). Aladdin, 2008.

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43

Draw Like an Artist : 100 Fantasy Creatures and Characters: Step-By-Step Realistic Line Drawing - a Sourcebook for Aspiring Artists and Designers. Quarto Publishing Group USA, 2020.

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44

With Vine-Leaves in His Hair: The Role of the Artist in Ibsen's Plays. Norvik Press, 2007.

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45

Jr, Thomas R. Homer. Graffiti Letters and Characters Coloring book: Best street art coloring books for grownups & kids who love graffiti | perfect for graffiti artists & amateur artist alike. Createspace Independent Publishing Platform, 2018.

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46

(Editor), Donald M. Kartiganer, and Ann J. Abadie (Editor), eds. Faulkner and the Artist: Faulkner and Yoknapatawpha, 1993 (Faulkner and Yoknapatawpha Series). University Press of Mississippi, 1996.

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47

Anthony, Francis. Guide to Become Cartoonist: Learn the Art of Making Cartoon Characters, Best Examples from Artist Around the Globe. Level 1. Independently Published, 2017.

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48

Ronchetti, Ann. Artist, Society and Sexuality in Virginia Woolf's Novels. Taylor & Francis Group, 2004.

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49

Lemire, Jeff. Extraordinary X-Men: Apocalypse wars / Jeff Lemire, author ; Issues #6-7: Victor Ibanez, artist ; Issues #8-12: Humberto Ramos, penciler. 2016.

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50

Jubin, Olaf. “It Takes Two”. Edited by Robert Gordon. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195391374.013.0011.

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Abstract:

Stephen Sondheim and James Lapine’sSunday in the Park with Georgeis divided into two acts that take place in different centuries and feature two sets of seemingly different characters. A close reading of the musical demonstrates, however, that most of the characters in act 2 either present another facet of the parallel character in act 1 or reveal another side to these characters’ functions in the overall scheme of the show. Through the use of a system of doubling, whereby actors played parallel characters in acts 1 and 2, the original New York production enhanced the work’s exploration of the role art and the artist play in society and of how this role has changed in the century between 1884 and 1984.

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