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I had illustrated several books and was working on The Grey Lady as well as the Strawberry Snatcher. A mathematician friend would occasionally visit to look, and wed focus on pictures. One afternoon I was sketching some objects throughout the house when he encouraged me to generate a whole picture: include some background, some foreground. I worked for a short time, although I could draw individual objects, we realised I had no understanding of how to acquire them to interact. I didnt discover how a picture worked.
I attended museums and checked out paintings, I read books about painting, and I took painting lessons. I still didnt obtain it. So I figured maybe if I tried teaching other individuals how to make pictures, I might learn myself. I decided to instruct third graders, largely because my daughter was then in third grade and I could take action in her class since people thought I knew what I was doing. I also thought third graders would keep me to your basics.
I began by designing a scary picture from Little Red Riding Hood, since scary pictures are simple to make and that we all knew the tale. I used simple shapes cut from three, then four colors of construction paper. I worked the children, then came home and attemptedto figure out what elements were making the wonderful pictures scarier or less scary, experimented with figure out how every one of the elements associated with each other. Gradually, I began to be aware of something about how precisely the structural components of pictures affect our emotions.
The children made fine pictures. But most third graders usually are not bursting with violent emotions, furthermore, as strong emotion was the aspect I found myself most enthusiastic about, I decided to use seventh and eighth graders. I taught several classes creating a Hero/ine Adventure-Journey Folktale according to common folktale patterns, and I had students illustrate their stories with cut construction paper. As we worked, we kept trying to know what changes elicited which feelings, and why. I got a clearer and clearer thought of certain principles that enable artists to imbue pictures with fairly specific emotions.
The following year, through the help of Ann Stern, I honed the course in Cambridge public schools and at last self-published two manuals: one for creating the tales, one for a way to illustrate them. I taught the course for countless years to school and students, teachers, non-teachers, people in jail. It became clear that this folktale format would be a good way for everybody to tell a narrative that both worked being a story and gave advice about the writers own fears and skills.
The course seemed to be a very effective opportinity for people to begin to know the way pictures work. Yet I realised which the principles apply not just in folktale illustration, but to sculpture, movies, architecture - to every one of the visual arts, so I wrote within the picture percentage of course separately as Picture This. After denial by about twenty publishers, it was finally published by Little, Brown, and ran out of print quite a while later. I was really happy - and proud! - when Seastar thought we would republish it. The new design by Ellen Friedman is dynamite! Seastar was later bought by Chronicle Books and Chronicle is the publisher.
I believe that Picture This is fairly basic. It shows how and why structural elements affect our emotions. This is usually a ground for understanding and making visual art.
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Everyone knows that a graphic tells a lot of words. But how about the elements that make up a graphic? Using the tale of Little Red Riding Hood as one example, Molly Bang uses boldly graphic artwork to clarify how images and individual components work to inform a story that engages the emotions: Why are diagonals dramatic? Why are curves calming? Why does red feel hot and blue feel cold? First published in 1991, Picture This fans will welcome the revolutionary editions striking redesign and introduce its insights to a lot of other artists and art appreciators alike.
This item: Picture This: How Pictures Work by Molly Bang Paperback 7.46
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You Can Draw in 30 Days: The Fun, Easy Way to Learn to Draw in One Month or Less
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Publisher: Chronicle Books; unknown edition July 1, 2000
Molly Bang is surely an award winning childrens book illustrator and author. Her
works include 3 Caldecott Honor Books: Ten, Nine, Eight, The Grey Lady along with the
Strawberry Snatcher, and When Sophie Gets Angry - Really, Really Angry, which
also won a Jane Addams Honor Award as well as the Arbuthnot Award. The Paper Crane
won the Boston Globe/Horn Book Award in 1987; Goose won the School of Library
Journal Best Book of 1996 and another work, Common Ground: The Water, Earth,
and Air We Share, won the prestigious Giverny Book Award in 1998 to the best
childrens science picture book. Her latest book, My Light, can be an ALA Notable
Her only be employed by adults is Picture This, which shows how a knowledge of
the most rudimentry principles enable someone to build powerful pictures. It is
used by art and graphic departments in colleges round the country.
Bang received her bachelor degree from Wellesley in French, and Masters in
Far Eastern Studies in the University of Arizona possibly at Harvard. She has also
worked like a reporter; being an educator for public health projects in Bangladesh
and in Mali, West Africa, incorporating home elevators maternal and child
health into stories; and as being a teacher in colleges.
This book is good for anyone serious about the visual arts.
Using the story plot of Little Red Riding Hood, Molly Bang explores visual communication by having fun with simple geometric shapes and discussing their effect. For example, Molly creates Red to be a small triangle but experiments with Red like a square, circle, or amorphous shape.
Later, Molly creates the wolf as as being a longer, sleeker triangle with sharper angles that can cause a sense of danger. She turns the angles into curves to find out the impact of angles. She changes the colour of the wolf from black to muave. She adds different shapes and colors of eyes; and teeth.
In plain english, she constantly experiments - and explains the experiments - of several composition values along with the mood they cook. At the end, she summarizes what she learned as rules for composition.
Whether you draw, paint, or take pictures, this book can help you with composition.
Thank you for ones feedback.
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Using the story plot of Little Red Riding Hood this book is concentrating on the basic principles of composing images.
Reduced for the maximum and making use of simple colors and arrangements of basic elements like circles or triangles, the drawings and also the short, precise text with this book are going out, how simple and easy and complex arrangements within pictures work, transfer obvious and hidden messages, how philosophy and psychology witin pictures works. Therefor its the sunday paper telling the story plot why pictures may lie, may influence, may manipulate an observer while obviously just showing reality.
Whether you adopt photographs, drawing or designing - this book can be a absolute must! A photo/image tells a lot more than thousand words - here there is the answer how and why. Great to see and watch, basic and fast to be aware of - while dealing with a most complex matter.
Finally a private statement and hint to have an esthetes: if you want to possess a magazine with an outer shape and show off that promises, exactly what the contents keeps, than you will need to buy the nice hard cover version instead from the cheaper soft cover version - it can pay off beyond doubt.
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Ive never encountered this sort of precise simple book on composition. When I was a student in art school, we tried out composition with this teacher saying just draw shapes. It was very frustrating because I didnt know why certain shapes worked while others didnt, and so I never got anywhere. For years I struggled with composition and knew something had to become done over it. After reading this book, I finally understand composition! When you first open it it appears so simple you receive worried you know everything in it, but Molly explains everything so perfectly, showing each of you examples of what works and what doesnt, and above all, why. There are also exercises with the very end of the novel to put your knowledge to your test. This book must be mandatory in different art major!
Thank you for the feedback.
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I love this book and taking advantage of it for teaching basic design fellow teacher uses it in Psychology! The simple story of Little Red Riding Hood functions as the basis for discussion how line, color, shape, etc. operate in art. Such a great there was others on this type. I will be using it to train the aspects of art in Art History this fall.
Thank you on your feedback.
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Dont be misled through the simple pictures and storybook style into thinking video just a novel for children. I have given this book to many adult friends, including some who're professional artists. We all learned something from Molly Bangs clear and compelling explanations with the principles of visual composition.
Thank you for the feedback.
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I cant say Im overly amply trained in composition, namely as most books about the subject are so dense. But in Picture This, the writer has found easily understandable solution to show principle fundamentals of art.
Rather than teach composition with diagrams drawn over old master paintings like some books, Molly Bang uses simple waste paper to indicate how shape, color and site can affect the climate of a photo. And once you realize these principles, its easy to determine how they can apply to more complex artwork.
Bangs pace is incredibly deliberate. Every switch the signal from her construction paper compositions is documented and explained. Its that simplicity and directness that enable her to communicate a real large amount of knowledge within 96 pages.
And dont allow short page count along with the fact that this book is suggested for grade schoolers fool you. This is the sunday paper every artist needs to have her shelf.
Thank you for ones feedback.
Sorry, we didn't record your vote. Please try again
This book is illustrations are pretty straight forward, clear and compelling along with the narrative procedure for understanding the art elements and principles makes this rather dry topic in to a fascinating tale. I have purchased several copies with this book for friends and plan to work with it within my middle school art classroom.
Thank you to your feedback.
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This book is but one persons opinion regarding how triangles and the like, in pictures, make one FEEL. I thought it could give more of your break on composition. If you are able to decifer the author is saying, you come on the conclusion that alls she actually is saying is, big everything is more dominant, in an image, than small things. Round everything is softer than pointy things. Big things look scarier than small things. Thats it in a very nut shell. There is no art in this particular book, until you want to discover the deep meaning of your third graders cut outs. I lost interest on this book quickly, the top's sums within the whole book. So, if you desire to pay to read about how precisely big everything's scarier plus much more dominant than small things, this book is designed for you.
Thank you to your feedback.
Sorry, we neglected to record your vote. Please try again
I am constantly seeking better ways to know photographic composition, not merely so that I can take better photographs within the field/in camera but in order that I can make Read more
would think this type of simple book might have such an impact? I purchased this impulsively, not expecting a tremendous amount. Read more
Super-basic writeup on graphic art fundamentals. Its far there on my small list of recommended books on art.
this book really explains the psychology of why certain shapes, compositions and colors make us glance at the way they are doing. Read more
Very simple, but very beneficial. I recommend it for young kids and adults alike. It has visuals that help to spell out the effects of horizontal, vertical, and diagonal lines, Read more
Its a novel strategy to design, and entertaining. Not much depth, though. If you have any design experience in any way, you will not really think it is that useful.
Very well written. Opens ones eyes bringing a different understanding towards the way pictures/art works
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By Jad TJ Duwaik on September 30, 2000
This book is designed for anyone enthusiastic about the visual arts.
Using the storyplot of Little Red Riding Hood, Molly Bang explores visual communication by having fun with simple geometric shapes and discussing their effect. For example, Molly creates Red like a small triangle but experiments with Red like a square, circle, or amorphous shape.
Later, Molly creates the wolf as being a longer, sleeker triangle with sharper angles that make a sense of danger. She turns the angles into curves to find out the impact of angles. She changes along with of the wolf from black to muave. She adds different shapes and colors of eyes; and teeth.
In plain english, she constantly experiments - and explains the experiments - of various composition values along with the mood they generate. At the end, she summarizes what she learned as rules for composition.
Whether you draw, paint, or take pictures, this book will allow you to with composition.
By a person on December 14, 2013
This book is persons opinion about how triangles etc, in pictures, make one FEEL. I thought it will give more of your break documented on composition. If you'll be able to decifer the author is saying, you come towards the conclusion that alls the girl with saying is, big everything's more dominant, in an image, than small things. Round everything's softer than pointy things. Big things look scarier than small things. Thats it inside a nut shell. There is no art on this book, if you don't want to chose the deep meaning of your third graders cut outs. I lost interest on this book very quickly, the coverage sums inside the whole book. So, if you need to pay to read about precisely how big everything's scarier and much more dominant than small things, this book is perfect for you.
This book is good for anyone serious about the visual arts.
Using the storyplot of Little Red Riding Hood, Molly Bang explores visual communication by tinkering with simple geometric shapes and discussing their effect. For example, Molly creates Red like a small triangle but experiments with Red like a square, circle, or amorphous shape.
Later, Molly creates the wolf as to be a longer, sleeker triangle with sharper angles that induce a sense of danger. She turns the angles into curves to view the impact of angles. She changes the colour of the wolf from black to muave. She adds different shapes and colors of eyes; and teeth.
In short, she constantly experiments - and teaches you the experiments - of several composition values and also the mood they generate. At the end, she summarizes what she learned as rules for composition.
Whether you draw, paint, or take pictures, this book will assist you to with composition.
A problem occurred while submitting your comment. Please try again later.
Using the storyline of Little Red Riding Hood this book is centering on the basic principles of composing images.
Reduced to your maximum and utilizing simple colors and arrangements of basic elements like circles or triangles, the drawings in addition to the short, precise text in this particular book leading out, how simple and easy and complex arrangements within pictures work, transfer obvious and hidden messages, how philosophy and psychology witin pictures works. Therefor its a manuscript telling the story plot why pictures may lie, may influence, may manipulate an observer although obviously just showing reality.
Whether you're taking photographs, drawing or designing - this book is usually a absolute must! A photo/image tells greater than thousand words - here it is undoubtedly a answer how and why. Great you just read and watch, simple and fast to know - although dealing with a most complex matter.
Finally an individual statement and hint with an esthetes: if you want to possess the sunday paper with an outer shape and search that promises, exactly what the contents keeps, than you need to buy the nice hard cover version instead with the cheaper soft cover version - it is going to pay off for certain.
A problem occurred while submitting your comment. Please try again later.
Ive never encountered this type of precise simple book on composition. When I is at art school, we tried using composition with your teacher saying just draw shapes. It was very frustrating because I didnt know why certain shapes worked yet others didnt, and so I never got anywhere. For years I struggled with composition and knew something had for being done about this. After reading this book, I finally understand composition! When you first open it it appears so simple you have worried you know everything in it, but Molly explains everything so perfectly, showing both of you examples of what works and what doesnt, and above all, why. There are also exercises with the very end of it to put your knowledge for the test. This book must be mandatory in every art major!
A problem occurred while submitting your comment. Please try again later.
I love this book and ultizing it for teaching basic design fellow teacher uses it in Psychology! The simple story of Little Red Riding Hood may serve as the basis for discussion how line, color, shape, etc. operate in art. Such a great there was others in this type. I will be using it to educate the factors of art in Art History this fall.
A problem occurred while submitting your comment. Please try again later.
Dont be misled through the simple pictures and storybook style into thinking mtss is a just a manuscript for children. I have given this book to many adult friends, including some whorrrre professional artists. We all learned something from Molly Bangs clear and compelling explanations with the principles of visual composition.
A problem occurred while submitting your comment. Please try again later.
I cant say Im overly trained in in composition, namely since most books about the subject are so dense. But in Picture This, the article author has found easily understandable solution to show the standard fundamentals of art.
Rather than teach composition with diagrams drawn over old master paintings like some books, Molly Bang uses simple components of paper to indicate how shape, color and can affect the climate of a graphic. And once you recognize these principles, its easy to find out how they can apply to more complex artwork.
Bangs pace is extremely deliberate. Every switch the signal from her construction paper compositions is documented and explained. Its that simplicity and directness that permit her to communicate this kind of large amount of knowledge in mere 96 pages.
And dont allow short page count plus the fact that this book is usually recommended for grade schoolers fool you. This is the sunday paper every artist ought to have her shelf.
A problem occurred while submitting your comment. Please try again later.
This book is illustrations are pretty straight forward, clear and compelling as well as the narrative method of understanding the art elements and principles makes this rather dry topic right into a fascinating tale. I have purchased several copies in this book for friends and plan make use of it during my middle school art classroom.
A problem occurred while submitting your comment. Please try again later.
This book is but one persons opinion on what triangles etc, in pictures, make one FEEL. I thought it might give more of your break recorded on composition. If it is possible to decifer just what the author is saying, you come for the conclusion that alls she's saying is, big the situation is more dominant, in images, than small things. Round situations are softer than pointy things. Big things look scarier than small things. Thats it within a nut shell. There is no art with this book, until you want to get the deep meaning of any third graders cut outs. I lost interest with this book presently, the coverage sums within the whole book. So, if you would like to pay to read about how precisely big everything is scarier plus much more dominant than small things, this book is perfect for you.
A problem occurred while submitting your comment. Please try again later.
This is often a very simple book. It includes cutouts of construction paper. Each page appears to be a small problem for Kindergarten through second grade. However, I loved it. I am currently spending considerable time thinking about composition and emotion in photographs. This book forced me to be clarify and elucidate some key concepts. Neither my partner or daughter thought a lot of it, though. If your expectations are then enjoy. Think of this being a yoga session with a whole new teacher.
A problem occurred while submitting your comment. Please try again later.
This book must not have been in a position to go out of print! It is indispensable for setting up a visual sense for telling a tale. Theatre film directors can put it to use constantly. For students, it might teach one how you can think and construct in abstract terms so as to illicit a psychological response from your viewer.
A problem occurred while submitting your comment. Please try again later.
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