Brush with Acrylics: Painting the Easy Way

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Brush with Acrylics: Painting the Easy Way

Brush with Acrylics: Painting the Easy Way
Terry Harrison
Manufacturer: Search Press
ProductGroup: Book
Binding: Paperback

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ASIN: 1844480089

Book Description

Featuring a range of brushes, this guide explores various painting techniques and reveals how to capture atmosphere, texture, and detail. Example projects include beautiful landscapes, seascapes, and buildings—all of which show how to apply color to produce stunning pictures of atmospheric skies, mist covered rivers, vibrant fields of flowers, rustic buildings, calm estuaries and more. With many hot tips and a wealth of practical advice, the handbook presents an inspiring sequence of step-by-step demonstrations that aim to build up skills and encourage artists to create their own original paintings.

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Brush with Acrylics: Painting the Easy Way.......2007-01-03

Is inspirational but much like the watercolor book

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Challenging Projects in Stained Glass
Mt. Tom Stained Glass Artisans
Manufacturer: ARCO
ProductGroup: Book
Binding: Paperback
ASIN: 0668055812

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Challenging Projects in Stained Glass/09260

Manufacturer: ARCO
ProductGroup: Book
Binding: Hardcover
ASIN: 0668059850

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Challenging Projects in Stained Glass

Manufacturer: Bookthrift Co
ProductGroup: Book
Binding: Hardcover
ASIN: 9997341384

Amazon.com

Each issue of Blab! gets better and better, and Blab! #7 sets another high-water mark. There are two Chris Ware "Jimmy Corrigan, the Smartest Kid on Earth" stories: one on the inside covers and another 11-pager on the inside. Ware's unbelievably bleak, depressing, lonely stories are almost always overshadowed by his incredible design and illustration. Many of the Blab! regulars are back: Richard Sala with his rhyming examination of nutcases ("Psychodrama"); Doug Allen with another great Steven tale ("Bang"); Spain's underground reminiscence ("The Shadow of Fred Tooté"); Mary Fleener's tale of a white-trash woman gone mad ("Ashes of Passion"); and the wonderfully funny "Necropolis Keester in Psychobabylon" by Skip Williamson, which includes the great line, "Madam! As much as I have enjoyed your company I fear I must be off inasmuch as we have spent your entire life savings on Harvey Wallbangers." The real bonus of Blab! #7 is the new talent, specifically Terry Laban, who weaves a satirical cautionary tale called "Porn," and Marc Trujillo, whose "Tales from the Land of Plenty" is a wonderful rumination on banality.

Book Description

“The Great Guskin” (John Lahr, The New Yorker) shares the approach he uses to help actors land roles, develop them, and keep them alive

Harold Guskin is an “acting doctor” whose clients include Kevin Kline, Glenn Close, James Gandolfini, Bridget Fonda, and dozens more. In How to Stop Acting, Guskin reveals the insights and techniques that have worked wonders for beginners as well as stars. Instead of yet another “method,” Guskin offers a strategy based on a radically simple and refreshing idea: that the actor’s work is not to “create a character” but rather to be continually, personally responsive to the text, wherever his impulse takes him, from first read-through to final performance. From this credo derives an entirely new perspective on auditioning and the challenge of developing a role and keeping it fresh, even over hundreds of performances. Drawing on examples from his clients’ work and his own, Guskin presents acting as a constantly evolving exploration rather than as a progression toward a fixed goal. He also offers sound and original advice on adapting to the particular demands of television and film, playing difficult emotional scenes, tackling the Shakespearean and other great roles, and more. His book will find an eager and appreciative audience among novices and established actors alike.

Customer Reviews:

Best book on acting I've ever read!.......2006-09-27

I've read Strasberg, Adler, Meisner, Suzuki, Morris, Mamet, Chekov and several other acting books by lesser-known authors. Without question, Guskin's book is the best, most immediately usable method I have ever encountered. Guskin gives so many useful exercises to undertake his innovative approach along with a great deal of advice for solving a myriad of problems and issues actors face.

When I began reading Guskin's book I was intrigued but skeptical. The approach seemed like it just might be extraordinary, but I had questions as to whether it would work within certain contexts I faced as an actor. For example, what do I do when I'm in the middle of an audition and I freeze and nothing is coming to me? What good is Guskin's approach then? Much to my delight, Guskin addresses this question in a thorough and satisfying way. In fact, Guskin answered all of my practical acting questions and gives simple, usable solutions which all fall within the context of his unique acting approach.

Just like any acting approach, ultimate success comes with undertaking his advice and practicing, practicing, practicing his approach. Do this and you will reap great rewards.

My one slight reservation, which doesn't diminish the power of the book, is that casting directors for film and television often want you to come into an auditon situation with a 'final performance' for the audition. They do not want you to 'play' or 'discover' various versions of your performance during your audition. Casting directors for film and TV want you to give them the character as it is stated in the written character breakdown that they give you. Yes, this 'final performance' too, can be accomplished using Guskin's technique, but one needs to go into such audition situations very well-rehearsed beforehand.

Indeed, Guskin is correct in asserting that this very preconceived notion of character required by film and TV casting directors is far less prevalent in the theater and in theater auditions. This is not a caveat, just some additional info.

Truly the finest, most simple, practical and usable acting book I've ever read.

Not the most compelling read but some good tidbits.......2006-02-25

This guy sure does like Chekov. Almost every example of scene study or a monologue suggestion is from a Chekov play. It made me think more about which playwrights people consider to be the gold standard of good theatre than how to improve my own connection to a character. This reads very much like your typical good college acting teacher who name drops like it's going out of style (he's friends with Glenn Close, Kevin Kline, etc.) and throws in little nuggets of wisdom here and there. I still think there is no substitute for actually getting up on stage and doing it (and trying all sorts of things out and improvising to see what works and what doesn't) but this book should tide you over until you get onstage again. My favorite bit of advice he has: it's okay if you don't know how your character is supposed to feel on a given line. Accept that you don't know how your character is supposed to feel. Just let your mind go blank for a bit and then something will come to you. Decent book overall. I have another book by Ivana Chubbuck called "The Power of the Actor" that is a bit more memorable but this is still decent.

Just Get Real!.......2005-05-07

Harold Guskin's approach is brilliant in its simplicity. He takes you away from "techniques" and back to the reality of being in the moment. When I practice his approach I'm able to truly listen and dialogue with the other actors on a deeper level, and to respond to their words and mine from an internally, gut-motivated, truly living and experiencing in the moment place. From the stage or the audience the result is more exciting, more alive, and much more meaningful. I never have to try to memorize lines when I work from this angle either. The words take on a life of their own and take up residence, flowing freely when the time comes. The result is a fresher and more alive characterization too -- not "overstudied". Mr. Guskin's approach is refreshing. I urge every actor to buy this book, get real, and stop acting.

Liberating.......2005-03-02

I'm updating my review, because I think the first draft was skimpy, and I feel like I have a better view of this book now that more time has passed since my first reading.

The crux of the book is Guskin's concept of "taking it off the page." This was extremely valuable to me, and it turned cold readings from being scary to being my favorite part of the acting process! "Taking it off the page" is applicable to rehearsals, too, though, and to freshening up ongoing performances.

The book lightly touches on a lot of different types of acting: Auditions, Rehearsals, Sit-Coms, Serials, Small Roles, Big Roles, Touring, Film Acting. I think Guskin wants to explain briefly what you need to do differently for each of these situations. The book is too short to teach all details for any of these, though, so you will need other sources.

The book is very important to me, and my first experience with it was that I read it, and my very next rehearsal was the best rehearsal I had ever had. I felt so free, it was amazing. That is his main objective, to free you up to enjoy and explore.

Even a beginner can benefit from this book........2003-07-15

After taking an acting class for the past two months, I have had various highs and lows both on stage and off. This book prepares you to accept those accidents of creativity and freedom that make good acting. The author is not exponent of any particular school of thought or ideology. Rather he uses his real world experience as an acting coach to such players as Kevin Kline, Matt Dillon, Bridget Fonda, Glenn Close and many others to show how vulnerability and "taking words off the page" rather than memorizing them will contribute to unexpected and startling performances.

His advice for conquering fear, relaxing and "going with the flow" is unconventional, but delightfully intelligent. The author speaks out on auditions, being on stage, and his biggest push is for actors to "be themselves" and let the words in the script speak for themselves. To stop acting, is to start being real, to finding the truth--and if I sound like I'm spouting gibberish, I assure that his writing is clear, concise, logical and well reasoned--and will lead to a deeper and more thoughtful understanding of acting.

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HOLLYWOOD QUAGMIRE: How to Stop the Waste, Save 3.6 Billion Dollars a Year, and Avoid an Actors Strike in 2008! - An Industry White Paper
Timothy, R. Lampros
Manufacturer: Booklocker.com, Inc.
ProductGroup: Book
Binding: Paperback
ASIN: 160145192X

Book Description

Hollywood's film and television industry is facing an actors strike that could cost $2 Billion per month! Skyrocketing costs and shrinking profits can be attributed, in part, to poorly trained actors. Hollywood Quagmire offers a permanent solution to the problem.

Book Description

Despite significant advances in Bruckner scholarship, many problems persist. Although the relationship between Bruckner's music, post-Wagnerian ideology and, ultimately, Nazism has been carefully reconstructed, questions of how such matters should condition our responses to the music remain unaddressed. This important study isolates problematic issues of interpretation, analysis, reception, and historical location, and offers potential solutions through case studies of individual works.

Bruckner's Symphonies: Analysis, Reception and Cultural Politics.(Book review) : An article from: Notes

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Bruckner's Symphonies: Analysis, Reception and Cultural Politics.(Book review) : An article from: Notes
Benjamin M. Korstvedt
Manufacturer: Thomson Gale
ProductGroup: Book
Binding: Digital

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Book Description

This digital document is an article from Notes, published by Thomson Gale on June 1, 2006. The length of the article is 2255 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Bruckner's Symphonies: Analysis, Reception and Cultural Politics.(Book review)
Author: Benjamin M. Korstvedt
Publication: Notes (Magazine/Journal)
Date: June 1, 2006
Publisher: Thomson Gale
Volume: 62 Issue: 4 Page: 965(4)

Article Type: Book review

Distributed by Thomson Gale

Book Description

Providing video companionship for isolated housewives, afternoon babysitting for children, and nonstop evening entertainment for the whole family, television revolutionized American society in the post-World War II years. Helping the first TV generation make sense of the new medium was the mission of Jack Gould, television critic of The New York Times from 1947 to 1972. In columns noteworthy for crisp writing, pointed insights, and fair judgment, he highlighted both the untapped possibilities and the imminent perils of television, becoming "the conscience of the industry" for many people.

In this book, historian Lewis L. Gould, Jack Gould's son, collects over seventy of his father's best columns. Grouped topically, they cover a wide range of issues, including the Golden Age of television drama, McCarthy-era blacklisting, the rise and fall of Edward R. Murrow, quiz show scandals, children's programming, and the impact of television on American life and of television criticism on the medium itself. Lewis Gould also supplies a brief biography of his father that assesses his influence on the evolution of television, as well as prefaces to each section.

Customer Reviews:

More than a history of television.......2003-09-17

This is a fascinating book! It tells at least three stories simultaneously: the birth pangs of television; American cultural and political history in the 1950s; and the relationship between Jack Gould and both his employers and his media. There's an excellent introduction which introduces Jack Gould, and his biography by itself is interesting. Most absorbing for me, however, was reading Gould's take on the nascent medium of television: was it better for news or art? was it the same as theatre? did it have a duty to the American public to cover certain events? what were its educational limits? Some of his criticisms of tv are astonishingly contemporary. Others are clearly of a different era. The book is spiced with personalities that many of us know--Elvis Presley, Lucille Ball, Howdy Doody, David Brinkley--and Gould's take on them is fun to read.

Also illuminating are Gould's views of historical events: the quiz show scandals, the blacklist of the Red Scare, the "rise and fall of Edward R. Murrow." Gould championed actress Jean Muir, who was dealt an unfair hand in the 1950s, and his columns help explain how the blacklist worked from the inside. I particularly liked questions Gould asked about children's television programming and the responsibilities of the news shows.

Mostly, though, this book is marvelous to read because Gould was such a lively writer. His columns are full of real zingers that run side by side with his ruminations on American society, culture, politics, and values in the Cold War era. Despite the age of the columns reprinted here, the book provides much to ponder today, which is why I'm buying this for many people on my holiday list. People who lived through the 1950s will be just as interested as folks in their 20s and 30s. I highly recommend this book; even if you've never considered reading about television or cultural critics before you will get so much out if it. It will make you think about what's on your set today, and it's just _so_ wonderfully written!

A window on the evolution of television........2002-11-28

Born well after Jack Gould's retirement..it is exciting to feel the development and growing pains of the medium..through the columns Gould published. Lewis Gould's profile of the man and his life added to the sense of connection I felt to him..

You feel television's evolution...as if you were there.

Jennifer Salem
Antioch California

A window on the evolution of television........2002-11-28

Since I was born well after Jack Gould's retirement..it was exciting to feel the development and growing pains of the medium..through the columns Gould published. Lewis Gould's profile of the man and his life added to the sense of connection I felt to him..

You feel television's evolution...as if you were there.

Jennifer Salem
Antioch California

A Window to The Times.......2002-10-01

I have spent a delightful day reading this book, which brings together more than seventy columns written by the late Jack Gould, television critic for the New York Times from 1947 until his retirement in 1972. Not being from New York or a regular reader of the Times until after Gould retired, I must confess that I had never previously read any of his media criticism. This book has been a most welcome surprise.

The critic's son, Lewis Gould, a distinguished scholar in American history, selected the reviews that appear in this volume and also provided a remarkably candid and objective assessment of both his father and his influence. Insights about television, political figures--American culture in general--can be found throughout. Among the topics that Jack Gould considered were Edward R. Murrow, the quiz show scandals of the fifties, blacklisting, and live drama. As a baby boomer, I particularly enjoyed reading about two of the most memorable television performers of my childhood, "Miss Frances" of "Ding Ding School" and the inimitable Pinky Lee. Perceptive, too, is his assessment of the phenomenon that was--and is--Lucille Ball.

Some months ago the TODAY show celebrated, with much fanfare, its fiftieth anniversary on the air. But what was the show like in its earliest days? Gould tells us, in a no-holes-barred critique that NBC executives later admitted spurred changes in the program's format and presentation. Readers will find here in its entirety the review that Gould wrote in January 1952 in which he bluntly said that TODAY "needs a lot of work." "Thus far," he concluded, "TODAY has been excessively pretentious and ostentatious and unreasonably confusing and complex." Gould did not throw softballs!

In September 1952 Gould recognized that Nixon's so-called Checkers Speech, while "effective," might herald a turning point in the nature of political campaigning. Gould praised the embattled Nixon (who was on the ropes because of allegations that he benefited from an illegal "slush fund") for his "earnest" and "persuasive" presentation of his side of the story. Unfortunately, "the second half of the program saw Senator Nixon succumb to theatrics," as he attempted to grab the audience's heart with his tale of the cocker spaniel that had been given to his two young daughters. In Gould's judgment "there is a very real danger in superimposing the methods of show business in politics." He cautioned that the American public should "hold the line against television turning politics into a coast-to-coast vaudeville show or a daytime serial."

Any reader interested in television, media studies, or America at mid-century would find much of value in this collection.

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Watching Television Come of Age: The New York Times Reviews
Jack Gould
Manufacturer: Univ Texas
ProductGroup: Book
Binding: Paperback
ASIN: B000GRANR2

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