Capture the feel of your subject on paper. Learn every technique you’ll need to give your colored-pencil drawings realistic, palpable texture. Named One of the 54 Best Colored Pencil Drawing Books of All Time by BookAuthority* There has never been a better opportunity to master textures. Knowing how to make your surfaces and textures look real is one of the most challenging aspects of creating art in colored pencil, even for experienced artists. 101 Textures in Colored Pencil provides artists with step-by-step instructions for drawing a wide variety of the most common textures and surfaces, including sand, water, metals, foliage, wood, fabrics, stone, grass, hair, and many more. To get you started, this comprehensive guide opens with a review of tools and materials as well as basic skills, such as strokes, effects, and color mixing. Plus, the book is organized into sections based on subject matter, so you can easily find the specific texture you’re looking for. Just a sample of the textures you will learn to render: People: smooth skin; aged skin; straight, curly, and wavy hair; lips Animals & Insects: smooth, curly, and course canine fur; elephant skin; feather; fish scales Fabrics & Textiles: burlap, tweed, silk, velvet, leather, lace, sequins Glass, Stone, Ceramics, Wood & Metal: porcelain, polished silver, hammered brass, peeling paint Food & Beverage: red wine, cut citrus fruit, coconut, peach, dark chocolate Nature: smooth and rough bark, moss, river pebbles, still and rippled lake, clouds 101 Textures in Colored Pencil includes all the textures you need to create realistic masterpieces in colored pencil.

The Beginner’s Guide to Spirit Animals teaches you how to find and communicate with your spirit guides through manifestation practices, dream journals, and meditation.

The Complete Book of Animals provides 352 pages of engaging, skill-building activities, and fascinating information on a wide variety of animals from every corner of the globe! It also features engaging lessons on insects, reptiles, marine life, farm animals, and common domestic pets. --Over 4 million in print! Designed by leading experts, books in theÊComplete BookÊseries help children in grades preschool-6 build a solid foundation in key subject areas for learning success.ÊComplete BooksÊare the most thorough and comprehensive learning guides available, offering high-interest lessons to encourage learning and full-color illustrations to spark interest. Each book also features challenging concepts and activities to motivate independent study, a fun page of stickers, and a complete answer key to measure performance and guide instruction.

Joshua Gert presents an original account of color properties, and of our perception of them. He employs a general philosophical strategy - neo-pragmatism - which challenges an assumption made by virtually all other theories of color. Neo-pragmatism rejects the standard representationalist strategy for solving "placement problems" in philosophy, which relies on the existence of a substantive notion of reference and truth. Instead, it makes use of deflationary accounts of such semantic notions. Applied to the domain of color, the result is a view according to which colors are primitive properties of objects, irreducible to physical or dispositional properties. In this way they are more like numbers, and less like natural kinds such as water or gold. Objective colors are also - contrary to current dogma - insufficiently determinate in their nature to allow them to be associated with precise points in standard color spaces. A given color can present different veridical appearances in different viewing circumstances, and to different normal viewers. It is these appearances, which are to be understood in an adverbial way, that can be located in standard color spaces. In explaining the distinction between objective color and color appearance, a central analogy to which Gert appeals is that between the perceptible three-dimensional shape of an object, and the various ways in which that shape appears from various perspectives. Primitive Colors also offers an account of color constancy, a moderated version of representationalism about visual experience, and a criticism of the thesis of the transparency of experience.