Weitere Bücher, die Sie mögen werden

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  Saxophone Serenades

  Kim Mitzo Thompson

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  Allow the music of the saxophone set the mood for romance.

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  You Talkin' To Me? - How To...

  Linda Seger, John Rainey

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  Unlike the chitchat of everyday life, dialogue must express character, advance the story, suggest a theme, and include a few memorable lines that audiences will be quoting for decades to come. The best stories have dialogue that sparkles, but it’s easy for inexperienced writers to fall into common pitfalls like creating dialogue that’s wooden or too on the nose. Other writers end up with exposition awkwardly inserted into conversations, actors tripping over unnatural phrases, or characters who all speak exactly the same way. In You Talkin’ to Me?, Linda Seger and John Winston Rainey are here to help with all your dialogue problems. In each chapter, they explore dialogue from a different angle and discuss examples of great dialogue from films and novels. To cap it all off, each chapter ends with examples of poor dialogue, which are annotated by Linda and then rewritten by John so that listeners don’t just learn how to recognize when it’s done well-they also learn how to make dialogue better. Whether you’re writing fiction or nonfiction, for the screen or for the page, this book will get your characters talking.

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  How to Draw Animals for...

  HowExpert, Luanna Eroles

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  If you never drew before, this guide will be a great start and if you do like drawing and have some experience on it this book will help you to open your eyes beyond the skill towards vital principles of drawing. Our expert proposes various exercises from coordination skills to visual ability, finalizing the projects with a portfolio of different shadowing and coloring techniques to familiarize yourself to the open world of illustration.  
  By the title you can see that all this experience will be focused on animal drawing, but what you will learn here is much more open than just a set of rules or hits about animals itself, are large researched instructions which aim to enable you to be able to create a connection between the theory and skill by yourself, being this way more than explanations only about beautiful and intriguing animals, but an experience about drawing as a whole as well. 
  HowExpert publishes quick 'how to' guides on all topics from A to Z by everyday experts.

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  Literature and Devotion in Later...

  Richard Gameson

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  Embracing poetic works by Chaucer, Lydgate and Hoccleve, prose writings on philosophy, contemplation and bibliophily, key service books for the clergy, and devotional texts for the laity, the present volume explores the interrelated themes of literature and devotion in England from the Black Death to the Reformation as seen through the lens of twenty-six precious manuscripts in Durham University Library. These unique volumes, several with fine illumination, are described and illustrated, their provenance is tracked, and their literary and devotional importance is explained. As, in addition, the inks, pigments and dyes that were used in each of them have been identified by optimal scientific techniques, this publication also offers an invaluable overview of the colorants used by the scribes and illuminators of a wide cross-section of late medieval manuscripts of English origin or provenance.

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  Born Guilty

  Peter Sichrovsky, Ari Roth

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  Based on  Peter Sichrovsky’s book of the same name, Born Guilty is a moving and elegiac play about one man's journey into the hearts of children raised by Nazi parents. As Peter, a Jewish journalist, digs into the past, he faces psychological barriers that threaten to bury the truth forever.An L.A. Theatre Works full-cast performance featuring Lawrence Grimm, Cammy Kelly, Sam Munoz, Jeremy Piven, Christian Stolte, Becky Wahlstrom, Kate Walsh, Deirdre Waters and Fred Wellisch.

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  Constable

  Barry Venning

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  John Constable was the first English landscape painter to take no lessons from the Dutch. He is rather indebted to the landscapes of Rubens, but his real model was Gainsborough, whose landscapes, with great trees planted in well-balanced masses on land sloping upwards towards the frame, have a rhythm often found in Rubens. Constable’s originality does not lie in his choice of subjects, which frequently repeated themes beloved by Gainsborough. Nevertheless, Constable seems to belong to a new century; he ushered in a new era. The difference in his approach results both from technique and feeling. Excepting the French, Constable was the first landscape painter to consider as a primary and essential task the sketch made direct from nature at a single sitting; an idea which contains in essence the destinies of modern landscape, and perhaps of most modern painting. It is this momentary impression of all things which will be the soul of the future work. Working at leisure upon the large canvas, an artist’s aim is to enrich and complete the sketch while retaining its pristine freshness. These are the two processes to which Constable devoted himself, while discovering the exuberant abundance of life in the simplest of country places. He had the palette of a creative colourist and a technique of vivid hatchings heralding that of the French impressionists. He audaciously and frankly introduced green into painting, the green of lush meadows, the green of summer foliage, all the greens which, until then, painters had refused to see except through bluish, yellow, or more often brown spectacles. Of the great landscape painters who occupied so important a place in nineteenth-century art, Corot was probably the only one to escape the influence of Constable. All the others are more or less direct descendants of the master of East Bergholt.

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