By examining the studios and studio-houses used by British artists between 1900 and 1940, this book reveals the ways in which artists used architecture - occupying and adapting Victorian studios and commissioning new ones. In doing so, it shows them coming to terms with the past, and inventing different modes of being modern, collaborating with architects and influencing the modernist style. In its scrutiny of the physical surroundings of artistic life during this period, the book sheds insight into how the studio environment articulated personal values, artistic affinities and professional aspirations. Not only does it consider the studio in terms of architectural design, but also in the light of the artist's work and life in the studio, and the market for contemporary art. By showing how artists navigated the volatile market for contemporary art during a troubled time, the book provides a new perspective on British art.

“Roll-up-your-sleeves advice on throwing pottery, growing dahlias, cooking her tried-and-true recipes, and everything in between.” —Martha Stewart Living “Suited to any type of creative, offering up lessons on inspiration and creativity that are sure to bring out your inner talent.” —House Beautiful, Best New Design Books What makes a creative life? For an artist like Frances Palmer, it’s knitting all of one’s passions—all of one’s creativity—into the whole of life. And what an inspiration it is. A renowned potter, an entrepreneur, a gardener, a photographer, a cook, a beekeeper, Palmer has over the course of three decades caught the attention not only of the countless people who collect and use her ceramics but also of designers and design lovers, writers, and fellow artists who marvel at her example. Now, in her first book, she finally tells her story, in her own words and images, distilling from her experiences lessons that will inspire a new generation of makers and entrepreneurs. Life in the Studio is as beautiful and unexpected as Palmer’s pottery, as breathtakingly colorful as her celebrated dahlias, as intimate as the dinners she hosts in her studio for friends and family. There are insights into making pots—the importance of centering, the discovery that clay has a memory. Strategies for how to turn a passion into a business—the value to be found in collaboration, what it means to persevere, how to develop and stick to a routine that will sustain both enthusiasm and productivity. There are also step-by-step instructions (for throwing her beloved Sabine pot, growing dahlias, building an opulent flower arrangement). Even some of her most tried-and-true recipes. The result is a portrait of a unique artist and a singularly generous manual on how to live a creative life.

YOUR ABLETON LIVE STUDIO will show you step-by-step how to use Ableton Live as the central component of your home-based audio-production studio. What's more, YOUR ABLETON LIVE STUDIO will help you create a mobile-based studio so you can take your music to the people. You'll discover what you need to do and buy to create your Ableton Live studio in both scenarios. Once you have your studio's computer in place, you've chosen the version of Live you want, and you've decided which audio interface will do your bidding, it's time to fill in the rest of the essential hardware. You'll look deeply into what kind of speakers you'll use to listen to your productions as well as what headphones you should have. You'll also learn about microphones, MIDI controllers, and the many little things that play a huge role such as cables, adapters, and much more. After your physical studio is set up, this book teaches you how to use Ableton Live to make and record music. Everything is covered, including Live's interface from top to bottom, MIDI, assembling and launching clips, audio manipulation, editing, and mixing, Live's built-in devices, automation, creating arrangements, exporting your production, ReWire, Max for Live, and much, much more. You'll even learn to set up a mobile studio and how to optimize Live and your computer for live performance.

Although established over a hundred years ago, Hollywood movie studios still present themselves with a utilitarian modesty despite the star-spangled hype of their publicity machines. For employees, studio life offers a straightforward existence that overflows with all the tangible qualities of small-town America. Bicycles float cheerful worker bees to the mill and mailroom. At noon, carpenters and secretaries unite in the commissary where table-hopping percolates between studio hairdressers and studio brass. In a volume of personal essays and photographs, Rob Easterla details his ascent from nowhere to somebody in the Hollywood landscape as he clawed his way to the middle while crossing paths with celebrities such as James Spader, Debbie Reynolds, and Julie Andrews. While leading others into the trenches at Paramount Pictures, NBC, and Twentieth Century Fox, Easterla reveals the magic and horror of studio life from 1980 to 2011 as he labored within a world where normal rules did not apply and thick-skinned, fearless studio folk upheld a “can-do” attitude, even during the most challenging times. Through it all, Easterla reminds us that making movies is a singular art form that recruits only the most passionate, eager dreamers to participate in the process. Studio Life is a volume of personal essays that reveal a man’s escapades as he galloped onto a Paramount Pictures lot in the 1980s and began an unforgettable adventure.

In the last years of his life Paul Cézanne produced a stunning series of watercolors, many of them sill lifes. Still Life with Blue Pot is one of these late masterpieces that is now in the collection of the Getty Museum. In Cézanne in the Study: Still Life in Watercolors, Carol Armstrong places this great painting within the context of Cezanne’s artistic and psychological development and of the history of the genre of still life in France. Still life—like the medium of watercolor—was traditionally considered to be “low” in the hierarchy of French academic paintings. Cézanne chose to ignore this hierarchy, creating monumental still-life watercolors that contained echoes of grand landscapes and even historical paintings in the manner of Poussin—the “highest” of classical art forms. In so doing he changed his still lifes with new meanings, both in terms of his own notoriously difficult personality and in the way he used the genre to explore the very process of looking at, and creating, art. Carol Armstrong’s study is a fascinating exploration of the brilliant watercolor paintings that brought Cézanne’s career to a complex, and triumphant, conclusion, The book includes new photographic studies of the Getty’s painting that allow the reader to encounter this great watercolor as never before, in all of its richness and detail.

It's a rare graphic designer who hasn't contemplated setting up his or her own studio. It's part of a designer's DNA to want to own and run a studio. Many do, while others spend a lifetime wondering if they should. But where does the ambitious designer go for advice and guidance? Who better than the founders of some of the best design studios in the world? Tony Brook and Adrian Shaughnessy conduct penetrating interviews with a group of visionary graphic designers who have formed and run landmark international design studios. In a series of candid and revealing interviews, manyof the leading figures in contemporary graphic design reveal the secrets behind creating a vibrant studio culture.

Inside an art gallery, it is easy to forget that the paintings there are the end products of a process involving not only creative inspiration, but also plenty of physical and logistical details. It is these "cruder," more mundane aspects of a painter's daily routine that motivated Brooklyn artist Joe Fig to embark almost ten years ago on a highly unorthodox, multilayered exploration of the working life of the professional artist. Determined to ground his research in the physical world, Fig began constructing a series of diorama-like miniature reproductions of the studios of modern art's most legendary painters, such as Jackson Pollock and Willem de Kooning. A desire for firsthand references led Fig to approach contemporary artists for access to their studios. Armed with a camera and a self-made "Artist's Questionnaire," Fig began a journey through the workspaces of some of today's most exciting contemporary artists.

Perweiler uses to demonstrate his professional techniques. Perweiler explains in detail the innovative methods and strikingly graphic arragements that make his work so widely admired by art directors and other photographers, and his examples include outstanding photographs of food, cosmetics, jewelry, and other small products.

The legendary singer reflects on his career, the recurring themes in his life, and the inspiration that shapes his music and his art, in a musical memoir enhanced by reproductions of his own artwork and a CD containing some of the author's favorite songs.