This resourceful guide presents art therapy techniques for difficult clients where the typical therapist-client interaction can often be distant, demanding, and frustrating. Offering practical and theoretical information from a wide variety of treatment populations and diagnostic categories; and incorporating individual, group, and family therapy case studies, the text is filled with examples and over 150 illustrations taken from the author’s sixteen years of experience working with hundreds of clients. The author is a licensed Marriage and Family Therapist with a Master’s degree in Clinical Art Therapy. The text comes with an accompanying CD-ROM which includes full-color pictures and additional material not found in the book.

In Drawing the Line, Andrew Stark takes a fresh and provocative look at how Americans debate the border between the public realm and the private. The seemingly eternal struggle to establish the proper division of societal responsibilities—to draw the line—has been joined yet again. Obama administration initiatives, particularly bank bailouts and health care reform, roil anew the debate of just what government should do for its citizens, what exactly is the public sphere, and what should be left to individual responsibility. Are these arguments specific to isolated policy issues, or do they reveal something bigger about politics and society? The author realizes that the shorthand, "public vs. private" dichotomy is overly simplistic. Something more subtle and complex is going on, Stark reveals, and he offers a deeper, more politically helpful way to view these conflicts. Stark interviewed hundreds of policymakers and advocates, and here he weaves those insights into his own counterintuitive view and innovative approach to explain how citizens at the grass-roots level divide policy debates between public and private responsibilities—specifically on education, land use and "public space," welfare, and health care. In doing so, Drawing the Line provides striking lessons for anyone trying to build new and effective policy coalitions on Main Street. "All of these debates... are typically portrayed as conflicts between one side championing the values of the public sphere... and the other those of the private realm.... [A] closer look shows that each side asserts and relies coequally on both sets of values... but applies them in inverse or opposing ways." —From the Introduction

This is the definitive guide for all aspects of scenic hand drafting for film and television, now comprehensively updated and revised for its second edition. Author, David McHenry, utilizes 45 years of experience as a Designer, Art Director, Storyboard Artist, and Draftsman to provide readers with an accessible step-by-step guide of professional techniques, tools, and workflows. Readers will discover how to draw the iconic scroll of a classical column or learn the difference between Flemish and English bond brickwork, as well as all four types of drafting projection in detail: isometric, oblique, orthographic, and axonometric. Also included is hard-to-find information on lens angles and their calculation for different screen aspect ratios, how to create a lens projection image of a set with a given lens, height, and aspect ratio, and how to create forced perspective. Beautifully illustrated with carefully crafted hand-drawn illustrations on every page, this thoroughly revised text has been updated to include new examples and exercises and a revised glossary, making it the ideal step-by-step guide to hand drafting for film and television. This is an essential resource for students of drafting for film and television, scenic design, and art direction courses. It will also hugely benefit professionals studying or working in film and television design.

Agnes MartinÕs (1912Ð2004) celebrated grid paintings are widely acknowledged as a touchstone of postwar American art and have influenced many contemporary artists. MartinÕs formative years, however, have been largely overlooked. In this revelatory study of MartinÕs early artistic production, Christina Bryan Rosenberger demonstrates that the rapidly evolving creative processes and pictorial solutions Martin developed between 1940 and 1967 define all her subsequent art. Beginning with MartinÕs initiation into artistic language at the University of New Mexico and concluding with the reception of her grid paintings in New York in the early 1960s, Rosenberger offers vivid descriptions of the networks of art, artists, and information that moved between New Mexico and the creative centers of New York and California in the postwar period. She also documents MartinÕs exchanges with artists including Ellsworth Kelly, Barnett Newman, Georgia OÕKeeffe, Ad Reinhardt, and Mark Rothko, among others. Rosenberger uses original analysis of MartinÕs art, as well as a rich array of archival materials, to situate MartinÕs art within the context of a dynamic historical moment. With a lively, innovative approach informed by art history and conservation, this fluidly written book makes a substantial contribution to the history of postwar American art.

Some of the most beloved characters in film and television inhabit two-dimensional worlds that spring from the fertile imaginations of talented animators. The movements, characterizations, and settings in the best animated films are as vivid as any live action film, and sometimes seem more alive than life itself. In this case, Hollywood’s marketing slogans are fitting; animated stories are frequently magical, leaving memories of happy endings in young and old alike. However, the fantasy lands animators create bear little resemblance to the conditions under which these artists work. Anonymous animators routinely toiled in dark, cramped working environments for long hours and low pay, especially at the emergence of the art form early in the twentieth century. In Drawing the Line, veteran animator Tom Sito chronicles the efforts of generations of working men and women artists who have struggled to create a stable standard of living that is as secure as the worlds their characters inhabit. The former president of America’s largest animation union, Sito offers a unique insider’s account of animators’ struggles with legendary studio kingpins such as Jack Warner and Walt Disney, and their more recent battles with Michael Eisner and other Hollywood players. Based on numerous archival documents, personal interviews, and his own experiences, Sito’s history of animation unions is both carefully analytical and deeply personal. Drawing the Line stands as a vital corrective to this field of Hollywood history and is an important look at the animation industry’s past, present, and future. Like most elements of the modern commercial media system, animation is rapidly being changed by the forces of globalization and technological innovation. Yet even as pixels replace pencils and bytes replace paints, the working relationship between employer and employee essentially remains the same. In Drawing the Line, Sito challenges the next wave of animators to heed the lessons of their predecessors by organizing and acting collectively to fight against the enormous pressures of the marketplace for their class interests—and for the betterment of their art form.

In an original contribution to the psychoanalytic approach to literature, Doreen Fowler focuses on the fiction of four major American writers—William Faulkner, Richard Wright, Flannery O'Connor, and Toni Morrison—to examine the father's function as a "border figure." Although the father has most commonly been interpreted as the figure who introduces opposition and exclusion to the child, Fowler finds in these literary depictions fathers who instead support the construction of a social identity by mediating between cultural oppositions. Fowler counters the widely accepted notion that boundaries are solely sites of exclusion and offers a new theoretical model of boundary construction. She argues that boundaries are mysterious, dangerous, in-between places where a balance of sameness and difference makes differentiation possible. In the fiction of these southern writers, father figures introduce a separate cultural identity by modeling this mix of relatedness and difference. Fathers intervene in the mother-child relationship, but the father is also closely related to both mother and child. This model of boundary formation as a balance of exclusion and relatedness suggests a way to join with others in an inclusive, multicultural community and still retain ethnic, racial, and gender differences. Fowler's model for the father's mediating role in initiating gender, race, and other social differences shows not only how psychoanalytic theory can be used to interpret fiction and cultural history but also how literature and history can reshape theory.

Argues that maps can be manipulated to distort the truth, and shows how they have been used for propaganda in international affairs, political districting, and finding toxic dump sites

Drawing the Line examines the ways in which cultural, political, and legal lines are imagined, drawn, crossed, erased, and redrawn in post-apartheid South Africa—through literary texts, artworks, and other forms of cultural production. Under the rubric of a philosophy of the limit, and with reference to a range of signifying acts and events, this book asks what it takes to recalibrate a sociopolitical scene, shifting perceptions of what counts and what matters, of what can be seen and heard, of what can be valued or regarded as meaningful. The book thus argues for an aesthetics of transitional justice and makes an appeal for a postapartheid aesthetic inquiry, as opposed to simply a political or a legal one. Each chapter brings a South African artwork, text, speech, building, or social encounter into conversation with debates in critical theory and continental philosophy, asking: What challenge do these South African acts of signification and resignification pose to current literary-philosophical debates?

In order to live a full and abundant life in alignment with our dreams and callings, we first need to become crystal clear on where we draw our boundary lines. But where and how do we draw the line? And how do we communicate clearly and lovingly to those around us where the line is and why it's important? With plenty of relatable stories from her life juggling multiple businesses and a full house, therapist and mindset coach Kate Crocco offers eight principles that will help you understand, create, and maintain healthy boundaries in order to find more peace, greater fulfillment, and less burnout. She shows you how to take back control from the whims of other people's opinions about what you should be doing so that you can align your time and priorities with God's highest calling for your life. Stop selling yourself short, waiting for permission, and looking to others for approval to begin living a life of purpose, passion, and personal peace.

Can we still watch Woody Allen's movies? Can we still laugh at Bill Cosby's jokes? Woody Allen, Kevin Spacey, Dave Chappelle, Louis C. K., J.K. Rowling, Michael Jackson, Roseanne Barr. Recent years have proven rife with revelations about the misdeeds, objectional views, and, in some instances, crimes of popular artists. Spurred in part by the #metoo movement, and given more access than ever thanks to social media and the internet in general, the public has turned an alert and critical eye upon the once-hidden lives of previously cherished entertainers. But what should we members of the public do, think, and feel in response to these artists' actions or statements? It's a predicament that many of us face: whether it's possible to disentangle the deeply unsettled feelings we have toward an artist from how we respond to the art they produced. As consumers of art, and especially as fans, we have a host of tricky moral question to navigate: do the moral lives of artists affect the aesthetic quality of their work? Is it morally permissible for us to engage with or enjoy that work? Should immoral artists and their work be canceled? Most of all, can we separate an artist from their art? In Drawing the Line, Erich Hatala Matthes employs the tools of philosophy to offer insight and clarity to the ethical questions that dog us. He argues that it doesn't matter whether we can separate the art from the artist, because we shouldn't. While some dismiss the lives of artists as if they are irrelevant to the artist's work, and others instrumentalize artwork, treating it as nothing more than a political tool, Matthes argues both that the lives of artists can play an important role in shaping our moral and aesthetic relationship to the artworks that we love and that these same artworks offer us powerful resources for grappling with the immorality of their creators. Rather than shunning art made by those who have been canceled, shamed, called out, or even arrested, we should engage with it all the more thoughtfully and learn from the complexity it forces us to confront. Recognizing the moral and aesthetic relationships between art and artist is crucial to determining when and where we should draw the line when good artists do bad things.