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Learn how to paint digitally in Adobe Photoshop; the key professional software for illustrators, video game artists, and the CG industry. Inside Digital Painting in Photoshop: Industry Techniques for Beginners is everything the budding digital painter needs to know about the customizable Photoshop interface, its efficient tools, essential painting brushes, and complex layers and masks. Explore the endless possibilities of digital painting through three highly detailed step-by-step tutorials which look intricately at key processes and techniques. Discover how to subtly integrate photo textures, create custom brushes, and generate impressive effects to develop your own incredible artworks. Digital Painting in Photoshop: Industry Techniques for Beginners is an essential guide for beginners, students, and those who want to learn more about how to harness the significant power of Photoshop as a painting tool.

Through the analysis of some particularly significant examples, the article analyses the use of photomontage within the fascist magazine La Difesa della razza between 1938 and 1942: starting with the well-known first cover, which later became the logo of the periodical and blends together anti-Semitism and anti-black racism; up to some later images denigrating Africans, which also open up a reflection on the instrumental use of prints and works of art from the early modern era in racist polemic; and then ending with the anti-Semitic polemic during the Second World War and the question of the circulation of visual stereotypes in different fields and newspapers. As is evident from the examples examined, this cut-and-paste technique of assembling images and texts offered a way of disassembling, reassembling and manipulating heterogeneous sources, weaving them into a new texture: a modern language mobilised to engage the viewer through violent visual propaganda.

Contains images by Michele Abeles, Takaaki Akaishi, Lotta Antonsson, Walead Beshty, Lucas Blalock,Andrey Bogush, Brian Bress, Bianca Brunner, Stefan Burger, Antoine Catala, Phil Chang, Talia Chetrit, Joshua Citarella, Sara Cwynar, Bryan Dooley, Jessica Eaton, Shannon Ebner, Marten Elder, Jason Evans,Sam Falls, Brendan Fowler, Victoria Fu,Daniel Gordon, Darren Harvey-Regan, Leslie Hewitt, Nancy de Holl, John Houck, Go Itami, Rachel de Joode, Farrah Karapetian, Matt Keegan, Annette Kelm, Soo Kim, Yuki Kimura, Josh Kline, Lucas Knipscher,Owen Kydd, Josh Kolbo, Taisuke Koyama,Nico Krebs and Taiyo Onorato, EladLassry, Brandon Lattu, John Lehr, Anthony Lepore, Alexandra Leykauf, Matt Lipps, Florian Maier-Aichen, Phillip Maisel, Annie MacDonell, Emmeline de Mooij, Carter Mull, Nerhol (Ryuta Iida and YoshihisaTanaka), Katja Novitskova, Arthur Ou, Matthew Porter, Timur Si-Qin, Eileen Quinlan, Jon Rafman, Sean Raspet, Clunie Reid, Abigail Reynolds, Will Rogan, Asha Schechter, Hugh Scott-Douglas, Shirana Shahbazi, Daniel Shea, Erin Shirreff, Elisa Sighicelli, Brea Souders, Kate Steciw, BatiaSuter, Yosuke Takeda, Miguel Angel Tornero,Sara VanDerBeek, Artie Vierkant, Anne deVries, Hannah Whitaker, Charlie White, Lindsey White, Chris Wiley, Letha Wilson, and Amir Zaki.

Color, an important visual cue for survival, is encoded by comparing signals from photoreceptors with different spectral sensitivities. The mouse retina expresses a short wavelength-sensitive and a middle/long wavelength-sensitive opsin (S- and M-opsin), forming opposing, overlapping gradients along the dorsal-ventral axis. Here, we analyzed the distribution of all cone types across the entire retina for two commonly used mouse strains. We found, unexpectedly, that ‘true S-cones’ (S-opsin only) are highly concentrated (up to 30% of cones) in ventral retina. Moreover, S-cone bipolar cells (SCBCs) are also skewed towards ventral retina, with wiring patterns matching the distribution of true S-cones. In addition, true S-cones in the ventral retina form clusters, which may augment synaptic input to SCBCs. Such a unique true S-cone and SCBC connecting pattern forms a basis for mouse color vision, likely reflecting evolutionary adaptation to enhance color coding for the upper visual field suitable for mice’s habitat and behavior. Many primates, including humans, can see color better than most other mammals. This difference is due to the variety of light-detecting proteins – called opsins – that are produced in the eye by cells known as cones. While humans have three, mice only have two different opsins, known as S and M, which detect blue/UV and green light, respectively. Mouse cones produce either S-opsins, M-opsins or both. Fewer than 10 percent of cone cells in mice produce just the S-opsin, and these cells are essential for color vision. Mice are commonly used in scientific research, and so their vision has been well studied. However, previous research has produced conflicting results. Some studies report that cone cells that contain only S-opsin are evenly spread out across the retina. Other evidence suggests that color vision in mice exists only for the upper field of their vision, in other words, that mice can only distinguish colors that appeared above them. Nadal-Nicolás et al. set out to understand how to reconcile these contrasting findings. Molecular tools were used to detect S- and M-opsin in the retina of mice and revealed large differences between the lower part, known as the ventral retina, and the upper part, known as the dorsal retina. The ventral retina detects light coming from above the animal, and about a third of cone cells in this region produced exclusively S-opsin, compared to only 1 percent of cones in the dorsal retina. These S-opsin cone cells in the ventral retina group into clusters, where they connect with a special type of nerve cells that transmit this signal. To better understand these findings, Nadal-Nicolás et al. also studied albino mice. Although albino mice have a different distribution of S-opsin protein in the retina, the cone cells producing only S-opsin are similarly clustered in the ventral retina. This suggests that the concentration of S-opsin cone cells in the ventral retina is an important feature in mouse sight. This new finding corrects the misconception that S-opsin-only cone cells are evenly spread throughout the retina and supports the previous evidence that mouse color vision is greatest in the upper part of their field of vision. Nadal-Nicolás et al. suggest this arrangement could help the mice to detect predators that may attack them from above during the daytime. Together, these new findings could help to improve the design of future studies involving vision in mice and potentially other similar species.

\"The leading Russian propaganda artist Aleksandr Zhitomirsky (1907-1993) made photomontages that were airdropped on German troops during World War II. He later worked for Pravda and other leading publications, satirizing American politics and finance from the Truman through the Reagan eras and educating his public about Egypt, South Africa, Vietnam, and Nicaragua as well. Zhitomirsky favored the grotesque and the eye-catching. His villainous menagerie included Reichsminister Joseph Goebbels as a distorted simian and an airborne scorpion outfitted with an Uncle Sam hat. In this comprehensive, image-driven account of Zhitomirsky's long career, Erika Wolf explores his connections to and long friendship with the German artist John Heartfield, whose work inspired his own. Wolf also examines more than 100 of Zhitomirsky's photomontages and translates excerpts from his one published book, The Art of Political Photomontage: Advice for the Artist (1983). In an era when satirical photomontage thrives on the Internet and propaganda has reasserted itself in America and Russia alike, this study of a once-prominent yet internationally undiscovered artist is more than timely\"-- Provided by publisher.