Crimson Dragon Publishing carries books that encourage readers of all ages by sparking the imagination. While we focus on the fantasy and science fiction genres, we also carry illustrated books for young readers that focus on social-emotional skills development and fictionalized non-fiction.
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Editorial Drakul is an independent, privately owned company, founded in June 2006 and dedicated mainly to the publication of novels and comics, but also children's literature.
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Can drawing — sound, honest representation of the world as the eye sees it, not tricks with the pencil or a few "effects" — be learned from a book? One of the most gifted draftsmen, who is also one of the greatest art critics and theorists of all time, answers that question with a decided "Yes." He is John Ruskin, the author of this book, a classic in art education as well as a highly effective text for the student and amateur today. The work is in three parts, cast in the form of letters to a student, successively covering "First Practice," "Sketching from Nature," and "Colour and Composition." Starting with the bare fundamentals (what kind of drawing pen to buy; shading a square evenly), and using the extremely practical method of exercises which the student performs from the very first, Ruskin instructs, advises, guides, counsels, and anticipates problems with sensitivity. The exercises become more difficult, developing greater and greater skills until Ruskin feels his reader is ready for watercolors and finally composition, which he treats in detail as to the laws of principality, repetition, continuity, curvature, radiation, contrast, interchange, consistency, and harmony. All along the way, Ruskin explains, in plain, clear language, the artistic and craftsmanlike reasons behind his practical advice — underlying which, of course, is Ruskin's brilliant philosophy of honest, naturally observed art which has so much affected our aesthetic. Three full-page plates and 48 woodcuts and diagrams (the latter from drawings by the author) show the student what the text describes. An appendix devotes many pages to the art works which may be studied with profit.
'Realist film theory and cinema' embraces studies of cinematic realism and 19th century tradition, the realist film theories of Lukács, Grierson, Bazin and Kracauer, and the relationship of realist film theory to the general field of film theory and philosophy. This is the first book to attempt a rigorous and systematic application of realist film theory to the analysis of particular films. The book suggests new ways forward for a new series of studies in cinematic realism, and for a new form of film theory based on realism. It stresses the importance of the question of realism both in film studies and in contemporary life. Aitken's work will be of interest to scholars and advanced students of film studies, literary studies, media studies, cultural studies and philosophy.
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This is a very realistic original picture book. The author turns his attention to the northwest of China, where strong winds and sands dominate the sky, and tells a touching story that depicts the scene that "when the sand advances, humans retreat; when humans advance, the sand retreats." The hero of the book is a boy called Shawa, who is good friends with the magpies on a white poplar. He has been curious about the magpies' nest and wanted to know what it looks like inside, but he has never had a chance. Finally, his curiosity is satisfied after the white poplar is destroyed by a sandstorm and then falls. Surprisingly, there is water, the source of life, inside the nest where magpies fly away and their eggs are broken. Nature gives Shawa a life lesson with its double face of tenderness and grimness. The book, with its concise and powerful narrative and liberal painting style, integrates paintings with texts, in which the scenery of the northwest, the mighty power of nature, and the simplicity and warmth of personal relationships have all been vividly expressed. It makes readers consider the relationship between humanity and nature from a small but large perspective: humans are both small and great in a harsh natural environment. Only by respecting nature and learning to live in harmony with nature can we have a peaceful and happy life. This book is a beautiful hymn to nature and humanity.
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Mazen, a young boy, is one day surprised by their neighbor Bassam shouting with anger in the street “My parking spot is a red line!” Does this mean he plans to paint the street red, asks Mazen to his mother? The mother explains to Mazen that what Bassam means is simply that no one is to park in his place. The notion is still vague to Mazen: Why red? Does it have anything to do with red traffic lights? The mother tries again “When something is a red line, it means that it is off limits to others”. In this illustrated album, Samar Barraj boldly addresses the delicate issue of child sexual abuse. Acknowledging the complexity of the boundary it tackles, the book determines it through examples the mother and child raise in their conversation. Mazen’s spontaneous remarks and comments point out the difficulty of defining this red line, and make of the book a realistic example of such a conversation. The illustrations develop the notion further, by representing situations in which the red line might be crossed – one may be on his bicycle, at his computer, or approached by a respectable-looking old man in the street. The body parts are not named, but are represented in a naïve drawing Mazen made, though the text insists on the importance of preserving the body as a whole. The colorful images and constant presence of the mother and parents make of the book a reassuring experience despite the gravity of the topic.
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What if your drawings magically came to life, only to prove rather demanding art critics? Oh, the hassle! In The Chalk Giraffe we follow an artistic child who finds herself drawing a giraffe with chalk… but she is surprised when her creation comes alive and demands changes to his surrounding landscape. What follows is a quirky and humorous tale of creativity and perspective, with the beautiful African landscape as a backdrop to this new and unlikely friendship.
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A crisis does not make a disease. It only becomes dangerous when we get stuck – in the ways of thinking and acting that are rooted in our fears and desires, but not in reality. That way, we wear ourselves out for nothing; exhaustion and frustration increase, and may even end in depression. This book sheds a light on ten main stress situations that may be the reason for depression. It goes far beyond the usual explanations of the symptoms of depression or individual stories, and is a treasure trove for people who want to understand what has caused them to wear themselves out mentally and how they can lift themselves out of this low.
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Marie Duval: maverick Victorian cartoonist offers the first critical appraisal of the work of Marie Duval (Isabelle Émilie de Tessier, 1847-1890), one of the most unusual, pioneering and visionary cartoonists of the later nineteenth century. It discusses key themes and practices of Duval's vision and production, relative to the wider historic social, cultural and economic environments in which her work was made, distributed and read, identifing Duval as an exemplary radical practitioner. The book interrogates the relationships between the practices and the forms of print, story-telling, drawing and stage performance. It focuses on the creation of new types of cultural work by women and highlights the style of Duval's drawings relative to both the visual conventions of theatre production and the significance of the visualisation of amateurism and vulgarity. Marie Duval: maverick Victorian cartoonist establishes Duval as a unique but exemplary figure in a transformational period of the nineteenth century.
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Tiwo always follows what her sister Tiwi does. One day, Tiwi is drawing, and Tiwo wants to do it, too. Tiwo looks at the wall in his house. It's white and spacious. He starts to make scribbles all over the wall. When mama finds out, she gets angry. What will Tiwo do?
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Transforming Travel combines stories from leading companies, interviews with pioneers and thinkers, along with thorough analysis of the industry's potential to make lasting, positive change. - A unique collection of case studies and stories of the most successful, inspirational, impactful and innovative travel businesses in the world. - A vital presentation of the latest research and statistics on the positive impacts and potential of transformative, sustainable tourism, - A positive and realistic vision of the scope of tourism to promote sustainable development at a time when travel and interaction with foreign cultures is facing numerous existential challenges. Written in a highly engaging style Transforming Travel presents an urgent argument for transforming tourism so it might reach its potential to promote tolerance, restore communities and regenerate habitats, while providing a vital guide for anyone looking to develop the successful sustainable tourism enterprises and destinations needed to do so.
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This is the first book-length study of the most prolific and most critically acclaimed director working in British cinema today. Michael Winterbottom has also established himself, and his company, Revolution Films, as a dynamic force in world cinema. No other British director can claim such an impressive body of work in such a variety of genres, from road movie to literary adaptation, from musical to sex film, to stories of contemporary political significance. The authors of this book use a range of critical approaches to analyse the filmmaker's eclectic interests in cinema and the world at large. With this in mind, the realist elements of such films as Welcome to Sarajevo are examined in the light of a long history of cinema's dealings with realism, as far back as post-war Italian neo-realist filmmaking; whereas Jude and The claim are approached as both literary adaptations (a continuing strand in British cinema history) and examples of other reworked genres (the road movie, the western). This lively study of his work, written in a wholly accessible style, will engage all those who have followed his career as well as those with a wide-ranging interest in British cinema.
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