Richard Taylor – författare

A comprehensive and practical guide full of advice and inspiration for anyone wishing to capture the beauty of the urban landscape.The wonderful thing about drawing buildings is that, wherever you travel around the globe, you will never be short of subjects to inspire you. From the most elaborate of Renaissance cathedrals, through to the humble garden shed, you will always be able to practise your skills and learn a few techniques in the process.This hands-on and inspirational book will encourage you to meet the exciting challenges of drawing and painting buildings using a variety of media and a wide range of techniques, including pencil, pen, graphite powder, watercolour, water-soluble pencils and Indian ink. As you work through this book, you will look at materials and their qualities then move on to explore how to put these materials to best use when drawing specific types of building. You will be led gently through levels of learning, with easy and more challenging exercises progressing your knowledge and developing your skills.As the book is divided into discrete sections, you can dip in to a particular type of building that you wish to draw, and use the information and illustration provided, while extended teaching exercises take you through the way the author approaches composing and completing a drawing. Fully annotated paintings, working drawings and extended projects reveal how each effect was achieved.Detailed artworks in a range of styles and media are thoroughly annotated to demonstrate key techniques and important details and there are invaluable exercises for understanding perspective, negative and positive space, tone, choosing details and constructing large-scale images.The book includes thorough studies of a wide range of different architectural styles, from town houses to rural cottages and barns, from churches and classical architecture to continental cafes and street scenes. Taylor's exquisite drawings and paintings demonstrate the quality of the results that can be achieved by following his helpful guidance and advice.

A brilliant new manual of practical techniques for the urban landscape watercolor artistJoin watercolor artist Richard Taylor on an inspirational journey through the essentials of painting urban landscapes.With over 200 featured examples, learn how to paint everything from soaring towers to rusty keyholes, following clear visuals and practical guidance.introductory section provides expert insight and guidance on materials, perspective, paint effects, light, and shadearranged by urban location and then by type of feature for quick reference in the field or home studioprovides step-by-step techniques to capture the majesty, charm, or granular detail of a chosen subject: from paving cracks to rusted street signslearn how to achieve a greater sense of shape, texture and form in your paintingsfeatures stunning artwork from expert artist, author, and tutor Richard TaylorWhether you’re a beginner or building your skills, this essential reference guide provides the tools to bring your cityscapes to life.Take a whirlwind tour and explore greater range and depth in your art: from the soaring towers of New York City to the vibrant street life of London.

'[a] gem of a book' SpectatorChurches and cathedrals were originally built to be read. They are alive with images and symbols. But today few people, including regular visitors, truly understand the wealth of meaning in what they find there.How to Read a Church is a fascinating guide for anybody who wants to know more about what they see in a church or cathedral. It explains the significance of church layout, the symbolism of key scenes and the importance of details such as the use of colours and letters. It is an essential guide to the history, meanings and messages of these beautiful buildings and the treasures they contain.

Publisher's Note: Products purchased from Third Party sellers are not guaranteed by the publisher for quality,  authenticity, or access to any online entitlements included with the product.The fourth edition of the perennial best-seller. Fully updated, with everything the private pilot needs to know about flying IFR, such as handling emergencies, filing flight plans, understanding IFR communications, navigating, and flying more efficiently. Polish and improve your instrument-flight skills with the proficiency exercises. Glossary of aviation terms included.

Master investments with "Schaum's" - the high-performance study guide. It will help you cut study time, hone problem-solving skills, and achieve your personal best on exams! Students love "Schaum's Outlines" because they produce results. Each year, hundreds of thousands of students improve their test scores and final grades with these indispensable study guides. Get the edge on your classmates. Use "Schaum's"!If you don't have a lot of time but want to excel in class, this book helps you: brush up before tests; find answers fast; study quickly and more effectively; get the big picture without poring over lengthy textbooks. Inside, you will find: 396 solved problems, including step-by-step solutions; hundreds of additional practice problems, with answers supplied; clear explanations of all major topics covered in investment courses, including common stock valuation, portfolio analysis, and international investing; easy-to-understand coverage of put and call options, futures, arbitrage pricing theory. The content is organized for compatibility with college and university investment courses.If you want top grades and thorough understanding of investments, this powerful study tool is the best tutor you can have!

The nuclear disarmament movement of the late '50s and early '60s was one of the largest and arguably one of the most significant, extra-parliamentary movements ever seen in modern Britain. A whole new style and conception of politics was born through this first anti-nuclear movement, and the subsequent radicalism of the '60s and '70s has its roots here.The movement was extraordinarily diverse and rich in its constituencies of support and complex in its ideological make-up. Thus anarchists, communists, and Trotskyists rubbed shoulders with Christians, liberals, members of the Labour party, and 'ordinary apolitical people', most of whom found in the movement a means by which they could articulate their growing fear and anxiety about the seemingly inexorable arms race, and the horror of nuclear war.Dr Taylor analyses the perceptions of these groups in detail and explains how and why they differed. This is the first comprehensive study of the movement to make use of a wide range of contemporary material, and the first to present in detail the previously unrecorded views and analyses of more than twenty of the leading figures of the movement some twenty-five years on. Although he provides a wealth of historical detail, Dr Taylor's approach is primarily political and analytical, and his examination of this first mass movement of its kind will be relevant to all those concerned about nuclear proliferation, as well as to courses in politics, sociology, modern history and peace studies.

A considered balance of depth, detail, context, and critique, Contract Law Directions offers the most student-friendly guide to the subject; empowering students to evaluate the law, understand its practical application, and approach assessments with confidence. Key Features:- Gain a complete understanding of the topic: Contract Law Directions won't overload or leave students short, just the right amount of detail conveyed clearly- Understand the law in context: with scene-setting introductions and highlighted case extracts, the practical importance of the law becomes clear- Identify when and how to critically evaluate the law: students will be introduced to the key areas of debate and given the confidence to question the law- Deepen and test knowledge: visually engaging learning and self-testing features aid understanding and help students tackle assessments with confidence- Elevate learning: with the ground-work in place, students can aspire to take their learning to the next level; the authors provide direction on how to go furtherNew to this edition:- This edition has been fully revised and incorporates a number of new cases mostly at Supreme Court level, including the following: Guest v Guest (Supreme Court) (estoppel), Barton v Morris (Supreme Court) (implied terms), Tesco v USDAW (Supreme Court) (implied terms, specific performance), Patarkatsishvili v Woodward-Fisher (HC) (misrepresentation), Law Debenture Trust v Ukraine (Supreme Court) (duress), Nature Resorts v First Citizens Bank (Privy Council) (undue influence), Waller-Edwards v One Savings Bank (Supreme Court) (undue influence), SSHD v Public and Commercial Services Union (Supreme Court) (privity).- Aficionados of car parking regulations continue to be catered for, in the exclusion clauses chapter, by reference to the progress, or lack of it, of the draft codes issued under the Parking (Code of Practice) Act 2019.The tenth edition is available for students and institutions to purchase in a variety of formats: the e-book and Law Trove offer a mobile experience and convenient access along with self-test questions, guidance to end-of-chapter questions, functionality tools, navigation features, and links that offer extra learning support. For more information about e-books, please visit www.oxfordtextbooks.co.uk/ebooks

This book analyses, explains, and evaluates the Government's flagship criminal justice legislation, the Criminal Justice Act 2003. It provides an accessible commentary on the wide ranging and complex changes introduced by the Act, which will leave few areas of the criminal justice system untouched. The Act starts with changes to police powers, bail, cautioning, and pre-trial disclosure, and moves on to the abolition of committal proceedings and the introduction of the possibility of trials on indictment without juries. It then goes on to provide for prosecution appeals and a broad range of offences where a trial following acquittal can exceptionally be allowed. The rules on evidence are significantly reformed providing firstly, a much wider basis on which evidence of bad character (including previous convictions) can be admitted, and secondly, for the admissibility of hearsay 'where it is not contrary to the interests of justice' to admit it. The Act also provides a major restatement and reform of the sentencing framework and the provisions for release on licence, and abolishes most of the categories of exemption from the duty to perform jury service.Anyone working in the Criminal Justice System or interested in its operation will welcome this guide, which provides invaluable insights into the purposes of the Act and a detailed explanation of its provisions. The book also includes the full text of the Act.

Early Cinema in Russia chronicles one of the great lost periods in cinema history, that of Pre-Revolutionary Russia. In contrast to standard film histories, Yuri Tsivian focuses on reflected images: it features the historical film-goer and early writings on film as well as examining the physical elements of cinematic performance. "Tsivian casts a probing beam of illumination into some of the most obscure areas of film history. And the terrain he lights up with his careful assembly and insightful reading of the records of early film viewing in Russia not only changes our sense of the history of this period but also ...causes us to re-evaluate some of our most basic theoretical and historical assumptions about what a film is and how it affects its audiences."--Tom Gunning, from the Foreword "Early Cinema in Russia ...reveals Tsivian's strengths very well and demonstrates why he is ...the finest film historian of his generation in the former Soviet Union."--Denise Y. Youngblood, Historical Journal of Film, Radio, and Television "A work of fundamental importance."--Julian Graffy, Recent Studies of Russian and Soviet Cinema

In Eisenstein Rediscovered Ian Christie and Richard Taylor present the first true East-West symposium on Eisenstein with an unparalleled diversity of views and methodologies. Two newly discovered texts by Eisenstein are here translated fro the first time, and all the contributors make extensive use of material only recently available - variant scripts, drawings, diaries and other writings - to probe behind the familiar facade. The `new' Eisenstein that emerges is in all respects a more engaging and contemporary figure than is traditionally perceived, his wit, eroticism and exlectic passions defining a distinctively modern sensibility whose rediscovey is long overdue.

This is the first collection to be inspired and informed by the new films and archival material that glasnost and perestroika have revealed, and the new methodological approaches that are developing in tandem. Film critics and historians from Britain, America, France and the USSR attempt the vital task of scrutinising Soviet film, and re-examining the Cold War assumptions of traditional historiography.Whereas most books on Soviet giants have glorified the directorial giants of the `golden age' of the 1920s, Inside the Film Factory also recognises the achievements of popular cinema from the pre-Revolutionary period through to the 1930s and beyond. It also evaluates the impact of Western cinema on the early experimenters of montage, Russian science fiction's influence on film-making, and the long-suppressed history of Soviet Yiddish productions. Alongside the new perspectives and source material on the much-mythologised figures of Kuleshov and Medvedkin, the book provides the first extended accounts in English of the important but neglected careers of directors Yakov Protazanov and Boris Barnet.

The Film Factory provides a comprehensive documentary history of Russian and Soviet cinema. It provokes a major reassessment of conventional Western understanding of Soviet cinema. Based on extensive research and in original translation, the documents selected illustrate both the aesthetic and political development of Russian and Soviet cinema, from its beginnings as a fairground novelty in 1896 to its emergence as a mass medium of entertainment and propaganda on the eve of World War II.

Stalinism and Soviet Cinema marks the first attempt to confront systematically the role and influence of Stalin and Stalinism in the history and development of Soviet cinema.The collection provides comprehensive coverage of the antecedents, role and consequences of Stalinism and Soviet cinema, how Stalinism emerged, what the relationship was between the political leadership, the cinema administrators, the film-makers and their films and audiences, and how Soviet cinema is coming to terms with the disintegration of established structures and mythologies.Contributors from Britain, America and the Soviet Union address themselves to the importance of the Stalinist legacy, not only to the history of Soviet cinema but to Soviet history as a whole.

This is the first collection to be inspired and informed by the new films and archival material that glasnost and perestroika have revealed, and the new methodological approaches that are developing in tandem. Film critics and historians from Britain, America, France and the USSR attempt the vital task of scrutinising Soviet film, and re-examining the Cold War assumptions of traditional historiography.Whereas most books on Soviet giants have glorified the directorial giants of the `golden age' of the 1920s, Inside the Film Factory also recognises the achievements of popular cinema from the pre-Revolutionary period through to the 1930s and beyond. It also evaluates the impact of Western cinema on the early experimenters of montage, Russian science fiction's influence on film-making, and the long-suppressed history of Soviet Yiddish productions. Alongside the new perspectives and source material on the much-mythologised figures of Kuleshov and Medvedkin, the book provides the first extended accounts in English of the important but neglected careers of directors Yakov Protazanov and Boris Barnet.

Europe has changed radically since 1989 and continues to change at great speed. This book deals with the principle problems and challenges confronting Europe in the aftermath of the Cold War and the collapse of European communism.Whilst endeavouring to strike a balance between East, West, North and South, the volume is more concerned with the changing political, economic and cultural morphology of Europe, and of the relations within it, than with the formal institutional arrangements of the European Community and its successor, the European Union. There are already numerous books on the institutional development of the EU, but relatively few with a wider compass and institutional interpretations of European integration.The book shows that the study of European integration should be taken in the round, avoiding a narrow and self-centered concern with the development of the 'lesser Europe' of the EU. It demonstrates that integration should be seen as neither an inexorable predetermined process, nor as an automatic consequence of high levels of economic interdependence, but rather as something that proceeds in fits and starts and sometimes suffers reverses.

Europe has changed radically since 1989 and continues to change at great speed. This book deals with the principle problems and challenges confronting Europe in the aftermath of the Cold War and the collapse of European communism.Whilst endeavouring to strike a balance between East, West, North and South, the volume is more concerned with the changing political, economic and cultural morphology of Europe, and of the relations within it, than with the formal institutional arrangements of the European Community and its successor, the European Union. There are already numerous books on the institutional development of the EU, but relatively few with a wider compass and institutional interpretations of European integration.The book shows that the study of European integration should be taken in the round, avoiding a narrow and self-centered concern with the development of the 'lesser Europe' of the EU. It demonstrates that integration should be seen as neither an inexorable predetermined process, nor as an automatic consequence of high levels of economic interdependence, but rather as something that proceeds in fits and starts and sometimes suffers reverses.

Stalinism and Soviet Cinema marks the first attempt to confront systematically the role and influence of Stalin and Stalinism in the history and development of Soviet cinema.The collection provides comprehensive coverage of the antecedents, role and consequences of Stalinism and Soviet cinema, how Stalinism emerged, what the relationship was between the political leadership, the cinema administrators, the film-makers and their films and audiences, and how Soviet cinema is coming to terms with the disintegration of established structures and mythologies.Contributors from Britain, America and the Soviet Union address themselves to the importance of the Stalinist legacy, not only to the history of Soviet cinema but to Soviet history as a whole.

This book has two purposes: first to argue that there is a greater need now than ever before for liberal adult education for the working class. Such provision would both help to ameliorate the gross inequalities of our society and provide some counter-balance to the increasingly utilitarian and vocational orientation of post-school education. Secondly, the book aims to describe and analyse in some detail the community-based programme for various ‘disadvantaged’ working class groups that has been developed by a British Pioneer Work team concerned with adult continuing education. The methods, objectives and overall practice described in this case study are of relevance to those working in all sectors of adult and community education. This book is edited by two members of staff concerned with Pioneer Work development from the outset, and the contributors include other members of the Pioneer Work team of lecturers and researchers.

This book examines the development of cinematic form and culture in Russia, from its late nineteenth-century beginnings as a fairground attraction to the early post-Revolutionary years.The author traces the changing perceptions of cinema and its social transition from a modernist invention to a national art form. He explores reactions to the earliest films from actors, novelists, poets, writers and journalists. His richly detailed study of the physical elements of cinematic performance includes the architecture and illumination of the cinema foyer, the speed of projection and film acoustics.In contrast to standard film histories, this book focuses on reflected images: rather than discussing films and film-makers, it features the historical film-goer and early writings on film. The book presents a vivid and changing picture of cinema culture in Russia in the twilight of the tsarist era and the first decades of the twentieth century. The study expands the whole context of reception studies and opens up questions about reception relevant to other national cinemas.

This book has two purposes: first to argue that there is a greater need now than ever before for liberal adult education for the working class. Such provision would both help to ameliorate the gross inequalities of our society and provide some counter-balance to the increasingly utilitarian and vocational orientation of post-school education. Secondly, the book aims to describe and analyse in some detail the community-based programme for various ‘disadvantaged’ working class groups that has been developed by a British Pioneer Work team concerned with adult continuing education. The methods, objectives and overall practice described in this case study are of relevance to those working in all sectors of adult and community education. This book is edited by two members of staff concerned with Pioneer Work development from the outset, and the contributors include other members of the Pioneer Work team of lecturers and researchers.

In Eisenstein Rediscovered Ian Christie and Richard Taylor present the first true East-West symposium on Eisenstein with an unparalleled diversity of views and methodologies. Two newly discovered texts by Eisenstein are here translated fro the first time, and all the contributors make extensive use of material only recently available - variant scripts, drawings, diaries and other writings - to probe behind the familiar facade. The `new' Eisenstein that emerges is in all respects a more engaging and contemporary figure than is traditionally perceived, his wit, eroticism and exlectic passions defining a distinctively modern sensibility whose rediscovey is long overdue.