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Apter, Seth: The pulse of mixed media : secrets and passions of 100 artists revealed. North Light Books, Cincinatti, 2012, 143 oldal
ISBN: 978 1 4403 1070 6

“The Pulse of Mixed Media is all about community. Our community. The thing is, 144 pages is not nearly enough space to showcase and highlight all the creative people out there. And that just ain’t right. Our community is nothing if not inclusive. I want everybody to be part of The Pulse.” ~Seth Apter

Kaupelis, Robert: Experimental drawing. Watson-Guptill Publ., New York, 2010, 192 oldal
ISBN: 978 0 8230 1622 8

As with most art forms, it's best to comprehend traditional drawing techniques before you break the rules. But once you've mastered the basics, you may find that you gravitate to more abstract ways of rendering everything from still lifes to figures. However, this book is not only about avant-garde style; it is experimental in that it forces the artist out of his or her comfort zone, whatever that might be.

Davidson, Margaret: Contemporary drawing : key concepts and techniques. Watson-Guptill Publ., New York, 2011, 192 oldal
ISBN: 978 0 8230 3315 7

Drawing is experiencing an unparalleled surge in the art world. Passé notions that once defined drawing as being a preparatory stage for painting or sculpture have long since been cast aside. Drawing is now fully recognized as its own art form—in the biennials, art fairs, museum exhibitions, and beyond. Drawing has come of age. Contemporary artists are increasingly discovering that drawing is something unique and different from painting. It is an intense, sensitive, compelling, personal, and utterly direct art form, one with its own concepts, characteristics, and techniques. In addition, contemporary drawing is not governed by any particular imagery, but rather encompasses a variety of approaches, including realist, abstract, modernist, and post-modernist.

Charlotte Mullins: Painting people : Figure painting today. Distributed Art Publishers, New York, 2008, 192 oldal
ISBN: 978 1 933045 83 2

After a century in which the lexicon of artists' materials expanded from the classic oil, canvas, stone and plaster to include photography, film, performance, found objects and concepts, the spotlight has finally swung back. A new generation of artists--as well as some who never abandoned figurative painting in the first place--is relishing the solitary, slow, subtle set of processes involved in not just painting, but painting people. They are choosing paint's unique ability to distill a lifetime of events rather than photography's glimpse of a frozen moment. Painting People, edited by the prominent London art historian and critic Charlotte Mullins, unites and contrasts the work of a key group of artists from around the world, and investigates their richly varied accomplishments in lucid text with detailed commentaries, accompanied by more than 150 reproductions. The list of contributing artists is stellar, ranging from photo-based painters like Luc Tuymans, Peter Doig and Marlene Dumas to Pop artists like Sigmar Polke and Alex Katz, photorealists like Chuck Close and Gerhard Richter, Neoexpressionists like Cecily Brown, and comics-inspired painters like Yoshitomo Nara, Inka Essenhigh and Takashi Murakami. There are erotic grotesques from John Currin and Lisa Yuskavage, meditations on the muse by Elizabeth Peyton and Lucian Freud, "Repro-realistic" work from Neo Rauch and of course self-portraits by Philip Akkerman and Marcel Dzama, among others.