Drawing & Illustration - Free Art e-Books (a manual for the amateur, and basis of study for the professional artist: especially adapted to the use of public and private schools, as well as home instruction) by J.G. Chapman, ©1847;;; by Vernon Blake, ©1927 Available in a protected DAISY file only. It can only be opened on with a key issued by the Library of Congress:.. By John Ruskin, ©1920 'it may perhaps be thought, that in prefacing a Manual of Drawing, I ought to expatiate on the reasons why drawing should be learned; but those reasons appear to me so many and so weighty, that I cannot quickly state or enforce them.'

(unprotected) by Walter Crane, © 1914 '.OUTLINE, one might say, is the Alpha and Omega of Art. It is the earliest mode of expression among primitive peoples, as it is with the individual child, and it has been cultivated for its power of characterization and expression, and as an ultimate test of draughtsmanship, by the most accomplished artists of all time.' (41.9 M) (unprotected) by Charles Maginnis Seventh Edition 'Of the kindred arts which group themselves under the head of Painting, none is based on such broad conventions as that with which we are immediately concerned—the art of Pen Drawing.

In this medium, Nature's variety of color, when not positively ignored, is suggested by means of sharp black lines, of varying thickness, placed more or less closely together upon white paper; while natural form depends primarily for its representation upon arbitrary boundary lines.' (4.9MB) (8.9MB) by Arthur Leighton Guptill, © 1922 'AN ARTISTIC conception is susceptible of translation into graphic expression through a variety of media, but by a certain universality of custom, or perhaps more accurately of convenience, the familiar lead pencil has achieved a significance derived from its immediate association with all forms of pictorial delineation.' (29.2 MB) (unprotected) By Grant Wright, ©1904 'NOTHING distinguishes civilized from uncivilized man with as much emphasis as humor, and the various stages of civilization are marked by the character and amount of humor of each epoch.'

By De Resco Leo Augsburg, ©1901 'book I. A text book designed to teach drawing and color in the first, second and third grades. A text book of drawing designed for use in the fourth, fifth, sixth, seventh and eighth grades.--book III.

A text book designed to teach brush drawing, wash drawing, water colors, pen drawing. The human head and figure, chalk modeling, designing and constructive drawing in the fourth, fifth, sixth, seventh and eighth grades. Also the high schools' (unprotected) by De Resco Leo Augsburg, ©1912, ©1901 (8.0 M) (7.1 M) by De Resco Leo Augsburg, ©1910 By James Parton, ©1877 'There must be something precious in caricature, else the enemies of truth and freedom would not hate it as they do. Some of the worst excesses and perversions of satiric art.' , Light and Shade and Free-hand Perspective for the Use of Art Students and Teachers. By Anson Kent Cross, ©1892 'An artistic method is difficult to teach to students who have been taught an inartistic one, and the change will involve a struggle on the part of both pupil and teacher.'

Visit the Macmillan English website, link opens in new window Onestopenglish is a teacher resource site, part of Macmillan Education, one of the world’s leading.

For modern methods of reproduction By Charles George Harper, ©1894 'Everywhere today is the Illustrator (artist he may not always be), for never was illustration so marketable as now; and the correspondence editors of the Sunday papers have at length found a new outlet for the superfluous energies.' By Harold B.Speed, ©1920 'No work on Art has been published in recent years which might be more advantageously placed in the hands of a young student, as a statement of the logical elements of drawing and painting. Every page shows robust common sense expressed in a clear style.' (20.0 M) (18.6 M) (unprotected) A Series of Lessons Covering All Branches of the Art of Caricaturing By Mitchell Smith, ©1941 'In the writing and illustrating of this book my aim has been to produce a comprehensive and concise treatise on the art of caricaturing. It has been made as brief as is consistent with clearness and complete' ness. ' (4.1 MB) By Edmund J. Sullivan, ©1921 Available in the DjVu Format Only by Henry Blackburn, ©1896 'There is almost a revolution in illustration at the present time, and both old and young — teachers and scholars — are in want of a handbook for reference when turning to the new methods.

The illustrator of to-day is called upon suddenly to take the place of the wood engraver in interpreting tone into line.' (9.5 MB) by Richard G. Hatton, ©1910 'He who has mastered these three lines, especially if he can sketch them in by freehand, has practically mastered perspective. Of course the solids do not necessarily occur lying flat on a horizontal surface, such as the ground. He, too, who would master sketching in perspective, must certainly be able to draw from imagination.'

(5.3 MB) a book for the student and the general reader By Edwin George Lutz ',,,But should drawing from the actual objects be so hard? Wouldn't it be just as simple as working from the flat if the student could let himself believe that the visual rays from all the points of the object, or the view, were brought forward to a supposed plane directly in front of him? This plane with the object or view thus ideally outlined he would need merely to consider as a huge flat copy to be faithfully imitated.'

With 27 illustrations designed by Thomas Rowbotham by Thomas Rowbotham, 48th ed. ©1912 'In the brief course of instruction proposed in the following pages, the object is to lead the student to a successful result by the simplest means. The rules are few; but if carefully studied, they will be found applicable to every object occurring in ordinary experience.' Principles and methods of expression in the pictorial representation of common objects, interiors, buildings, and landscapes By Dora Miriam Norton, 1908 'FREEHAND Perspective teaches those few principles or truths which govern the appearance of things to the eye, and the application of these principles to the varied conditions encountered in drawing. Strictly speaking, there are but two foundation truths in perspective, namely.' By Edmund Joseph Sullivan, ©1922 'What, after all, is drawing but this the shortest line between the two points of an infinity withheld from our comprehension? A short cut that the artist takes, while the mathematician goes round? Dolphin 9900 Drivers.

Through and beyond lines, algebraic symbols, signs and formulae, it is the artist's trade.' By Jasper Salwey, ©1921 '.Many people now concede the claim that it is actually possible to suggest 'a sense of color ' in a 'black and white' drawing, and it is hoped that the notes in Chapter IX may at least convey to the student those principles upon which the claim is based.' (7.9 MB) by Allen W. Seaby, ©1921 '.it becomes necessary to insist upon the importance of draughtsmanship in the classical sense, as understood by Holbein, Velasquez, Ingres, Menzel, and Degas.

This technical power or faculty, call it what we will, is not a conjuring trick, a mere sleight-of-hand to be learned as a series of 'tips,' but must be acquired, if at all, by severe training.' (6.8 MB) By William Walker, ©1879 '.As the eye is the most important gateway of knowledge, so far as the physical world is concerned, it ought to receive great culture, even with only a utilitarian motive, for the time is rapidly approaching when drawing will demand its right place.' By Edward C Clifford, ©1921 'Here it is purposed to deal with trees only, and it should at once be pointed out that trees have an anatomy, individual and class characteristics, limits to their areas of growth and to their endurance of certain conditions and changes of appearance under the influences of season, situation, and climate. As the figure painter studies the nude that he may be able to paint the costumed figure, as he must know the figure within the clothes, so should the landscape painter study the naked tree in winter, that he may be able to paint it rightly in its summer dress of foliage.' (7.4 M) or, The whole art of picture making reduced to the simplest principles By Frank Howard, ©1837 'The objects in a drawing may be accurately outlined, and shaded very correctly, very neatly and delicately finished, and yet it shall still be less pleasing than a slight sketch, having no pretension to accuracy of outline or detail, but which possesses the charm of Pictorial Effect.'

By Harold Speed, Fourth Edition, ©1922 'Permit me in the first place to anticipate the disappointment of any student who opens this book with the idea of finding 'wrinkles' on how to draw faces, trees, clouds, or what not, short cuts to excellence in drawing, or any of the tricks so popular with the drawing masters of our grandmothers and still dearly loved by a large number of people. No good can come of such methods, for there are no short cuts to excellence.' By William Locock, ©1852 'Perspective is the science which teaches the art of representing objects on a plane surface, in such a manner as to present to the eye the same appearance which the objects themselves do, real or imaginary.'

By Robert Pratt, ©1901 'Of what consequence, it may be asked, is it to an artist, this geometrical study of the subject, if he copy faithfully what he sees? To this the reply may be given—quoting from Leslie's ' Handbook to Young Painters — 'that it is of the greatest consequence if it enables him to see better what he copies.' ' by Leslie William Miller, ©1892 'I CALL this little book 'The Essentials of Perspective,' because it seems to me that it contains as much information about the science of which it treats as the artist or the draughtsman ever has occasion to make use of, except under the most unusual conditions. I do not claim to have discovered any new thing, either in the principles or possible applications of perspective science. But it has occurred to me, as I know it has occurred to many others with a similar experience in teaching drawing, that a book on perspective, which should be exhaustive enough to redeem the study from the contempt with which it is too often treated by artists — an estimate which is, to a considerable extent, justified by such presentations of it as are usually found in the 'hand-books' and 'text-books ' in common use—and yet free, as far as possible, from the technical difficulties which the unscientific mind is pretty sure to encounter in the profounder treatises, might be of use.'

By Victor Tyson Wilson, first edition ©1908 'In presenting a new treatise on an old theme, it seems necessary at the outset to give a brief history of its development, so that the reader may see more clearly its purpose. When the author began to teach the elements of freehand drawing to technical students, and found it necessary to deal with the art of drawing associated with the principles of linear perspective, he was impressed with the fact that there was an unnecessary and undesirable antagonism between the two, which, when speaking of the one, required the other to be ignored, at the same time both had to be carried along side by side; the time seemed very long before the student might be permitted to view the mystery of why the one was dependent upon the other.' Rendering with pen and brush, elements of water-color rendering, rendering in water color, drawing from nature, the American Vignola by unknown author, Copyright, 1903 by International Text-book Company, Published 1921 'It is necessary to understand and keep before the mind the fundamental principles of composition; i.e., to notice and remember what arrangements are the most agreeable. These principles apply not only to pictorial representation, but to every kind of design.

In general, composition involves three separate considerations – balance, rhythm, and harmony; and if work be executed in accordance with these principles it will result in a unity of effect that is satisfactory and restful, because all parts of the picture are consistently related to one another. ' Four Talks Given Before The Art Institute of Chicago With Illustrations by the Author by Francis Hopkinson Smith, 1914 'After the salient features of a landscape have been analyzed and recorded in color, the more subtle qualities are to be detected and expressed.

The most important of these is the time of day. F1 2012 Mac Download Crack. To an outdoor painter—an expert examining the work of another expert—the hour-hand is written over every square inch of the canvas.

He knows from the angle of the shadows just how high the sun was in the heavens, and he knows, too, from the local color of the shadows whether it is a silvery light of the morning, the glare of noontime, or the deepening golden glow of the afternoon.' Artist Technical Reference and Anatomy - Free Art eBooks : Being a guide to the knowledge of the human body by dissection By GEORGE VINER ELLIS, ©1879 'When the ear has been drawn down by hooks, the position of the upper muscle will be indicated by a slight prominence between it and the head; and the muscular fibres may be laid bare by means of the two following incisions, made no deeper than the skin: One is to be carried upwards on the side of the head.'

By Henry Gray, ©1918 'Illustrations have been added wherever important points could be made more clear, and throughout the work colored pictures have been even more extensively used than heretofore.' ©2014 All Rights Reserved. ' Sign & Digital Graphics is the most widely read industry trade publication covering the business of visual communications and offering a broad range of in-depth reporting for sign industry and wide-format digital graphics professionals. This distinguished and unique monthly trade publication provides comprehensive professional coverage on all aspects of commercial signage, commercial graphics production, electric LED-based signage and letter systems, architectural signage, electronic digital displays, vehicle wraps and much more.'

Trade Magazine, requires business info for subscription. All images shown are properties owned by their respective owners. Copyright © 2003 - 2014 Hills Creative Arts Pte Ltd. All rights reserved.

A daily-updated news and editorial site focused on Creativity and Innovation Named by Forbes as 'Top Five Sites for Keeping up With Creativity and Design', DesignTAXI is a highly-influential source with our content picked up by leading media such as The New York Times, CNN, Wall Street Journal, Huffington Post and LinkedIn Today. TIME Magazine calls us one of the 'Best Twitter Feeds of 2012'. The typical TAXI reader is tech-savvy, creative, curious and excited about new ideas. More than 400,000 followers across our network's social media streams.

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All artworks are copyright of its respective owners. An online marketplace to buy and sell creative objects Sellers can sell and ship most types of creative objects created by themselves, directly to buyers Free for basic accounts. All artworks are copyright of its respective owners. Copyright © 2014 Hills Creative Arts Pte Ltd. All rights reserved. Where 'finders' meet creatives for networking, collaboration and inspiration We also host web and mobile portfolios for creative professionals, and 'fave galleries' for curators and taste makers.

All accounts are free. Commissions vary from 3.5% - 30%. 0 by various Authors, Copyright ©1977-2005 by American Institute for Conservation of Historic and Artistic Works, All rights reserved 'A large number of canvas samples from paintings by 116 French artists are analyzed for fiber type and weight. Results are categorized chronologically as well as by artist, and it may be seen that prior to the end of the 18th century, hemp canvases were most common.' From, Katrina Vanderlip Carbonnel, Vol.20 No.01, ©1980 'THE PRESENT NOTE gives the results of the analysis of nineteen Winsor and Newton moist watercolors (in pans) which once belonged to Winslow Homer.

The identification of many of these were previously reported by Craigen Weston, and this note represents a completion of her research. The colors are in a box which the artist signed (Figure 1).'

Farrell, Vol.19 No.02, ©1980 The commissioned special pull-out sections for, Copyright ©1998-2008 by American Institute for Conservation of Historic and Artistic Works, All rights reserved '.museum workers are more likely to be exposed to low-level doses of heavy metals over an extended period of time, resulting in chronic health problems. Heavy metal exposure in the environment along with that from museum collections and buildings is of particular concern to museum professionals involved in emergency and disaster rescue and recovery efforts. ' from A Special Insert: Heavy Metals, their Salts, and other Compounds, A Quick Reference Guide from AIC and the Health &Safety Committee, By Cheryl Podsiki, AIC news, November 2008. Coverage: 1886 (Vol. 1), Sample articles from Nov., 1886: (pp. 31-34) by Frank T. Robinson (pp.

39-40) by Lyman H. 42-43) by Alfred Trumble (pp. 56-59), Nov., 1886, pp.

31-60, V-X, Oct., 1886, pp. I-II, 1-30, III-IX Coverage: 1916 (Vol.

7), Coverage 1909-1915 (Vols. 1-7) Sample Articles: (p. 435-441) (pp. 338-339) (pp. 340-341) Coverage: 1870-1891 (Vols.

1-24) Note: The content for 1892-1903 will be released as soon as the issues become available to JSTOR Sample Articles: by M. Odenheimer-Fowler, Vol. 6 (May, 1883), p.

2 (Jan., 1881), pp. 2 (Jul., 1885), p. 4 (Mar., 1890), pp. 79-81: 1919-1920 1893-1894 1870-1871 1884-1885 1916-1918 1899-1901 1897-1907 1899-1907 1891-1892 1856-1861 1855-1861 1901-1919 1853-1854 1879 1852-1908 1867-1868 1866-1867 by Various Authors, Published Manchester: Davis Bros., (1891-1905) by Various Authors, Published Oak Park, Ill., etc., Trade Review Co., etc., (1891-19215) ).