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Author: Al Stohlman
Publisher:
ISBN: 9781892214706
Category : Leatherwork
Languages : en
Pages : 132
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Book Description
Learn to carve, bevel, model and color realistic looking people, animals and birds and more in leather with this text.
Author: Al Stohlman
Publisher:
ISBN: 9781892214706
Category : Leatherwork
Languages : en
Pages : 132
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Book Description
Learn to carve, bevel, model and color realistic looking people, animals and birds and more in leather with this text.
Author: Al Stohlman
Publisher:
ISBN: 9781892214713
Category : Leatherworking
Languages : en
Pages : 72
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Book Description
This book teaches how to carve realistic-looking leather scenery including grass, rocks, trees, mountains, clouds, smoke, fire, water and more. It explains perspective and color dying.
Author: Jacqueline E. Jung
Publisher: Cambridge University Press
ISBN: 1107022959
Category : Architecture
Languages : en
Pages : 303
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Book Description
This book reveals how Gothic choir screens, through both their architecture and sculpture, were vital vehicles of communication and shapers of community within the Christian church.
Author: Eric Sloane
Publisher: Courier Corporation
ISBN: 0486463036
Category : House & Home
Languages : en
Pages : 130
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Book Description
This delightful evocation of simpler times and the tools that built America has always held a special place in the hearts of lovers of Americana and Yankee ingenuity. Now available in a handsome hardcover gift edition, this engaging, informative book features 184 of the author's inimitable drawings.
Author: Al Stohlman
Publisher:
ISBN: 9781892214850
Category : Leather carving
Languages : en
Pages : 49
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Book Description
Al Stohlman's teaches the art of silhouette and inverted leather carving, as well as, the fundamentals of rough out carving.
Author: George Jack
Publisher:
ISBN:
Category : Wood-carving
Languages : en
Pages : 330
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Book Description
Author: Arie Wallert
Publisher: Getty Publications
ISBN: 0892363223
Category : Art
Languages : en
Pages : 241
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Book Description
Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.
Author: Henry Wilson
Publisher: National Geographic Books
ISBN: 0500515824
Category : Antiques & Collectibles
Languages : en
Pages : 0
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Book Description
The richness of the arts of India is overwhelming, and perhaps most noticeably so in its architecture. This innovative volume reveals the exquisite detail of the decorative compositions, their finesse, precision, and creativity. It also highlights the skill, patience, and pictorial imagination of the many thousands of craftsmen and their patrons. The timeline runs for almost two thousand years, from the Buddhist stupa at Sanchi of the first century BC/AD to Rajput palace interiors of c. 1900. Hundreds of atmospheric photo- graphs are juxtaposed with graphic transpositions of the designs, patterns, and ornamentation to reveal the nature of the architectural detail, where stone, wood, mirror work, and plaster are transformed into masterworks of decorative art.
Author: H. G. Wells
Publisher: DigiCat
ISBN:
Category : Fiction
Languages : en
Pages : 517
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Book Description
The Shape of Things to Come is a work of science fiction, which speculates on future events from 1933 until the year 2106. In the book, a world state is established as the solution to humanity's problems. As a frame story, Wells claims that the book is his edited version of notes written by an eminent diplomat, Dr Philip Raven, who had been having dream visions of a history textbook published in 2106 and wrote down what he could remember of it. Herbert George Wells (1866-1946), known as H. G. Wells, was a prolific English writer in many genres, including the novel, history, politics, and social commentary, and textbooks and rules for war games.
Author: Walter Crane
Publisher: E-Kitap Projesi & Cheapest Books
ISBN: 6155564159
Category : Art
Languages : en
Pages : 412
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Book Description
As in the case of "The Bases of Design," to which this is intended to form a companion volume, the substance of the following chapters on Line and Form originally formed a series of lectures delivered to the students of the Manchester Municipal School of Art. There is no pretension to an exhaustive treatment of a subject it would be difficult enough to exhaust, and it is dealt with in a way intended to bear rather upon the practical work of an art school, and to be suggestive and helpful to those face to face with the current problems of drawing and design. These have been approached from a personal point of view, as the results of conclusions arrived at in the course of a busy working life which has left but few intervals for the elaboration of theories apart from practice, and such as they are, these papers are now offered to the wider circle of students and workers in the arts of design as from one of themselves. They were illustrated largely by means of rough sketching in line before my student audience, as well as by photographs and drawings. The rough diagrams have been re-drawn, and the other illustrations reproduced, so that both line and tone blocks are used, uniformity being sacrificed to fidelity. WALTER CRANE. 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. The old fanciful story of its origin in the work of a lover who traced in charcoal the boundary of the shadow of the head of his sweetheart as cast upon the wall by the sun, and thus obtained the first profile portrait, is probably more true in substance than in fact, but it certainly illustrates the function of outline as the definition of the boundaries of form. Silhouette As children we probably perceive forms in nature defined as flat shapes of colour relieved upon other colours, or flat fields of light on dark, as a white horse is defined upon the green grass of a field, or a black figure upon a background of snow. Definition of Boundaries To define the boundaries of such forms becomes the main object in early attempts at artistic expression. The attention is caught by the edges—the shape of the silhouette which remains the paramount means of distinction of form when details and secondary characteristics are lost; as the outlines of mountains remain, or are even more clearly seen, when distance subdues the details of their structure, and evening mists throw them into flat planes one behind the other, and leave nothing but the delicate lines of their edges to tell their character. We feel the beauty and simplicity of such effects in nature. We feel that the mind, through the eye resting upon these quiet planes and delicate lines, receives a sense of repose and poetic suggestion which is lost in the bright noontide, with all its wealth of glittering detail, sharp cut in light and shade. There is no doubt that this typical power of outline and the value of simplicity of mass were perceived by the ancients, notably the Ancient Egyptians and the Greeks, who both, in their own ways, in their art show a wonderful power of characterization by means of line and mass, and a delicate sense of the ornamental value and quality of line. Formation of Letters Regarding line—the use of outline from the point of view of its value as a means of definition of form and fact—its power is really only limited by the power of draughtsmanship at the command of the artist. From the archaic potters' primitive figures or the rudimentary attempts of children at human or animal forms up to the most refined outlines of a Greek vase-painter, or say the artist of the Dream of Poliphilus, the difference is one of degree.
