The Ornamental Draughtsman And Designer; Being a Series of Practical Instructions And Examples of Freehand Drawing in Outline And From the Round, Examples of Design in the Various Styles of Ornament Adapted to Practice; Together With a Series of Practical
The book The Ornamental Draughtsman And Designer; Being a Series of Practical Instructions And Examples of Freehand Drawing in Outline And From the Round, Examples of Design in the Various Styles of Ornament Adapted to Practice; Together With a Series of Practical was written by author Burn, Robert Scott Here you can read free online of The Ornamental Draughtsman And Designer; Being a Series of Practical Instructions And Examples of Freehand Drawing in Outline And From the Round, Examples of Design in the Various Styles of Ornament Adapted to Practice; Together With a Series of Practical book, rate and share your impressions in comments. If you don't know what to write, just answer the question: Why is The Ornamental Draughtsman And Designer; Being a Series of Practical Instructions And Examples of Freehand Drawing in Outline And From the Round, Examples of Design in the Various Styles of Ornament Adapted to Practice; Together With a Series of Practical a good or bad book?
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Designated with these technical terms, artists talk and write of decoration and ornamentation on the " flat " and that on the " round." The first of these sections — ^the " fiat " — ^is exemplified by designs for wall papers or wall or mural decoration, of which we give an example in fig. 1, Plate XXIV. The second of these sections — the " round " — we illustrate in the vases in Plates XXXIV. and XXXV., in 120 FOEM AND COLOUK IN INDUSTKIAL DBCOKATION. Plates XXV. and XXXVI., in figs. 1, 2, 3 an...d 4, Plate XXIV.,' and in Plate XXVI. Pigs. 1 and 4, Plate XXIX., are examples of a combination of the " flat and the round " in decorative design in different departments of industrial work. But while the distinctive characteristic of "flatness" would at first sight appear to confine subjects of this class to their design upon surfaces, it is obvious that this does not absolutely preclude the drawing of subjects upon flat spaces, so that they will have the appearance of being solid. This is illustrated in Plates XXVI.
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