Abstract Design and How to Create It (Dover Art Instruction) by Amor Fenn

By Amor Fenn

Students, designers, and craftspeople who are looking to create their very own summary styles and designs will locate this profusely illustrated consultant the most effective books on hand at the topic. After an introductory bankruptcy facing the geometric foundation of layout, the writer is going directly to talk about implements and their use (T-square, compass, dividers, ruling pen, etc.), borders, fabric styles, nature research, and treatment.
Over 380 illustrations contain many diagrams, designs for identify pages, border styles, allover styles, fabric styles, and old examples from a rare variety of cultures and sessions: Assyrian stone carvings, Greek and Roman jewellery, 18th-century English silverwork, and extra. Thorough and entire, Abstract layout and the way to Create It could be a useful source for someone looking to study the rules and methods of making nonrepresentative designs.

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Extra info for Abstract Design and How to Create It (Dover Art Instruction)

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2. Ring. Gold. Ashanti. 3. Chain. Gold. Ashanti. Link about in. 4. Gold ornament. Ashanti. Width about in. 5. Earring. Gold. Byzantine. Seventh century. Width about in. 6. Earring. Gold. Set with green stone. Antique Roman. Width in. 7. Earring. Gold. Greek (Roman period). Width about in. 8. Earring. Gold. Greek. Third or fourth century. Width about in. 9. Ring. Gold. Anglo-Saxon. 10. Earring. Gold. Roman from Egypt. Width about in. 11. Buckle enriched with gold and set with glass. Celtic. Found Kingsfield, Faversham.

Detail occupies five-sevenths of total width of band; this is subdivided into eleven parts. No. 118. Interlacing pattern, Moresque. Detail occupies six-eighths of total width of band; subdivision of this into eight parts will give width of interlacing detail. No. 119 Interlacing pattern, Moresque. Detail occupies six-eighths of total width of band; this should be subdivided into eleven parts. No. 120. Interlacing pattern, Moresque. Detail occupies six-eighths of total width of band; this should be subdivided into eleven parts.

Fret pattern, similar construction as preceding. No. 54. Elaboration of No. 52, the alternate squares being subdivided as shown; division of total width of band into five parts. No. 55. Development of No. 54, division of total width of band into six parts. No. 56. Chequer pattern, division of total width of band into five parts, the enclosing borders being each one part; procedure similar to No. 52A. No. 57. Development on same construction. No. 58. Counter-change pattern, construction as No. 57.

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