eBooks Kindle Edition

Search in New Page

Search » MARK TWAIN, Adventure, Art+ Arts, Beethoven, Sketch, Civil+War, Home, Illustration, Tale, Toy, America, English England, London, Paris, Spain, Japan, Letter, Life, Practical, Baseball, Bird, Book, History, Motor, King, Law, Romance, Design, Craft, Children, +Story, George, George+Eliot, Alexander Dumas, Molesworth, HERBERT STRANG, George Cruikshank, James Otis, Leonard Williams, Lester Chadwick, Roy J. Snell, Walter Besant, Various

Search for : Design : 5 result(s) | Products 1-5 of 5 | Page 1 of 1

Industrial Arts Design, A Textbook of Practical Methods for Students, Teachers, and Craftsmen by William H. Varnum : (full image Illustrated) William Harrison Varnum. (Author, Preface) B00BY893Q4 File Size: 5239 KB     BUY NOW Book Description :- Industrial Arts Design, A Textbook of Practical Methods for Students, Teachers, and Craftsmen by William H. Varnum : (full image Illustrated) PREFACE Place for the Book. As a textbook, Industrial Arts Design is a practical guide for designing in wood, clay, and base and precious metals. It is intended for individual student use in the High Schools, Normal Schools, and Colleges and as a reference book for elementary school teachers. Its more complex problems are intended as definite helps to the industrial arts designer or craftsman. The wood problems are treated with special reference to their adaptability to bench and cabinet work. Need of the Book. It has been written to fill a decided demand for a textbook that shall, without loss of time, directly apply well-recognized principles of general design to specific materials and problems encountered in the Industrial Arts. A brief description of the decorative processes adapted to the materials under discussion with the design principles directly applying to these processes, insures designs that may be worked out in the studio or shop. It is hoped that this provision will eliminate the large number of impractical designs that are frequently entirely unfitted to the technic of the craft. This lack of mutual technical understanding between the teacher of design and the shop work instructor is the cause of friction that it is hoped will be removed by the methods advocated in these pages. The Author's Motive. It has been the intention to reduce unrelated and abstract theories to a minimum and reach directly rules and conclusions that shall be applicable to typical materials in common use in the schools and industries. The original conception materialized in the publication of a series of articles upon Design in the Industrial Arts Magazine, in 1915. These articles were favorably received and their results in the schools proved highly satisfactory. Through this encouragement, the articles have been reprinted in book form, enriched by the addition of illustrations, review questions, and three chapters on color with its applications. Industrial Arts Design develops the principles of industrial design in a new and logical form which, it is believed, will simplify the teaching of craft design. Chapters I to V deal with the elementary problems confronting the designer as he begins the first steps on his working drawing; Chapters VI to VIII show the methods by which he may express his individuality through contour or outline enrichment, while Chapters IX to XVII explain the treatment of the most difficult form of decoration, that of surface enrichment. The Appendix. The appendix is added to show the manner in which the rules may be directly applied to a course of study in either pottery or art metal. The present work is not intended to include the chemistry of glaze mixing or other technical requirements to which reference is made in the appendix; consequently the reader is referred to "The Potter's Craft" by C.F. Binns and "Pottery" by George J. Cox for fuller explanations of the formulae and technicalities of the craft. Source of Principles. The principles herein advocated are directly related to architectural design which is to be regarded as the standard authority for the industrial arts designer. It was necessary to state these principles in the form of sufficiently flexible rules which would allow the student to use his own judgment, but at the same time, restrict him to the essential principles of good design. Rules. This presentation of the principles of design by means of flexible rules in concrete form, serves to vitalize design by virtue of their immediate application to the material. The rules likewise save time for both pupil and instructor. This is regarded as an important factor, inasmuch as the amount of time usually allotted to classroom teaching of design is limited. ------------ thaiperfect.com   Dress design / An Account of Costume for Artists & Dressmakers, by Talbot Hughes : (full image Illustrated) Talbot Hughes (Author), W. R. LETHABY (Editor) B00CLB01GO File Size: 9911 KB     BUY NOW Book Description :- THE ARTISTIC CRAFTS SERIES OF TECHNICAL HANDBOOKS EDITED BY W. R. LETHABY DRESS DESIGN AN ACCOUNT OF COSTUME FOR ARTISTS & DRESSMAKERS BY TALBOT HUGHES : ILLUSTRATED BY THE AUTHOR FROM OLD EXAMPLES ? TOGETHER WITH 35 PAGES OF HALF-TONE ILLUSTRATIONS LONDON SIR ISAAC PITMAN & SONS, LTD. Bath, Melbourne, Toronto, and New York Reprinted 1920 GENERAL PREFACE TO THE SERIES In issuing this volume of a series of Handbooks on the Artistic Crafts, it will be well to state what are our general aims. In the first place, we wish to provide trustworthy text-books of workshop practice, from the points of view of experts who have critically examined the methods current in the shops, and putting aside vain survivals, are prepared to say what is good workmanship, and to set up a standard of quality in the crafts which are more especially associated with design. Secondly, in doing this, we hope to treat design itself as an essential part of good workmanship. During the last century most of the arts, save painting and sculpture of an academic kind, were little considered, and there was a tendency to look on "design" as a mere matter of appearance. Such "ornamentation" as there was was usually obtained by following in a mechanical way a drawing provided by an artist who often knew little of the technical processes involved in production. With the critical attention given to the crafts by Ruskin and Morris, it came to be seen that it was impossible to detach design from craft in this way, and that, in the widest sense, true design is an inseparable element of good quality, involving as it does the selection of good and suitable material, contrivance for special purpose, expert workmanship, proper finish and so on, far more than mere ornament, and indeed, that ornamentation itself was rather an exuberance of fine workmanship than a matter of merely abstract lines. Workmanship when separated by too wide a gulf from fresh thought?that is, from design?inevitably decays, and, on the other hand, ornamentation, divorced from workmanship, is necessarily unreal, and quickly falls into affectation. Proper ornamentation may be defined as a language addressed to the eye; it is pleasant thought expressed in the speech of the tool. In the third place, we would have this series put artistic craftsmanship before people as furnishing reasonable occupations for those who would gain a livelihood. Although within the bounds of academic art, the competition, of its kind, is so acute that only a very few per cent. can fairly hope to succeed as painters and sculptors; yet, as artistic craftsmen, there is every probability that nearly every one who would pass through a sufficient period of apprenticeship to workmanship and design would reach a measure of success. In the blending of handwork and thought in such arts as we propose to deal with, happy careers may be found as far removed from the dreary routine of hack labour, as from the terrible uncertainty of academic art. It is desirable in every way that men of good education should be brought back into the productive crafts: there are more than enough of us "in the city," and it is probable that more consideration will be given in this century than in the last to Design and Workmanship. PREFACE The designing and making of Costume is a craft?sometimes artistic?with which we are all more or less concerned. It is also, in its own way, one of the living arts, that is, it is still carried forward experimentally by experts directly attached to the "business." It has not yet been subjected to rules of good taste formulated by Academies and Universities; but when Inigo Jones, the great architect, was asked to make some designs for fancy dress, he based them on the Five Orders of Architecture, and ponderous fancies they were. If we look for the main stem of principle on which modern Costume develops, we seem to find it in the desire for freshness, for the clean, the uncrushed, and the perfectly fitted and draped.   Heraldry for Craftsmen & Designers by William Henry St. John Hope : (full image Illustrated) William Henry St. John Hope B00J6HINYI File Size: 9484 KB.     BUY NOW Book Description :- CRAFT, sculptor, Designer, Heraldry, Shields, Crowns, ARTS This book is an attempt to place before designers and craftsmen such an account of the principles of the art of Heraldry as will enable them to work out for themselves the many and various applications of it that are possible to-day. To that end the different usages which have prevailed from time to time are dealt with in detail, and are illustrated as far as may be from ancient sources. Should it be thought that undue stress has been laid upon the pre-Tudor heraldry, to the comparative exclusion of that of later times, it may be pointed out that until the principles of the earlier heraldry have been grasped and appreciated, it is impossible to get rid of the cast-iron uniformity and stupid rules that bound the heraldry of to-day, and tend to strangle all attempts to raise it to a higher level. To what extent these chilling ideas prevail, and how necessary it is to get rid of them, cannot better be illustrated than by two letters written to the author, after most of the following chapters were in type, by a critical friend who has not read any of them. He points out in his first letter that on the very day of his writing there had been brought to his notice, not for the first time, the great need that exists for a book in which sculptors and painters may find out what they legitimately may and what they may not do as regards heraldry. What, for example, may be left out from an achievement of arms, and how the different elements composing it may be varied, or even rearranged. He instances the case of a sculptor who had been supplied with a drawing, 'brilliant in emerald green and powder blue,' of the arms that had been granted to a famous Englishman whose memory was about to be honoured by the setting up of a statue with his arms, etc. carved upon the pedestal. The arms in the drawing did not present any difficulties, but the crest was not shown upon the helm, and the whole was surrounded by a series of trophies which to this unenlightened sculptor were as heraldic as the arms and crest. Out of all this, asked the sculptor, what could lawfully be omitted? If any of the trophies were supporters, must they be shown? And must the crest be used? Ought the crest to be on a helm? And should the helm be shown in profile or full-faced? The contents of the drawing, if all were sculptured, would, in my friend's opinion, 'either come so small as to be unmonumental, or so large as to dwarf the statue into a doll.' It will be seen from the principles enunciated in the present work that the answers to the foregoing questions were obviously as follows:   Evolution in Art / As Illustrated by the Life-histories of Designs by Alfred C. Haddon : (full image Illustrated) Alfred C. Haddon B00L9QGD50 File Size: 3980 KB.     BUY NOW Book Description :- ART, museum, life-history, painting, sculpture, Useful Arts, Decorative Art I would like to take the opportunity which a Preface affords to thank those friends who have helped me in the preparation of this little book. Most of them will find their names mentioned somewhere in the text. It is also my pleasant duty to heartily acknowledge the kindness I have everywhere experienced when collecting the materials on which these studies are based. On many occasions I have entered a museum in Britain or abroad, not knowing any one on the staff. On explaining my object every facility was at once offered, cases were opened, specimens were handed to me, and various conveniences arranged; often, too, help was rendered me at the time, not only by curators and assistants, but also by museum porters and gendarmes. It is particularly gratifying for a stranger to be received as a colleague, and to find that museum authorities everywhere recognise that the collections put under their charge serve their end best when they are utilised by students. A word of apology may be needed for the copious extracts which have been made from the works of other writers. My object in this has been to show that there has been quite a considerable number of investigators who have approached the subject of decorative art from a similar point of view to that elaborated in the present essay. A quotation brings one more face to face with the author than does a mere abstract, and personally I like to feel the comradeship of similar studies. We all contribute our mites, and the only pity is we cannot all be personally known to one another. It would afford me great pleasure if this book leads to new students entering upon this important and intensely interesting field of inquiry, and I shall always be pleased to correspond with those who are or who desire to be fellow-workers. ALFRED C. HADDON. INTRODUCTION Notwithstanding the immense number of books, dissertations, and papers which have been written on pictorial and decorative art, I venture to add one more to their number. I profess to be neither an artist nor an art critic, but simply a biologist who has had his attention turned to the subject of decorative art. One of my objects is to show that delineations have an individuality and a life-history which can be studied quite irrespectively of their artistic merit. We are not now concerned with the æsthetic aspect of the arts of design, nor with those theories of art which artists and art critics like to discuss, and concerning which John Collier, in his masterly little Primer of Art, has expressed himself in no uncertain terms. According to this author, art may, speaking broadly, be defined as "a creative operation of the intelligence, the making of something either with a view to utility or pleasure." As a matter of fact the term "art" now has a tendency to be confined to designate the Fine Arts as opposed to the Useful Arts; not only so, but instead of including personal decoration, ornamentation, painting, sculpture, dancing, poetry, music, and the drama, the term is very often limited to ornamentation, painting, and sculpture. It is with these three that we are now more immediately concerned, and more particularly with the first of them, or decorative art. "In this narrower sense art may be defined as the making of something to please the eye.... As to what is pleasing, that each person must decide for himself." Art has also a physical and a physiological aspect, such as "the questions of harmony of line and colour, which lie at the root of all art." With Dr. Collier, we may leave these "untouched, not because they are unimportant, but because, not enough is known about them to make their discussion in the least profitable." The scope, then, of the following pages is to deal with the arts of design from a biological or natural history point of view. When difficult problems have to be investigated the most satisfactory method of procedure is to reduce them to their simplest elements, and to deal with the latter before studying their more complex aspects. The physiology of the highest animals is being elucidated largely by investigations upon the physiology of lower forms, and that of the latter in their turn by a knowledge of the activities of the lowest organisms. It is among these that the phenomena of life are displayed in their least complex manifestations; and they, so to speak, give the key to a right apprehension of the others. So, too, in studying the arts of design. The artistic expression of a highly civilised community is a very complex matter, and its complete unravelment would be an exceedingly difficult and perhaps impossible task. In order to gain some insight into the principles which underlie the evolution of decorative art, it is necessary to confine one's attention to less specialised conditions; the less the complication, the greater the facility for a comprehensive survey. In order, therefore, to understand civilised art we must study barbaric art, and to elucidate this savage art must be investigated. Of course it must be understood that no hard and fast line can be drawn between any two of these stages of culture; I employ them merely as convenient general terms. These are the reasons why I shall confine myself very largely to the decorative art of savage peoples.   A New Century of Inventions, Being Designs & Descriptions of One Hundred Machines, relating to Arts, Manufactures, & Domestic Life by James White : (full image Illustrated) James White B00DGVFBJ0 File Size: 7894 KB.     BUY NOW Book Description :- mechanic, Machine, engineer, Rotatory, DYNAMO, Invention, Design PREFACE. It has been my lot, during a long and eventful passage through life, to have my attention forcibly drawn to a multitude of Mechanical Subjects; the present review of which permits me to hope, that in making them publicly known, I should render an important service to the Arts and to Society. But the manner of doing this has been so long a question with me, that I have sometimes feared my ability would be extinct before I could do it at all. The reasons, however, that urge me to make the attempt acquire strength with the lapse of time: and whenever my declining health bespeaks the approach of that "night in which no man can work," I feel deep regret, that this tribute should not have been thrown into the treasury of human knowledge while yet, by the favour of a good Providence, the means of doing it were more fully at my disposal. I have determined therefore to publish these Inventions. Not because they have been matured into a regular System of Mechanical truth; but because they consist of many distinct objects of immediate application:--coupled with some ideas of a more comprehensive nature, that may probably extend the usefulness of this admirable study, in the hands of Artists yet unborn. The form, or rather the title of this work, has but one example, that of the illustrious Marquis of Worcester; whose name may, perhaps, prolong the remembrance of mine: an event the rightful anticipation of which, I confess, would give me pleasure. Not that I either covet or regard what is commonly called popular applause: but the approbation of the wise and good I do regard, and aspire to obtain; since that alone seems to fulfil the adage--"Vox populi vox dei." On the subject of our respective Inventions, my views are somewhat different from those of the Noble Marquis; whose description of his labours, as the custom then was, seems chiefly calculated to excite the desire of knowing them better: whereas my wish is to infuse, at once, the knowledge of my subjects into every head capable of receiving it. This Work then, treats less of Theory than Practice. What are called Principles in Mechanics, are, and must be, founded on numerous suppositions; to present which to "the mind's eye" requires often a forest of signs, which some readers will not, and others can not penetrate; so that, for many, Theory might as well not exist. This evil is increased when, as it sometimes happens, these suppositions are laid so far from reality, as to leave the result, though correctly deduced, further from the truth than the point to which a sound understanding unassisted by science, would have carried it. To this extreme discrepance of views between theoretical and practical men, may be ascribed their well-known antipathy to each other--in indulging which, they are alike to blame! since no theory inconsistent with fact can be complete; nor any fact be adduced, that a perfect theory will not account for and confirm. INDEX A DYNAMOMETER; OR, Machine for measuring Power and resistance while in Motion. A NEW KIND OF BARREL SPRING, To lengthen the going of Clocks, Jacks, &c. A PARALLEL MOTION, Being a combination of the Crank with the Epicycloid. A SYSTEM OF CONCENTRIC PULLEYS, Already known as White's Patent Pulleys. A POWER-WHEEL, Turned by heated Air, Gas, &c. AN EQUABLE PUMP, Or Machine for raising Water without interruption or concussion. A SIMPLE MACHINE, For Protracting the Motions of Weight-Machinery. AN INSTRUMENT For drawing Portions of Circles, and finding their Centres by inspection. AN INCLINED HORSE WHEEL, Intended to save room and gain speed. A DIFFERENTIAL COMBINATION OF WHEELS, To count very high numbers, or gain immense power. A CRANE, Which combines VARIABLE POWERS with speed and safety. A DIRECT AND DIFFERENTIAL PRESS, With two Powers: of which ONE immense. A PERISTALTIC MACHINE, For raising much Water to small heights. A DRAYMAN'S CANTER, Or inclined Plane with increased Power. A PERPETUAL WEDGE MACHINE, Being a simple Method of gaining Power. A DROPPING-WEIGHT-MOVER; Or Machine for lengthening the Time of going of a Clock, Jack, or other Weight-Machine. A MACHINE, To promote Evaporation, with or without Heat. A CUTTING OR GRATING MACHINE, For Green Roots, Tobacco, &c. MEMOIR ON A NEW SYSTEM COG OR TOOTHED WHEELS, THE CUTTING ENGINE, To form Spur-wheels, on my late Patent principle. A DOOR-SPRING, To keep a Door strongly closed, yet suffer it to be opened easily. A DRAW-BENCH, For making my twisted Pinions. A GEERING CHAIN, Formed to work in the Patent Wheels. A SERPENTINE BOAT OR VESSEL, To lessen the Expence of Traction, &c. A MACHINE For destroying, or lessening Friction. A SECOND MACHINE, To avoid or diminish Friction. AN EQUILIBRIUM COCK, To prevent abrasion and leakage. A MACHINE To communicate and suspend Motion. A MACHINE To set on, and suspend, rapid Motions. A MACHINE For forging Screws, Beads, &c. A DIFFERENTIAL STEEL-YARD, To weigh vast Weights with short Levers. A RETROGRAPH, Or a Machine to write backwards, for Engravers. AN EYE MACHINE, Or Machine for making the Eyes of Hooks and Eyes. A VENTILATOR, Rotatory yet by pressure. A COMBINATION WHEELS To raise Water. AN ECCENTRIC BAR PRESS, For clearing wetted goods of Water. A COLOUR MILL, For Calico Printers. A DYNAMOMETER, Or a second Machine to measure power & resistance in motion.