By Edmund J. Sullivan
Written by way of a famous illustrator and instructor, this advisor introduces the fundamentals of line drawing. British artist Edmund J. Sullivan, who merges the normal nineteenth-century type of representation with components of artwork Nouveau, starts off via introducing readers to the freehand drawing of summary traces and advances to the freehand drawing of ordinary kinds, consisting mostly of aircraft surfaces or unmarried lines.
Subsequent chapters illustrate and speak about representations of the 3rd and fourth dimensions, the image aircraft, formal viewpoint, and the drawing of good gadgets, together with their depiction in color and shadow, and their modelling. extra issues contain shadows, reflections, and aerial point of view in addition to determine drawing.
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Additional resources for Line : An Art Study
In the case of written speech or song the symbol is incapable of being mistaken for the thing symbolized by the word. Not until mechanical means of reproduction of sound were introduced (which significantly or other-wise followed photography, which is the mechanical means of reproducing appearances) did it become possible to place sound on record otherwise than by means of symbols which had to be translated into sound in the mind of the reader after passing through the sense either of sight or touch.
It will be seen that the point marked establishes with each point it touches a relation similar to that already existing between the other two points, so forming a new unit of line. So long as the diameters of the units meet they will form a continuous straight line as at E; should they change direction gradually and progressively as from F they will form a curve. But should they change direction abruptly or violently and continue in another straight line (as at G) a perceptibly angular figure will be produced, without the characteristics of a curve, the essential quality of which is in the slight perceptibility of the angles of which it is composed.
In any consideration of concrete line and the constitution of a curve we must start with a point. For the artist’s purposes, apart from the mathematician’s, a point must be visible, as in the centre of the circle A; and in order to be visible it must have a certain magnitude, unlike the theoretic point of the mathematician. The concrete point most nearly approaching the theoretic must therefore be considered as having magnitude, but not greater in one direction than another ; and must therefore be circular.