Being Tales for Children at Christmastide. Mother Hubbard, Her Picture Book: An Alphabet Of Old Friends. Aladdin And The Wonderful Lamp. A Fresh Bunch of Rhymes and Tunes. The Sleeping Beauty Picture Book. Illustrations and Ornamentation from The Faerie Queene. Walter Crane's Painting Book. Ali Baba and The Forty Thieves. The Bases of Design. How to write a great review. The review must be at least 50 characters long. The title should be at least 4 characters long.
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Available in Russia Shop from Russia to buy this item. Or, get it for Kobo Super Points! Together they spent all the day in poring over musty old books and papers, trying to find out why the sun was hot; and in the night-time they might always be seen gazing at the sky, counting how many stars there were there.
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They were very curious folk, and wanted to know the reasons for all sorts of out-of-the-way things that everybody else was content to know the mere facts of, such as why birds have two wings and not three, why crocodiles have no fins, seeing that they can swim in the water, and many other matters that would not interest sensible beings. They always had at their side a young owl, and a serpent, toothless and blind with age; for they thought that youthful observation and aged craftiness were most suitable companions for them in their labours.
If at any time old Fusticus, for so the old student was named, got dispirited in his work, or felt inclined to give it up as a hopeless task, he had but to turn round in his chair, and there behind him sat his owl, who seemed to say, as he cocked his head on one side, "Never despair, success only comes after long perseverance! But at last old Fusticus got weary of his long studies, as he seemed never to find an answer to any one of the questions he had set himself; and he was about to give them up altogether, when he came across a curious passage in the old tome in which he was reading.
For a long time he could not make it out at all, but after deep thought and consultation with his pupil, he discovered that it was a spell, by which he could call up the Spirit of Darkness, whom he could compel to grant him any three wishes that he might demand. The only condition was that he should give to the Spirit of Darkness whatever he should ask of him. Old Fusticus thought and thought a long time over this discovery, and at last decided to make use of it.
So one day he repeated the charm he had learnt from the book, and when he had finished the last word, to his amazement, for he did not quite believe it was all true, there stood before him the Spirit of Darkness! He was not at all like what he had imagined he would have been; for he had not a hideous face, nor a tail, but was dressed in the costume of a court gentleman, with a sword at his side and a cocked hat in his hand.
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He had, too, a pigtail, ruffles and all complete! Ratings and Reviews 0 0 star ratings 0 reviews. Overall rating No ratings yet 0.
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Would you like us to take another look at this review? No, cancel Yes, report it Thanks! You've successfully reported this review. We appreciate your feedback. March 8, ISBN: The only condition was that he should give to the Spirit of Darkness whatever he should ask of him. Old Fusticus thought and thought a long time over this discovery, and at last decided to make use of it. So one day he repeated the charm he had learnt from the book, and when he had finished the last word, to his amazement, for he did not quite believe it was all true, there stood before him the Spirit of Darkness!
He was not at all like what he had imagined he would have been; for he had not a hideous face, nor a tail, but was dressed in the costume of a court gentleman, with a sword at his side and a cocked hat in his hand. He had, too, a pigtail, ruffles and all complete! 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. 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.
A winter nosegay - About This Book
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.