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Engraving for Illustration Historical and Practical Notes   By:

Engraving for Illustration Historical and Practical Notes by Joseph Kirkbride

First Page:

ENGRAVING FOR ILLUSTRATION

Reproduction by R. J. EVERETT & SONS' "INK PHOTO" Process

[Illustration: FRONTISPIECE. ENGRAVING FOR ILLUSTRATION.]

ENGRAVING FOR ILLUSTRATION

Historical and Practical Notes

BY JOSEPH KIRKBRIDE

WITH TWO PLATES BY INK PHOTO PROCESS AND SIX ILLUSTRATIONS

LONDON SCOTT, GREENWOOD & CO. 10 LUDGATE HILL, E.C.

NEW YORK D. VAN NOSTRAND CO. 23 MURRAY STREET 1903

[ All Rights remain with Scott, Greenwood & Co. ]

CONTENTS

PAGE

CHAPTER I

ITS INCEPTION. A Theory of Evolution A Distinct Progress 1

CHAPTER II

WOOD ENGRAVING. Rise and Progress Block Books Durer's Influence Hans Holbein A Renaissance Comparison and Justification The Illustrator 5

CHAPTER III

METAL ENGRAVING. The Invention Early Engravers National Characteristics A Progressive Review 18

CHAPTER IV

ENGRAVING IN ENGLAND. Introduction of Metal Engraving Notable British Engravers Summary 26

CHAPTER V

ETCHING. Early Records Descriptive Rembrandt's Influence Wenceslaus Hollar 38

MEZZOTINT. Invention Description Artistic Qualities Dilettanti Art A Modern Mezzo Engraver 38

CHAPTER VI

THE ENGRAVER'S TASK. Inartistic Work Constructive Elements Outline Extraneous Matter Composition Light and Shade Expression Perspective Execution 48

CHAPTER VII

PHOTO "PROCESS" ENGRAVING. A Progressive Process Commercial and Artistic Features "Line" Process "Half Tone" Artistic Restoration Tri chromatography Photogravure 57

CHAPTER VIII

APPRECIATIVE CRITICISM. An Educative Principle An Analysis Realism in Art Retrospect 66

INDEX 70

LIST OF ILLUSTRATIONS

FIG.

Plate I. Frontispiece

1. Old Wood Engraving (Erenburg Castle) Facing p. 10

2. Modern Wood Engraving (The Goose Fountain, Nuremburg) " 14

3. Old Wood Engraving " 28

4. Modern Wood Engraving " 54

5. Cross Section of Cyanide Furnace Page 59

6. Process Engraving Facing p. 60

Plate II. " 64

PREFACE

A philosopher and writer has declared that "in our fine arts, not imitation, but creation, is the aim."

It is to emphasise a distinction between an imitative and a creative art that the following chapters are offered.

"Engraving for Illustration" is pre eminently a creative art by which the work of the artist is translated , "in order to render the effect of his design in such a form as will admit of rapid and effective reproduction."

It is, moreover, a popular art with a well defined educative principle underlying the numerous phases of its manifestation; while, at the same time, its historical and general interest will commend this brief record of its progress and influence to many who are lovers of art for art's sake.

J. K. LONDON June 1903 .

ENGRAVING FOR ILLUSTRATION

CHAPTER I

ITS INCEPTION A THEORY OF EVOLUTION A DISTINCT PROGRESS

"In proportion to his force the artist will find in his work an outlet for his proper character." Emerson.

=Its Inception.= It was the dawn of a new sense when primitive man first ornamented his weapons, utensils, and the walls of his cave dwellings with incised drawings, pictorial representations which enabled him to record events or suggest and illustrate thoughts and ideas when his somewhat limited vocabulary failed him... Continue reading book >>




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