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Drawing Type: An Introduction To Illustrating L...

Important nineteenth century illustrators in England included: the Romantic visionary artist John Martin (1789-1854), most of whose apocalyptic landscape pictures were reproduced in the form of engravings and book illustrations, from which he derived his fortune; the landscape painter and etcher Samuel Palmer (1805-81), who produced a series of etchings illustrating Virgil's Eclogues; Edward Lear (1812-1888), famous for his landscape, literary and nonsense illustrations; the engraver Hablot Knight Browne (1815-82), aka PHIZ, renowned for his interpretative illustrations of works by Charles Dickens, notably Pickwick, David Copperfield, Dombey and Son, Martin Chuzzlewit, and Bleak House; the eminent wood-engravers George Dalziel (1815-1902) and Edward Dalziel (1817-1905), whose firm was probably the largest source of Victorian book illustrations in Britain: George was also frequently commissioned by the Illustrated London News; the celebrated caricaturist and illustrator John Leech (1817-64), who created over 3,000 drawings for Punch alone; the great Romantic figurative painter John Everett Millais (1829-96) whose many pen-and-ink drawings (The Race-Meeting, 1853, Ashmolean Museum, Oxford) led him in 1857 to illustrate an edition of Tennyson's poems: during the 1860s he was a prolific illustrator, both for magazines, notably Once a Week, and for novels, especially those of Trollope; the English designer and medievalist William Morris (1834-96), champion of the Arts and Crafts movement, who in his final years produced (via his Kelmscott Press) an edition of the works of Geoffrey Chaucer, which is still seen as a masterpiece of book illustration and design; the Pre-Raphaelite John William Waterhouse (1849-1917), best remembered for his famous masterpiece The Lady of Shalott (1888) - an illustration of Alfred Tennyson's poem the Lady of Shalott from Camelot. The end of the century witnessed the brilliance of the highly original English Art Nouveau illustrator Aubrey Beardsley (1872-98), best-known for his erotic but sparse black-and-white illustrations. Art editor of The Yellow Book, Beardsley's most famous pen and ink drawings include his illustration of Malory's Morte d'Arthur and Oscar Wilde's Salome (Princeton University Library, New Jersey). Strongly influenced by woodcut and silhouette, his sinuous line and his fantastic exaggeration of natural forms were later incorporated into the pictorial language of the international Art Nouveau style. After leaving The Yellow Book, Beardsley joined the recently founded Savoy Magazine, which published some of his best designs. He also completed another set of illustrations for a privately printed edition of Aristophanes' Lysistrata.

Drawing Type: An Introduction to Illustrating L...

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The 1880s and 1890s witnessed a major breakthrough in printing, which made it possible to replicate a pen and ink drawing exactly as drawn. This was followed by the invention of halftone engraving, a radically new method of translating tonal pictures resulting in a much more faithful reproduction of a painting; and a new chromolithographic printing process capable of printing colour even earlier than the halftone engraving process. The printing process itself was made faster and cheaper with the introduction of new high speed rotary printing presses. Because of all this, publishers were able to print more, better-looking pictures, which in turn attracted more readers. Also, the first comic-strips began to appear. By 1900, the list of important American illustrators included Robert Blum, William H. Bradley - known as the "American Beardsley" - who made his reputation from poster design, A. B. Frost, William Glackens, Jules Guerin, Arthur I. Keller, George Luks, Eric Pape, Edward Penfield - the pioneer of poster art in America, Howard Pyle, Ethel Reed, Frederic Remington, Reuterdahl, Everett Shinn, A. B. Wenzell, and Zogbaum. Some were French-trained, but nearly all were aware of major European developments in the art of illustration, notably the explosion of poster art championed by French poster artists Toulouse-Lautrec, Jules Cheret and Alphonse Mucha, as well as the British "Beggerstaff Brothers," and Aubrey Beardsley.

The new century would be dominated by American commercial illustration, not least because of its powerful publishing and printing industry. The introduction of four-colour letterpress printing technology made possible the faithful reproduction of a full color painting. Henceforth illustrators could have their drawings and paintings reproduced exactly as created. Soon, publications like Harper's Weekly, McClure's, Scribner's, and The Century began to attract America's best painters as freelance illustrators. New publications appeared, including the Saturday Evening Post, Collier's Weekly, American Magazine, McCall's, Peterson's, Woman's Home Companion, Metropolitan, Outing, The Delineator, All-Story Magazine, Vogue and others, leading to a huge increase in opportunities for illustrative artists, although this did not prevent the use of labour-saving devices like cameras, Balopticans and pantographs. Young talented illustrators at this time included Stanley Arthurs, Harvey Dunn, Edward Hopper, Frank Schoonover and N.C. Wyeth, along with outstanding women-artists like Elizabeth Shippen Green, Violet Oakley, Jessie Willcox Smith, Sarah S. Stillwell and Ellen Thompson.

Throughout the program, you create a diverse portfolio that represents your drawing ability and artistic strengths that can be used to apply for further programs of study. An annual showcase provides an opportunity to exhibit your best works and interact with industry professionals, peers, family and friends. This foundational training provides you with an introduction to more advanced drawing-related programs including, but not limited to:

Inspire Pro is a great introduction into digital drawing. The simple layout is easy to navigate, but still offers up a lot of great tools for creation. Fast rendering times makes this application a contender for one of the best drawing apps out there on the App Store.

Drawing a model in 3D is different from drawing an image in 2D. This introduction to drawing basics and concepts explains a few ways you can create edges and faces (the basic entities of any SketchUp model). You also discover how the SketchUp inference engine helps you place those lines and faces on your desired axis. 041b061a72


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