Phillip J. Pirages Catalogue 74
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Century American Gilded Picture Frames Hugh Glover
Tech Notes, Fall 2006 Care and use of 19th-century American gilded picture frames Hugh Glover icture frames are a component of most art collections and are subject to wear and tear in their functional role surrounding paint- P ings. Damage to frames occurs during exhibition, storage, and travel, and is caused by handling, hanging processes, adverse environments, neglect, and irreversible restorations. Picture frames are maintained by a variety of preservation specialist and their preservation interests have only rarely been addressed. The following is Section 4 of a larger paper, “A Description of 19th- Century American Gilded Picture Frames and an Outline of their Modern Use and Conservation,” presented in June to the Wooden Artifact Group at the 2006 annual meeting of AIC in Providence, Rhode Island. This sec- tion addresses general preservation, handling and preparation of frames for exhibition. Environment Gilded wood objects are ultra sensitive to environmental conditions and are probably more sensitive than most paintings. Gilded wood in adverse climates experiences detachment and loss of gilding/or- nament, while the accumulation of grime leads to surface darkening and cleaning campaigns that may well cause damage. The protected bright gilding that survives on shadow boxed frames of the second half-century illustrates how more exposed gilding has now been altered by grime, abrasion, and staining from moisture and grease during handling. Handling All gilded objects should be handled with non-marring gloves to avoid abrasions and staining, and even paper towels or cotton cloth will suffice. In practice, however, gilded frames are still handled with bare hands as the frame is considered a safe means of handling the artwork. -
{Dоwnlоаd/Rеаd PDF Bооk} the Oxford Book of Prayer Kindle
THE OXFORD BOOK OF PRAYER PDF, EPUB, EBOOK George Appleton | 416 pages | 25 May 2009 | Oxford University Press | 9780199561230 | English | Oxford, United Kingdom The Oxford Book of Prayer PDF Book It is primarily a liturgical text, meant to be used in corporate worship, and at the same time a literary landmark, a cultural icon, and a focus of identity for Anglican Christianity. Condition: -- not specified. Dear Customer, As a global organization, we, like many others, recognize the significant threat posed by the coronavirus. This amount is subject to change until you make payment. Be the first to ask a question about The Oxford Book of Prayer. Ended: Dec 07, PST. Open Preview See a Problem? Overview Description Reviews and Awards. Gareth Hughes rated it really liked it Jan 21, So when the news breaks that the local council plans to Skip to main content. Church Hymnary 4. Leslie rated it liked it Sep 17, David Simmons added it Dec 23, About the Editors and Contributors. Choose your country or region Close. If you have changed your email address then contact us and we will update your details. May be slightly loose. To purchase, visit your preferred ebook provider. Original Title. Sunday marked it as to-read Oct 20, Added to basket. Related Links. George Appleton. God in the Enlightenment William J. Find out more by clicking here. Expert contributors from around the world and from every major denomination offer an unparalleled view of The Book of Common Prayer and its influence. Loades ed. The Oxford Guide to the Book of Common Prayer is the first comprehensive guide to the history and usage of the original Book of Common Prayer and its variations. -
Copyrighted Material
INDEX A Bertsch, Fred, 16 Caslon Italic, 86 accents, 224 Best, Mark, 87 Caslon Openface, 68 Adobe Bickham Script Pro, 30, 208 Betz, Jennifer, 292 Cassandre, A. M., 87 Adobe Caslon Pro, 40 Bézier curve, 281 Cassidy, Brian, 268, 279 Adobe InDesign soft ware, 116, 128, 130, 163, Bible, 6–7 casual scripts typeface design, 44 168, 173, 175, 182, 188, 190, 195, 218 Bickham Script Pro, 43 cave drawing, type development, 3–4 Adobe Minion Pro, 195 Bilardello, Robin, 122 Caxton, 110 Adobe Systems, 20, 29 Binner Gothic, 92 centered type alignment Adobe Text Composer, 173 Birch, 95 formatting, 114–15, 116 Adobe Wood Type Ornaments, 229 bitmapped (screen) fonts, 28–29 horizontal alignment, 168–69 AIDS awareness, 79 Black, Kathleen, 233 Century, 189 Akuin, Vincent, 157 black letter typeface design, 45 Chan, Derek, 132 Alexander Isley, Inc., 138 Black Sabbath, 96 Chantry, Art, 84, 121, 140, 148 Alfon, 71 Blake, Marty, 90, 92, 95, 140, 204 character, glyph compared, 49 alignment block type project, 62–63 character parts, typeface design, 38–39 fi ne-tuning, 167–71 Blok Design, 141 character relationships, kerning, spacing formatting, 114–23 Bodoni, 95, 99 considerations, 187–89 alternate characters, refi nement, 208 Bodoni, Giambattista, 14, 15 Charlemagne, 206 American Type Founders (ATF), 16 boldface, hierarchy and emphasis technique, China, type development, 5 Amnesty International, 246 143 Cholla typeface family, 122 A N D, 150, 225 boustrophedon, Greek alphabet, 5 circle P (sound recording copyright And Atelier, 139 bowl symbol), 223 angled brackets, -
The 27Th Letter 22:342: Studio Problems in Typography Cutler-Lake
The 27th Letter 22:342: Studio Problems in Typography Cutler-Lake diz DJ Richmond Peter Herr Tim Wozniczka Crystal Dziadosz Objective Process The purpose of this assignment is to 1. Choose one of the following 7. Submit PDFs of a) 300 pt. U&lc, develop a more acute understanding typefaces: Adobe Garamond Pro, b) 60 pt. alphabet, and c) 14 pt. of and appreciation for the intricacies Clarendon, Bodoni, or Didot. Use paragraph to drop box on due date that make up a typeface. roman, medium, or book weight. listed in schedule. That’s three unique documents. No need to print. Assignment 2. Use your tracing paper and black Peter Herr 300pt Create an upper- and lowercase 27th pen/Sharpie to trace parts of letters 27Th Letter letter of the western alphabet. Create from the type specimen sheets, Type Spring 2011 a name for the letter, a place in the provided. Combine these parts to existing alphabet. You will focus on create new letterforms. You should the stress, stroke, and serif of each have 15 to 20 unique invented individual letter, all of which contribute letterforms. to the overall look, personality, and readability of the typeface. 3. Move to the computer, and produce Anne Kopacz best 2 or three at a point size of 300. Though it can be exotic, your 27th Related Terms letter should fit in nicely with the 4. Narrow choices down to one with ampersand glyph arm inverted comma existing alphabet. And it needs to be help from class. Create both upper- ascender ligatures practical. Give special consideration and lowercase versions at 300 points. -
Charles Ricketts' Illustrations for Two of Oscar Wilde's Poems in Prose
3 FAITHFUL INFIDELITY: CHARLES RICKETTS' ILLUSTRATIONS FOR TWO OF OSCAR WILDE'S POEMS IN PROSE Jeremiah Romano Mercurio (University of St Andrews) Abstract The artist, collector, and critic Charles Ricketts (1866–1931) has often been characterised as a reactionary voice in early-twentieth-century debates about modern art. Although he responded conservatively to modern-art developments such as those embodied by the term 'Post-Impressionism', his work in book design and illustration exemplifies progressive strategies of decoration that reconfigure the relationship between author and illustrator as one of collaborative authorship. Ricketts' illustrations are autonomous narratives that not only reproduce the meanings of the texts they represent, but also parody and elaborate on them. Moreover, Ricketts' book designs and illustrations represent a complex resistance to and working out of Oscar Wilde's views on art, language, and orality. Wilde regarded visual art as inferior to language because the latter can embody the graphic and is free from the former's fixity in time and materiality. Ricketts' illustrational strategies are designed, not only to reinforce his own autonomy, but also to disprove Wilde's description of visual art as limited compared with language. Ricketts' progressive strategies of design are epitomized by his unpublished illustrations for Wilde's Poems in Prose (1894), a text which dramatises the centrality of voice to Wilde's poetic endeavour and allows Ricketts directly to challenge Wilde's denigration of the visual arts. By focusing on two representative examples, Ricketts' drawings for 'The Disciple' and 'The House of Judgment', and by providing close readings of both image and text, this piece traces Ricketts' illustrational methods and reveals their debts to Wilde's own theories of orality, language, and visual arts, charting Ricketts' divergences from Wilde's texts and highlighting the critical dialogue implicit in the illustrations. -
The Basques of Lapurdi, Zuberoa, and Lower Navarre Their History and Their Traditions
Center for Basque Studies Basque Classics Series, No. 6 The Basques of Lapurdi, Zuberoa, and Lower Navarre Their History and Their Traditions by Philippe Veyrin Translated by Andrew Brown Center for Basque Studies University of Nevada, Reno Reno, Nevada This book was published with generous financial support obtained by the Association of Friends of the Center for Basque Studies from the Provincial Government of Bizkaia. Basque Classics Series, No. 6 Series Editors: William A. Douglass, Gregorio Monreal, and Pello Salaburu Center for Basque Studies University of Nevada, Reno Reno, Nevada 89557 http://basque.unr.edu Copyright © 2011 by the Center for Basque Studies All rights reserved. Printed in the United States of America Cover and series design © 2011 by Jose Luis Agote Cover illustration: Xiberoko maskaradak (Maskaradak of Zuberoa), drawing by Paul-Adolph Kaufman, 1906 Library of Congress Cataloging-in-Publication Data Veyrin, Philippe, 1900-1962. [Basques de Labourd, de Soule et de Basse Navarre. English] The Basques of Lapurdi, Zuberoa, and Lower Navarre : their history and their traditions / by Philippe Veyrin ; with an introduction by Sandra Ott ; translated by Andrew Brown. p. cm. Translation of: Les Basques, de Labourd, de Soule et de Basse Navarre Includes bibliographical references and index. Summary: “Classic book on the Basques of Iparralde (French Basque Country) originally published in 1942, treating Basque history and culture in the region”--Provided by publisher. ISBN 978-1-877802-99-7 (hardcover) 1. Pays Basque (France)--Description and travel. 2. Pays Basque (France)-- History. I. Title. DC611.B313V513 2011 944’.716--dc22 2011001810 Contents List of Illustrations..................................................... vii Note on Basque Orthography......................................... -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
Critical Introduction to Volume 1 of the Dial (1889)
Critical Introduction to Volume 1 of The Dial (1889) The unsigned “Apology” located on the final page of the first Dial brought out Figure 1. Pictorial Initial "U" Designed by Charles Ricketts for John Gray’s “The Great Worm” by Charles Ricketts and Charles Shannon in August 1889 outlined the editorial defense (apologia) for the eccentric publication: “The sole aim of this magazine is to gain sympathy with its views” (36). The views expressed in this first number were those of a very limited group indeed: four young men based in central London. In addition to co-editors Ricketts and Shannon, who between them produced most of the magazine’s contents, Reginald Savage contributed a single artwork and a series of brief “Notes” on current exhibitions and John Gray provided a fairy tale and a critical essay. Like its Pre-Raphaelite predecessor the Germ (1850), the Dial sought to set the visual and verbal arts in dialogue with each other. Artists illustrated the literary efforts of their colleagues, Ricketts designed textual ornaments for specific pieces of writing (fig. 1), and the magazine as whole engaged with ideas of design. While the Dial might have shared the Germ’s subtitle, “Thoughts Towards Nature in Art and Literature,” its approach is more fantastic, mythical, and decorative. Indeed, the magazine’s artistic vision extends 1 beyond the English Pre-Raphaelites to include the art and literature of the Continent, particularly that of France. The “Apology” concludes with the acknowledgement that “we are out of date in our belief that the artist’s conscientiousness cannot be controlled by the paying public” (36). -
Printed from the Time of Gutenberg’S Were Both Scribes and Illuminators Who Established Invention1
GD 135 HISTORY OF GRAPHIC DESIGN Chapter 6: ����������������������������������������������������� TERMS: PEOPLE AND PLACES: • Incunabula (pg. 85) • Nuremberg, Germany (pg. 89) • Broadsides, broadsheets (pgs. • Martin Luther (pgs. 94-97) 85, 87) • Erhard Reuwich (pg. 89) • Exemplars (pg. 87) • Günther & Johann Zainer (pgs. • Aesop’s Vita et fabulae (pgs. 87, 87-88) 88) • Anton Koberger (pgs. 90-93) • Peregrinationes in Montem Syon • Albrecht Dürer (pgs. 93-95) (pgs. 88, 89) • William Caxton (pgs.97-100) • Nuremberg Chronicle (pgs. 90- • Arnao Guillen de Brocar (pg. 101) 93) • Dürer’s The Apocalypse (pgs. 92, 93) • Teuerdank (pgs. 94, 95) • Polyglot Bible (pgs. 100-101) From a page in Aesop’s Vita et fabulae, 1476. ���������������������������������������������������������������������������������������������������������������������������������� Chapter 6 Study Questions Historians used the term “incunabula” to describe The German brothers Günther and Johann Zainer early books printed from the time of Gutenberg’s were both scribes and illuminators who established invention1. to the end of the 15th century� What does the printing5. businesses that popularized illustrated books� They word “incunabula” mean? expanded beyond topics of religion and theology to include popular literature and folktales such as ________________� A� cradle, or baby linen C� incurable insomniac A� Historia Griseldis and Aesop’s Life and Tales� B� a new era D� a revolution B� The Papyrus of Ani and the Book of the Dead. By 1500, printing was produced in more than 140 C� The Gutenberg Bible and the Psalter in Latin� towns, replacing many of the scriptori which made manuscripts2. � Which of the following is NOT a result of this D� The Qur’an and the Diamond Sutra� new mechanized craft? Erhard Reuwich was the first _________________ to A� Books became less C� Illiteracy increased due be identified as such for his work in Peregrinationes in costly to make� to lack of books� Montem6. -
FINDING AID to the RARE BOOK LEAVES COLLECTION, 1440 – Late 19/20Th Century
FINDING AID TO THE RARE BOOK LEAVES COLLECTION, 1440 – Late 19/20th Century Purdue University Libraries Virginia Kelly Karnes Archives and Special Collections Research Center 504 West State Street West Lafayette, Indiana 47907-2058 (765) 494-2839 http://www.lib.purdue.edu/spcol © 2013 Purdue University Libraries. All rights reserved. Processed by: Kristin Leaman, August 27, 2013 Descriptive Summary Title Rare Book Leaves collection Collection Identifier MSP 137 Date Span 1440 – late 19th/early 20th Century Abstract The Rare Book Leaves collection contains leaves from Buddhist scriptures, Golden Legend, Sidonia the Sorceress, Nuremberg Chronicle, Codex de Tortis, and an illustrated version of Wordsworth’s poem Daffodils. The collection demonstrates a variety of printing styles and paper. This particular collection is an excellent teaching tool for many classes in the humanities. Extent 0.5 cubic feet (1 flat box) Finding Aid Author Kristin Leaman, 2013 Languages English, Latin, Chinese Repository Virginia Kelly Karnes Archives and Special Collections Research Center, Purdue University Libraries Administrative Information Location Information: ASC Access Restrictions: Collection is open for research. Acquisition It is very possible Eleanore Cammack ordered these Information: rare book leaves from Dawson’s Book Shop. Cammack served as a librarian in the Purdue Libraries. She was originally hired as an order assistant in 1929. By 1955, she had become the head of the library's Order Department with a rank of assistant professor. Accession Number: 20100114 Preferred Citation: MSP 137, Rare Book Leaves collection, Archives and Special Collections, Purdue University Libraries Copyright Notice: Purdue Libraries 7/7/2014 2 Related Materials MSP 136, Medieval Manuscript Leaves collection Information: Collection of Tycho Brahe engravings Collection of British Indentures Palm Leaf Book Original Leaves from Famous Books Eight Centuries 1240 A.D.-1923 A.D. -
Part 3 EOS HD Video Capture Basics EOS Immersion Seminars 2011: Class Notes Part 3: EOS HD Video Capture Basics
EOS Immersion Seminars 2011: Class Notes Part 3 EOS HD Video Capture Basics EOS Immersion Seminars 2011: Class Notes Part 3: EOS HD Video Capture Basics Table of Contents Table of Contents 2 I. Introduction 5 1. EOS HD Video Capture Basics ........................................................... 5 2. Image Quality .................................................................................... 5 3. Lens Selection .................................................................................... 5 4. Size .................................................................................................... 6 5. Cost ................................................................................................... 7 II. HD-Compatible EOS Digital SLRs 8 1. Feature Comparison ........................................................................... 8 2. Sensor Size Comparison ..................................................................... 9 3. Depth of Field Comparison ............................................................... 10 Large Aperture Lenses .................................................................................................. 11 Tilt-Shift Lenses ............................................................................................................. 12 Macro Lenses ................................................................................................................ 13 Ultra-Wide Angle & Fisheye Lenses ............................................................................. -
Praying the Liturgy of the Hours
Praying the Liturgy of the Hours The Liturgy of the Hours, also known as the Divine Office or the Work of God (Opus Dei), is a beautiful and ancient tradition in the Church marking the hours of each day and sanctifying the day with prayer. It is not reserved for clerics and religious (although they take vows to say it), but can also be prayed by the lay faithful. In fact, the Second Vatican Council highly encouraged the laity to “recite the divine office [especially Morning and Evening Prayer-the Major hours], either with the priests, or among themselves, or even individually” (Sacrosanctum Concilium, 100). The Hours are a meditative dialogue on the mystery of Christ, using scripture and prayer. The foundation of the prayer is simple – praying the Psalms – but in practicality can be difficult. If one chooses to purchase a physical breviary (the book that contains the Liturgy of the Hours, it can be challenging – especially if no one is there to show you what to do. However, after an initial introduction to praying the Liturgy of the Hours, it becomes much easier and soon it will be like clockwork. There are two main forms of the breviary. You can purchase a four-volume set entitled The Liturgy of the Hours from the Catholic Book Publishing. You can usually purchase for as low as $155. However, you can also purchase one volume at a time: This four-volume set contains prayers for all the hours of the day: Office of Readings (Major Hour); Lauds or Morning Prayer (Major Hour); Daytime Prayer (minor hour(s)-one or more of Terce (Midmorning), Sext (Midday), or None (Midafternoon); Vespers (Major Hour); and Compline or Night Prayer.