# bib

id: 43557
author: Hinton, A. Horsley (Alfred Horsley)
title: A Handbook of Illustration
extension: .txt
mime: text/plain
words: 28702
sentence: 1112
flesch: 60
cache: cache/43557.txt
txt: txt/43557.txt
summary:
  Nor does it appear that the gigantic dimensions, and high state of perfection, which Process illustration has reached, in any way represents the limit of its possibilities in either respect. While many methods of illustration _may_ be learned and practised in a mechanical manner, the course is beset with difficulties and pitfalls, and, to the artistically unlearned, the alternative dangers of gross error and sheer imitation are ever present.


id: 20165
author: Storey, G. A. (George Adolphus)
title: The Theory and Practice of Perspective
extension: .txt
mime: text/plain
words: 42552
sentence: 2393
flesch: 78
cache: cache/20165.txt
txt: txt/20165.txt
summary:
  Through _F_, where _PS_ intersects _MK_, draw _AV_ till it cuts the horizon in _V_, its vanishing point. Suppose we wish to draw a fireplace or a piece of furniture _K_, we measure its base _ef_ on _AB_, as far from _B_ as we wish it to be in the picture; draw _eo_ and _fo_ to point of sight, and proceed as in the previous figure by drawing parallels from _Oo_, &c. Let it be observed that the great advantage of this method is, that we can use it to measure such distant objects as _XY_ just as easily as those near to us.


id: 30325
author: Ruskin, John
title: The Elements of Drawing, in Three Letters to Beginners
extension: .txt
mime: text/plain
words: 74353
sentence: 2363
flesch: 66
cache: cache/30325.txt
txt: txt/30325.txt
summary:
  Every hue throughout your work is altered by every touch that you add in other places; so that what was warm a minute ago, becomes cold when you have put a hotter color in another place, and what was in harmony when you left it, becomes discordant as you set other colors beside it; so that every touch must be laid, not with a view to its effect at the time, but with a view to its effect in futurity, the result upon it of all that is afterwards to be done being previously considered. In distant effects of rich subject, wood, or rippled water, or broken clouds, much may be done by touches or crumbling dashes of rather dry color, with other colors afterwards put cunningly into the interstices.


id: 14264
author: Speed, Harold
title: The Practice and Science of Drawing
extension: .txt
mime: text/plain
words: 77113
sentence: 3045
flesch: 66
cache: cache/14264.txt
txt: txt/14264.txt
summary:
  But the steadying influence and discipline of line work were never more necessary to the student. These and many things connected with expression can best be studied in line work.


id: 46915
author: Leonardo, da Vinci
title: A Treatise on Painting
extension: .txt
mime: text/plain
words: 72614
sentence: 4164
flesch: 77
cache: cache/46915.txt
txt: txt/46915.txt
summary:
  The nose keeps it off from great part of the mouth, and the chin from the neck, and such other parts. From this effect it often happens that a high tower, seen at a great distance, will appear broad at top, and narrow at bottom; because the thin air towards the top does not prevent the angles on the sides and other different parts of the tower from being seen, as the thick air does at bottom.


id: 26716
author: Ruskin, John
extension: .txt
mime: text/plain
words: 316551
sentence: 11301
flesch: 68
cache: cache/26716.txt
txt: txt/26716.txt
title:
  The Crown of Wild Olive also Munera Pulveris; Pre-Raphaelitism; Aratra Pentelici; The Ethics of the Dust; Fiction, Fair and Foul; The Elements of Drawing

summary:
  (_Race between_ LILY _and_ ISABEL.) (_Re-enter_ ISABEL _with the box, very much out of breath. You may, perhaps be surprised, when I tell you, that (putting the question of _subject_ aside for the moment, and speaking only of the mode of execution and aim at resemblance), you have there a perfect example of the Greek ideal of method in sculpture.


