By Edith A. Standen
This scholarly two-volume catalog of the Metropolitans eu post-Medieval wall and furnishings tapestries has been meticulously researched and produced. each one tapestry is gifted separately with an outline and a photo (most are black-and-white) and knowledge as appropriate approximately its situation, the resource of the layout, the topic, the weaver and date, comparable tapestries, background of the piece, and former exhibitions and courses.
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European Post-Medieval Tapestries and Related Hangings in the Metropolitan Museum of Art
This scholarly two-volume catalog of the Metropolitans eu post-Medieval wall and furnishings tapestries has been meticulously researched and produced. every one tapestry is gifted separately with an outline and a photo (most are black-and-white) and data as acceptable approximately its situation, the resource of the layout, the topic, the weaver and date, comparable tapestries, historical past of the piece, and former exhibitions and guides.
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Additional resources for European Post-Medieval Tapestries and Related Hangings in the Metropolitan Museum of Art
The Because of trifle thickness of the thin bar is the correct space between letters and the thick bar the space between words. By applying the lessons learned in chapter No. 5, your eye will soon tell you how to space correctly between w^ords and between letters. " These letters were done by the square and circular method. Of course, they are not so graceful as the other letters, which were done But this mechanical method is so simple freehand. that anybody can work it out successfully. Of course It cannot be used for lower-case it has its limitations.
It is not a question of how much ground one covers, when practicing, that produces results, but the time spent in concentration upon a few^ letters to Another point the get a fair idea of their formation. writer would like to emphasize is that all Roman letters, composed of light and heavy lines, are made with the tip of the brush, using little, or no, pressure. All heavy face type, such as full block, or Egyptian, is full stroke of the brush, using the entire length of the hair in the operation.
35 CHAPTER IV. Planning the Show-Card. The spacing and laying out of letters on a showimportant as the formation of each letter, and we consider it important enough to devote an entire chapter to the planning of the Show^-Card. Poor lettering properly spaced w^ill present a much better appearance than perfect letters poorly spaced. There is no set rule governing the spaces between letters and words. The whole thing is gauged by approximates until the eye becomes trained to the proper distances between letters and words.