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This lavish collection of royalty-free engravings by the celebrated 19th-century artist F. Knight — reproduced directly from a rare original edition — contains elaborate wall murals with trompe-l’oeil effects; scenes of hunters, flanked by mythological figures; idealized damsels in rustic settings; and numerous other florid motifs.
Presents a collection of Victorian images, along with a CD-ROM which contains each image to use in a variety of clip art projects.
Selected from a rare Victorian sourcebook, here are 286 immediately usable illustrations: wallpaper patterns, columns, pilasters, curtain arms, window blinds, doorknockers, bell pulls, and much more.
This immensely usable archive of vintage illustrations not only offers a wonderful window on the goods and merchandise of a bygone era, but is an absolute treasure trove of easily reproducible graphic art as well. Some 2,300 cuts culled from such rare nineteenth-century periodicals as The Art Journal, The Illustrated London News, The Scientific American, and The Youth's Companion have been organized in convenient categories: clothes, furniture, kitchenware, toys and games, musical instruments, stationery supplies, domestic accessories, and much more. Among them are detailed and highly reproducible illustrations of fans, corsets, toiletry kits, jewelry, roller skates, a baby carriage, bicycles, baseball gloves, a pencil sharpener, crayons, fountain pen, typewriter, drafting tools, compass, microscope, feather duster, parasol, small table with smoking paraphernalia, high-topped "storm slippers," and hundreds of other objects.
For centuries now, visual communication design has celebrated national identities (through the now-iconic identity systems developed for the Olympic Games, for example) at the same time as it transcends international borders, such as through the far-reaching influence of the Bauhaus and the International Typographic Style. Today, of course, such transcendence is easier than ever. In an era of nearly instantaneous global access, enabled by increasingly ubiquitous wireless connections, the world seems very small. Presented in five languages—English, French, German, Italian, and Spanish—Graphic Design, Translated is a reflection of the increasingly international nature of visual communication design. Illustrated with examples from around the globe, the book is a compilation of more than 200 of the profession’s most common terms, culled from a broad range of categories: design history, printing and paper, typography, digital technology, and general design practice. All of which makes this volume an essential reference for students, practitioners, clients–indeed, anybody interested in the global scope of today’s visual communication design.
Rare 1847 plates adapted from Egyptian carpeting, Grecian railings, Elizabethan ceiling patterns, Italianate ironwork, other design traditions. Borders, corners, frames, rosettes, much more. 190 illustrations.
These 300 frames and borders come in a remarkable array of shapes and styles, including Art Nouveau, Victorian, and Arts and Crafts. Use them to frame messages and pictures, and add a polished, decorative touch to any project. Four for each image: EPS and SVG vectors, and JPEG and PNG bitmapped versions.
This book is a single-source guide to planning, designing and printing successful projects using the Adobe Creative Suite. Packed with real-world design exercises, this revised edition is fully updated to align with CS. Dozens of sidebars and step-by-step descriptions walk readers through the design process in the same order actual projects are implemented Content progresses from planning through execution
When women were admitted to the Royal Academy Schools in 1860, female art students gained a foothold in the most conservative art institution in England. The Royal Female College of Art, the South Kensington Schools and the Slade School of Fine Art also produced increasing numbers of women artists. Their entry into a male-dominated art world altered the perspective of other artists and the public. They came from disparate levels of society--Princess Louise, the fourth daughter of Queen Victoria, studied sculpture at the National Art Training School--yet they all shared ambition, talent and courage. Analyzing their education and careers, this book argues that the women who attended the art schools during the 1860s and 1870s--including Kate Greenaway, Elizabeth Butler, Helen Allingham, Evelyn De Morgan and Henrietta Rae--produced work that would accommodate yet subtly challenge the orthodoxies of the fine art establishment. Without their contributions, Victorian art would be not simply the poorer but hardly recognizable to us today.