Part 2 — INDEX.
Reading edition
Ability, Natural, versus instruction,
17
,
18
,
19
Action,
55
Aldine printing,
158
,
199
,
200
Aldus type,
199
,
200
Alphabets (See Lettering),
158
,
181
,
202
,
209
America, The printer in,
159
,
160
Analyzation of the naso-labial line,
86
,
87
Arabic lettering,
198
,
218
,
222
Artist, How the, sees (See Eye, Education of),
56
,
59
Artist, Reader not to be discouraged if he cannot become a full-fledged,
18
,
19
,
80
Art school methods,
56
,
58
,
62
,
65
–
71
,
74
Assyrian letters,
207
Auriol, Georg,
175
,
177
,
179
,
191
,
198
,
204
,
205
,
216
,
217
,
218
,
230
Axis, Every object has its,
52
,
55
Balance in design,
48
,
204
Ballantyne, Messrs,
183
Bargue and Gérôme, Studies published under direction of,
66
,
67
,
80
,
98
,
99
,
100
Bauernfeind alphabets,
181
,
186
,
187
,
188
Beggarstaff Brothers,
214
,
215
,
219
Begin, How should one, to learn to draw,
19
Ben Day film,
75
Bergomensis letter (See Lettering),
193
,
194
,
198
,
209
Bible manuscripts,
209
,
210
Blocking in shadows by outline,
63
–
67
,
70
Bonnard, Pierre,
87
,
88
,
90
,
92
,
94
,
95
,
96
,
117
Bonnat, Léon,
54
,
55
,
91
,
92
,
94
Boxwood,
224
,
230
Broad black line desirable for lettering, “devices,” and designs in general,
167
–
71
Broad drawing recommended to printers,
78
Brun, A,
92
,
94
,
97
Burns, Robert, Statue of,
177
,
178
Byzantine design,
222
Caricature,
46
,
139
,
142
,
144
,
213
Caricaturing beneficial to draftsman,
22
Caroline lettering (See Lettering),
155
,
189
,
191
,
192
,
194
,
198
,
204
Cartoon, Newspaper, style (See Printing),
127
Casts, Plaster, used as studies,
68
–
71
,
74
Caspari,
169
,
173
,
177
,
179
Catalogues,
170
Caxton,
158
,
189
,
200
Celtic interlacing,
189
,
222
Chalk plate,
129
,
143
,
156
,
161
,
230
,
238
Chap-Book style,
225
,
227
,
228
,
229
Chapter Headings (See Initial Letters),
18
,
121
,
123
,
167
,
168
,
182
,
189
,
204
,
205
,
215
–
218
,
220
,
222
Character of objects,
103
,
144
Charcoal drawing,
212
Chaume, Geoffroy de,
136
,
137
,
141
Chinese lettering,
207
Choudieu, Pierre Réné,
87
,
88
,
90
,
92
,
94
,
95
,
100
,
101
,
197
Color printing,
238
Copperplate,
236
–
238
Cover design,
157
,
162
,
166
,
169
–
174
,
176
,
177
,
179
,
204
,
222
Crane, Walter,
160
Crawhall, Joseph,
228
,
229
Crayon drawing,
212
Cross-hatched lines (See Printing, Technic adapted to),
117
,
123
Dagnan-Bouveret,
72
,
76
,
82
,
84
,
85
Dailly,
213
,
214
David d’Angers,
136
,
137
,
148
Decorated page, the,
123
,
124
,
161
,
168
,
169
,
182
,
203
,
205
,
216
,
217
“Decorative Illustration”,
160
Design considered,
158
,
163
–
173
,
216
–
218
Design, Economy in,
177
,
179
Design, Use of heavy blacks in,
167
,
171
Designing of value to the printer,
18
,
200
–
202
Designs, Small, as difficult as large,
18
Detail versus broad drawing,
74
,
76
,
90
d’Illzach, Ringel,
136
,
138
,
150
Dollman, J. C.,
139
Donatello,
103
,
104
Don Chisciotte
,
32
Dots, Eccentric use of,
129
,
130
Dragon’s blood,
235
Draw as though tracing on a window pane,
35
Draw by lamplight,
94
Drawing-board recommended,
78
Drawing Finished, and original “placing” compared,
63
–
70
Drawing, Finished and rough compared,
73
,
78
,
80
,
81
Drawing fragments for practice helpful,
65
Drawing from pasteboard boxes good training in light and shade,
76
Drawing, How to begin a,
19
,
49
–
55
Drawing not arbitrary,
86
,
103
Drawing, Preliminary placing of objects in beginning a,
45
,
50
–
66
,
211
,
212
Drayton, Michael,
184
Dürer, Albrecht,
76
,
187
Durham Book,
202
Eaton, Wyatt,
116
,
117
,
118
Economy of line,
226
Egyptian, The, hieroglyphic and hieratic writing,
207
,
208
,
209
Element defined,
52
English Old Style lettering,
200
,
219
Enlarging a drawing,
75
,
113
Engström, Albert,
22
,
28
,
29
,
30
,
132
,
133
,
236
Etching, Art of,
237
Etruscan, The, letter,
158
Eye, Untrained, sees incorrectly,
19
Eye, Education of the,
19
–
25
,
50
,
74
,
76
,
78
Eye, Drawing of the,
103
–
105
Eyesight, Knowledge of effect necessary beyond mere,
84
Face, Drawing of a, and head,
84
,
85
,
90
–
92
,
101
–
109
,
132
,
133
,
136
,
144
Finished drawing and original “placing,” compared,
63
–
70
Finished drawing and rough drawing, compared,
73
,
78
,
80
,
81
Foot, Drawing a,
98
,
99
,
100
Forain,
127
,
139
,
142
,
144
,
161
Fonts, Modern,
158
Form,
69
,
76
–
78
French art school studies,
57
,
66
,
67
French names,
94
,
96
,
100
French Old Style lettering,
167
,
175
,
198
,
200
French printers,
160
,
161
,
175
Frontal muscle, lines made by,
107
Gaillard, C. F.,
76
,
77
,
78
,
80
,
82
,
84
,
103
Geometrical forms,
59
–
62
Gerbault, H.,
24
Girardet, Jules,
36
Gothic letters,
155
,
181
,
182
,
187
,
188
,
191
,
193
,
197
,
198
,
200
,
203
,
204
,
206
Grasset, E.,
32
,
33
,
39
,
59
,
63
,
64
,
166
,
168
,
172
,
173
,
177
,
179
,
191
,
192
,
197
,
203
,
204
,
217
,
230
,
234
,
236
Greek manuscript,
209
Grellet, F.,
101
,
103
–
107
,
109
Grolier,
218
Guillaume,
125
,
126
,
129
,
143
Gütenberg,
200
Half-tones,
148
,
160
,
167
,
170
,
177
Hassall,
177
,
179
,
230
Hats,
23
,
24
,
26
,
27
Hebrew alphabet,
208
Herkomer, Hubert,
50
,
51
,
52
,
59
,
60
,
61
,
63
,
65
Hieroglyphs,
207
High light,
42
Historic associations of certain alphabets. (See Lettering),
202
,
224
Holbein,
218
,
220
,
222
Initial letters, Chapter headings,
18
,
121
,
123
,
167
,
168
,
182
,
189
,
204
,
205
,
215
–
218
,
220
,
222
Introduction to Part II,
154
,
155
,
158
–
162
Irish text,
158
,
202
,
203
Italian lettering. (See Lettering),
181
,
185
,
187
,
195
,
198
–
200
,
209
Italic letter. (See Lettering),
195
,
199
,
200
Japanese brush,
87
Japanese designing,
48
,
217
,
218
Japanese graphic art without Occidental modeling,
71
Japanese synthetic drawing,
59
Japanese use chalk plate,
238
Jenson,
158
,
174
,
200
Jewett, Llewellynn,
227
Kelmscott type,
186
Knaus, Ludwig,
82
–
85
Landscape,
130
,
140
,
144
,
148
,
150
Lansyer, E.,
20
Larousse’s Dictionary,
166
,
201
,
202
,
204
,
208
,
209
,
231
Latin capitals,
197
,
198
La-Tour, Fantin,
68
–
71
,
148
Lautrec, H. de F.,
211
,
212
Lefébvre, J.,
105
,
106
,
107
Leloir, Maurice,
147
,
220
LeRoux, E.,
139
,
140
,
144
Lettering,
155
,
158
,
166
–
169
,
171
–
175
,
180
–
210
Lettering must follow historical principles,
180
,
187
Letters based on the circle and the square,
183
Light and dark, Spots of,
47
,
48
,
90
Lighting, Unusual, on head,
141
,
148
,
149
Line, Broad,
167
–
171
Line, Value of a,
56
Lines used to indicate organic parts,
56
,
57
,
58
,
84
Lithography,
69
,
109
,
238
Local color,
42
,
43
,
47
,
71
Lœwe-Marchand,
74
,
75
,
84
Lombardic lettering,
198
Lormier. E.,
136
,
138
Lucas, F. H.,
144
Luca della Robbia,
103
,
107
,
109
Lucidario page,
185
,
186
,
195
,
200
Luque, M.,
40
,
41
,
42
,
46
,
146
Mannerisms of a caricaturist,
46
Mantelet, Albert,
214
,
215
Marchetti,
121
,
123
,
126
Masses of light and dark appropriate for rough printing,
167
–
172
Masses of shadows,
74
,
76
,
90
Materials, Drawing, and technic of slight consequence compared with correct seeing,
19
,
86
,
87
Medallions, David d’Angers,
136
,
137
,
148
Medallions, Lormier, E.,
136
,
138
Medallions, Ringel d’Illzach,
136
,
138
Millais, John Everett,
45
Minnesinger song book, Page from a,
182
Minnesinger lettering,
182
,
192
–
195
,
200
,
209
Modern Roman lettering. (See Lettering),
200
Modeling,
137
Moloch, B.,
30
,
31
,
236
Monet, Claude,
148
,
150
Monumental letters. (See Lettering),
188
,
204
,
209
Moorish design,
218
,
222
Morris, William,
155
,
158
,
161
,
165
,
174
,
200
Moullier,
129
,
130
Mouth, Study of the,
104
,
106
,
107
,
132
,
133
Munkacsy, Michael,
53
,
55
Naso-labial line,
80
–
90
,
101
,
102
,
109
Newspaper illustration. (See Printing),
113
,
119
,
125
–
129
,
143
,
156
,
161
–
168
,
238
,
239
Newspaper portraiture,
116
,
117
Nose, The wing of the,
84
,
85
Nostril, The shadows of the,
84
,
85
Observation, Value of,
25
Old age, How to portray,
101
,
105
,
107
,
169
Old English font,
158
Orbicular muscle, Lines made by,
105
Organic lines defined and illustrated,
56
,
58
Ornamentation, Aimless,
203
Ornamentation of Northern and Southern scribes compared,
198
Outline, Beginner advised to use, almost exclusively,
47
Outline, Connecting link between, and shaded drawing,
72
,
73
Outline, Force of,
41
,
132
,
139
,
140
,
144
,
145
,
213
,
214
Outline, Mastery of, recommended to the printer,
23
Paper,
141
,
165
,
167
Papyrus,
208
Parallel lines. (See Printing),
115
,
117
,
123
,
125
Paul, Herman,
132
,
145
Pens, Various, may be used,
118
,
120
Pen-Drawing, A, may be on large or small scale,
113
Penlick,
214
,
221
Pen practice, Method of,
117
,
129
,
131
Pen technic,
112
–
130
,
135
,
139
–
146
,
147
Pen technic from printers’ view-point,
113
Perspective,
19
,
20
,
22
,
35
,
36
,
38
,
39
Petrarchian letters,
200
Phœnician letters,
158
,
208
,
209
Photo-engraving,
113
–
148
Placing, Preliminary, of objects in beginning a drawing,
45
,
50
–
66
,
211
Plane, Objects seen in one,
33
,
34
,
39
Plant form,
205
,
206
Pomeroy, F. W.,
178
Posters,
177
–
179
,
219
Preface,
3
–
5
Printer must have an educated taste to design correctly,
200
,
201
Printing, Artistic,
154
–
167
,
203
,
223
,
229
Printing, City newspaper,
115
–
119
,
127
–
129
,
143
,
156
,
161
–
168
,
239
Printing, Country newspaper,
113
–
119
,
125
–
129
,
156
,
161
–
168
,
238
Printing, Magazines,
113
–
115
,
118
Printing, Printers’ experience a guide in adapting technic to,
113
,
115
Printing, Recent change in the character of,
17
Printing, Rough, defined,
164
Printing, Technics which are adapted to,
23
,
32
,
68
,
78
,
79
,
90
,
92
,
108
,
112
–
119
,
123
,
127
,
128
,
177
Process plate,
230
Proportion and direction,
50
–
55
Proportions,
65
Quill pen,
116
,
118
,
191
–
195
,
197
,
198
,
200
Ratdolt, Erhard,
158
Reed pen,
208
Reduction of drawing for printing,
112
–
119
,
124
,
146
,
149
,
150
,
164
,
171
,
176
,
215
Renaissance lettering,
155
Renard, E.,
114
,
115
,
123
Resumé of Part I,
133
–
150
Ricketts, Charles,
183
,
184
Rivoire,
176
,
179
Rococo design,
220
Rogel, Hans,
187
,
188
,
194
,
198
,
209
Roman lettering. (See Lettering),
155
,
198
Schafhausen,
225
,
226
,
228
Scratch-board, Whites in, and wood engraving,
91
,
92
,
93
,
94
,
138
,
148
Seeing properly, Drawing a matter of,
19
–
27
,
50
,
74
–
78
Shaded drawings,
42
,
43
,
46
,
47
,
48
,
66
–
78
,
146
,
214
Shadows, Finding direction of,
65
,
66
,
67
,
70
Shadows, Large,
versus
minor ones,
74
,
76
Shadows, Thrown and modeling,
43
,
46
,
149
Sickert, Walter,
118
,
119
,
150
Silhouette, An old-fashioned,
125
,
204
,
230
Silhouette, its use as typographical ornament,
32
Silhouette, used by Egyptians,
26
,
27
Silhouetting, Practice in, objects,
33
,
157
,
213
,
214
Solid Blacks, (See Silhouette)
Spanish scribes,
198
St. Elme,
123
,
124
,
126
Stevenson, Robert Louis, portrait of,
116
,
117
,
118
Still-life studies,
142
,
145
Stimmer, Chr.,
187
,
188
,
198
,
209
Stipple,
138
Strange’s book on alphabets recommended,
181
,
187
,
202
,
204
Stuck, Franz,
171
,
172
,
173
,
177
,
236
Summary,
211
Synthetic drawing,
58
,
59
,
62
Taste. (See Printing, Artistic),
158
,
159
,
160
,
161
,
163
,
165
Technic. (See Pen Technic),
87
Texture,
30
,
41
,
42
,
82
Thick and thin pen lines. (See Printing),
118
Tint lines,
228
,
231
Touraine font,
158
Toussaint, T.,
88
,
89
Transfer, How to, a drawing,
131
Typographer should be designer,
17
Vale press,
183
,
185
,
186
Vallet,
128
,
129
Vallotton heads,
133
,
134
,
135
Values,
42
,
43
,
68
–
71
,
94
Venetian lettering,
198
,
204
Verdyen,
92
,
93
Vierge, Daniel,
122
,
123
Visigothic letter,
155
,
158
,
198
Walker, Fred,
101
,
102
,
149
Watts, George Frederick, R. A.,
78
–
88
,
90
,
94
,
101
,
103
,
107
,
112
,
113
White, Gleason,
183
Windows in perspective. (See Perspective),
19
,
20
,
22
Wood engraving,
134
,
135
,
153
,
218
,
220
,
223
,
230
Wood engraving, Practice,
224
,
232
,
233
Written language,
207
,
208
Youth, Portrayal of,
101
–
108
Zinc plate,
75
,
230
–
236