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For years illustration has lacked a strong critical history in which to frame it, with academics and media alike assessing it as part of design rather than a discipline in its own right. Illustration Research Methods addresses this void and adds to a fast-emerging discipline, establishing a lexicon that is specific to discussing contemporary illustration practice and research. The chapters are broken down into the various roles that exist within the industry and which illustration research can draw from, such as 'Reporting' and 'Education'. In doing so, users are able to explore a diverse range of disciplines that are rich in critical theory and can map these existing research methodologies to their own study and practice. Supported by a wealth of case studies from international educators, student projects sit alongside those of world-renowned illustrators. Thus allowing users the opportunity to put what they have learnt into context and offering insight into the thinking and techniques behind some of illustrations' greats.
766 <03> --- 655.533 --- 76:655.5 <03> --- 655.533 Boekillustratie --- 655.533 Book illustrations. Pictorial matter in books --- Boekillustratie --- Book illustrations. Pictorial matter in books --- 766 <03> Toegepaste grafische kunsten. Gebruiksgrafiek: Commerciële grafiek--Naslagwerken. Referentiewerken --- Toegepaste grafische kunsten. Gebruiksgrafiek: Commerciële grafiek--Naslagwerken. Referentiewerken --- 76:655.5 <03> Grafische kunsten. Grafiek. Prentkunst-:-Geïllustreerde boeken (boekillustraties)--Naslagwerken. Referentiewerken --- Grafische kunsten. Grafiek. Prentkunst-:-Geïllustreerde boeken (boekillustraties)--Naslagwerken. Referentiewerken --- Didactics of the arts --- Graphic arts --- onderzoek in de kunsten --- illustratieve vormgeving
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The seventh in our series of Four Corners Familiars takes us to Ruritania, a land redolent of many Central European countries, but not on any map. There, an English gentleman is mistaken for the country's soon-to-be-crowned King and falls into this remarkable doppelganger to protect the nation's best interests.Mireille Fauchon's edition of the classic adventure novel introduces us to the landscape, people and customs of Ruritania, and to a time (thankfully long-distant) when the English regarded the rest of Europe as a strange and sinister place.The typefaces used in this edition are: Rudy, for the display text, designed for this edition by John Morgan and Adrien Vasquez; Renner Antique Medium for the body text; Venus Linkskursiv for the colophon."The face is used for the book?s title pages and chapter headings and was designed by John Morgan and Adrien Vasquez.Cleverly it echoes the book?s theme of doppelgängers, which is also implied through a doubling up of title plates on the cover (one is a hologram, a nice take on the notion of authenticity). To create the Rudy typeface, Morgan explains, 'the distortion of each letterform is rationalised to a twice vertical repeat.'Rudy is named after King Rudolf Rassendyll of Ruritania from the story (and after one of Morgan?s sons) and was apparently an attempt to give the book?s pages the texture of Blackletter. Morgan also cites the typographic experiments of Raymond Hains as a direct influence on the work."- Mark Sinclair in Creative ReviewBron : https://www.fourcornersbooks.co.uk/books/the-prisoner-of-zenda/
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