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Discomforts of an Epicure, 1787 (image 27 x 20 cm, in mat 43 x 33 cm) [1]. This is a descriptive list of erotic etchings and drawings by Thomas Rowlandson, based upon the research of Henry Spencer Ashbee published in his three-volume bibliography of curious and uncommon books: Index Librorum Prohibitorum (1877), Centuria Librorum Absconditorum (1879) and Catena Librorum Tacendorum (1885).
Fashion illustration differs from the fashion plate in that a fashion plate is a reproduction of an image, such as a drawing or photograph, for a magazine or book. Fashion illustrations can be made into fashion plate, but a fashion plate is not itself an original work of illustration. In the modern day fashion illustrations are seen more as ...
"1900s - 20th Century Fashion Drawing and Illustration". Fashion, Jewellery & Accessories. Victoria and Albert Museum. Archived from the original on 19 November 2010; 1900s Fashion Plates of men, women, and children's fashion from The Metropolitan Museum of Art Libraries; 1900s era Henri Bendel Fashion Sketch Collection at the Brooklyn Museum
An iconic Gibson Girl portrait by its creator, Charles Dana Gibson, circa 1891 The Gibson Girl was the personification of the feminine ideal of physical attractiveness as portrayed by the pen-and-ink illustrations of artist Charles Dana Gibson during a 20-year period that spanned the late 19th and early 20th centuries in the United States. [1]
"1930s - 20th Century Fashion Drawing and Illustration". Fashion, Jewellery & Accessories. Victoria and Albert Museum. Archived from the original on 2011-08-02; 1930s Fashion Plates of men, women, and children's fashion from The Metropolitan Museum of Art Libraries
1920s Fashion Plates of men, women, and children's fashion from The Metropolitan Museum of Art Libraries; Photographs from the 1920s taken by photographer, Henry Walker at the University of Houston Digital Library Archived 2010-06-25 at the Wayback Machine "1920s - 20th Century Fashion Drawing and Illustration". Fashion, Jewellery & Accessories.
The current process, termed "digital ink and paint", is the same as traditional ink and paint until after the animation drawings are completed; [8] instead of being transferred to cels, the animators' drawings are either scanned into a computer or drawn directly onto a computer monitor via graphics tablets, where they are colored and processed ...
Gruau then took his mother's last name, which is the name he is known by, opposed to his father's last name and noble connection. At fourteen, Gruau began to support his mother and himself by selling drawings to the Milanese fashion journal Lidel. [5] He was inspired to pursue fashion illustration by his close relationship with his elegant mother.