Emulating the Work of the Limbourg Brothers’ Through Illuminated Manuscript Illustration.

The font of the text on the front cover, and throughout the book for that matter, is in an untidy scrawl that is both important - in that it is in a bold font and is a demanding colour (either black or white) - and is informal, imperfect, personal and human - in that it is handwritten. These aspects combine to show the picture-book

twelve men (Robespierre, Barere, Saint Just, Couthon, Lindet, Carnot, Saint-Andre, Prieur, Varenne, Herbois, Scholles, and Duvernois) ruled France; even though they were technically under the control of the Convention.

alludes to the Last Supper when Christ tells his disciples “Take, drink; this is my blood.”

The crucifixion of Christ is treated differently within the bodies of Old English and Middle English literature. The values of each era's society are superimposed on the descriptions of the sacrifice of Christ on the cross. Christ is depicted either as the model of the hero, prevalent in Old English literature, or as the embodiment of love and passion, as found in Showings by Julian of Norwich.

Wells begins to draw using mechanical pencil after that is complete she draws over it in very light blue ink. Then she erases all the pencil lines and has a line image in blue. Wells uses a lot of watercolor especially in this book. She also uses other art media such as gouache, a method of painting using opaque pigments ground in water and thickened with a glue-like substance, pastel, ink, and colored pencils in her illustrations. Not only does she put such effort in her drawings for this book, she also puts boarders around a good majority of her pages. The boarders in My Kindergarten represent what the story tells on that specific page and wraps around the text whether it’s small images or words used as the

The ominous figure in the centre of the foreground - Jesus Christ hanging lifeless on the cross, in Luca di Tommè’s ‘The Crucifixion’, primarily catches the eye. The symmetrical arrangement of lamenting figures around the cross, as well as the gilded background, highlight him as the focal point of this artwork.

In analyzing the freigthning or sinister parts of four artistic works introducing us to darkness there we many things to point out, as there obviously is limitation to analyzing within a research of a text,

Although books full of words are more efficient in delivering and describing what the author feels, sometimes pictures can give a deep meaning depending on how they are organized. The Veil by Marjane Satrapi’s is a graphic novel that’s organized in a particular way, to deliver a certain message through the pictures. Marjane includes different sizes and frames that serve what she is thinking and feeling. Choosing certain sizes, frames and colours isn’t arbitrary. As each box increases in size, it means that she wants to emphasize the message behind that box, or show her relation to that particular text. Contrast is also one of the main elements that Marjane uses in her graphic novel. For example, on page five, there is a big picture of

I selected Jean Pucelle, a miniaturist living in Paris, who created one of the most visually striking illuminated manuscripts of the 14th century, the Belleville Breviary. Originally created for Jeanne de Belleville, wife of Olivier de Clisson, the breviary (a religious book) consists of two volumes of 430 and 446 folios, respectively. David Before Saul (folio 24), as well as other illuminations in the breviary, featured fully modelled,

At the beginning of the 1800s illustrators like Felix Octavius Carr Darley were typically on staff at printing companies, or in the newspaper offices. On average they would create their works with on-the-block engravers or lithographic stone plates. If they weren’t appointed to draw, coloring was their alternative means of collecting a paycheck. However, such opportunities went to a very meager amount of illustrators because at the time art training was scarce in America, so most illustrators had to teach themselves. However, overseas in Europe the illustration profession fared much better. (www.illustrationhistory,org)

4. Space- Perspective is demonstrated in many ways. This artwork takes up almost the whole canvas. The horses on the edge look like they were maybe even squeezed in. All of the characters in this artwork look to be congregated to the middle of the painting, besides the villages in the distance. Linear perspective is used in the placement of the villages in the background and in all the men and horses, which are grouped in the middle of the screen. Looking at the features in the painting I notice the use of overlapping and vertical placement, which both imply depth. The horses overlap each other as well as the gentlemen and other elements of the painting. The brown horse’s head overlaps the black one hiding its mouth. The villages and hills in the background appear to be very far away (diminishing size); they look smaller and distant from the rest of the main aspects of the painting.

The elements of art that Lawrence used in The Library focused on strong lines, shape, and bold colors. The tables, chairs and bookshelves all have straight lines that show off the lines of the books placed sporadically around. The shapes of the people are in strong contrast to the straight lines of the library and emphasize movement of everyone. The colors are muted, maybe to represent the quietness of a library. The principles of design that Lawrence used were contrast, unity and balance. He played up the contrast of objects and people and of people versus people. Even with the contrast of people versus people, he could bring unity by showing a common interest. By creating this unity, he gave balance to the painting by placing objects and people evenly throughout the painting.

In order to persuade readers that natural darkness should be preserved Paul Bogard uses many stylistic devices. First, the author uses a lot of imagery in this article in order to make people connect and imagine what he is saying. Some examples may

During the day time, the wallpaper appears to be "hideous enough, and unreliable enough, and infuriating enough, but the pattern is torturing” (Page 16). The above description paints a rebarbative mood for the readers. In contrast, during the night time it seems like there is "a woman stooping down and creeping about behind that pattern"(page 13) and the “woman behind it is as plain as can be” (Page 16). A mysterious and unknown figurine vividly portrays an eerie and gloomy mood for the readers. Through the altering appearance of the wallpaper through day and night, the mood of the story is able to change greatly according to

The book starts with a Publishers’ Note who wrote: “Now, Dear Reader, you will decide whether Belle’s voice should join the others she helped sing into the world.” Which is an impossible task since no poetry of hers is used in the book. The poetry used as Belle’s was written by Martha Buhr Grimes and at no point is it ever explained to the reader why Belles was not used since the poetry had been found in 1953 after her death, leaving it a mystery