This well-known book was prepared a century ago by two British architects, and its reputation has grown steadily since. The Audsleys' rendering of designs from a wide variety of sources are national traditions, and their excellent sense of space and proportion and their straightforward interpretations of these ornaments have made this collection among the most valuable of its kind. The 60 plates contain over 250 large-scale line drawings, mostly executed by the authors. The designs and patterns shown are derived from architectural decorative motifs, textile designs, patterns from ceramics, etc. A brief text specifies sources for many of the designs, and captions identify national origin and often the original color schemes. The illustrations include ancient Egyptian patterns from painted tomb ceilings, borders from Greek vases, Celtic designs, Japanese ornaments, Moorish decorations, eleventh-century Italian textile designs, and architectural elements from the cathedral of Notre-Dame and other buildings. This partial list of contents gives an idea of the many styles of design reproduced in the book, and the applications to which the designs can be put. Commercial artists, architects, crafters, designers, scene designers, and others will find these pages a rich source of decorative designs.

This well-known book was prepared more than 75 years ago by two British architects, and its reputation has grown steadily since. The Audsleys' clear rendering of ornaments and designs from a wide variety of sources and national traditions, their excellent sense of space and proportion, and their straightforward execution of these ornaments in line have made the collection among the most valuable of its kind. The 60 plates contain over 250 large-scale line drawings, mostly executed by the authors. The designs and patterns shown are derived from architectural decorative motifs, textile designs, patterns from ceramics and tiles, and more from Egypt, Greece, Italy, Japan, Persia, Medieval Europe, and other places. A brief text specifies sources for many of the designs, and captions identify national origin and often the original color scheme.

DIVThe 19th-century French illustrator's classic reference to the decorative ornament of history's major cultures; over 2,000 royalty-free motifs in 100 beautiful full-color plates. /div

Although the patterns are computer-generated, the book is informal and emphasis is on the fun that the true pattern lover finds in doing rather than in reading about the doing.

Largest collection of decorated artifacts, all in line; prehistoric, Egyptian, Islamic, Baroque, Victorian, other areas, times. 3,700 illustrations.

"Twentieth-Century Pattern Design combines photographs - including many newly published images - with soundly researched text, creating an essential resource for enthusiasts and historians of modern design. The book also serves as a creative sourcebook for students and designers, inspiring new flights of fancy in pattern design."--Jacket.

Copiously illustrated work depicts splendid array of 13th-16th-century heraldic motifs, drawn from numerous sources and encompassing various media. 8 color plates. Over 250 black-and-white illustrations.

One hundred complete fonts from Solo-type Typographers Catalog: upper and lower cases, alternate forms, swash forms, numerals, secondaries. Whiplash, organic, cursive, Orientalized, and other styles. This beautiful, wide range of type fluidities suggest elegance, originality, grace,and a nearness to nature. Most are not available anywhere else.

Collection of 761 miniature works of art representing 500 years of the bookplate from the first known example -- ca. 1450 -- to a wide range of fascinating 20th-century designs. Introduction.

Rethinking Basic Design in Architectural Education provides historical and computational insights into beginning design education for architecture. Inviting the readers to briefly forget what is commonly known as basic design, it delivers the account of two educators, Denman W. Ross and Arthur W. Dow, from the turn of the twentieth century in Northeast America, interpreting key aspects of their methodology for teaching foundations for design and art. This alternate intellectual context for the origins of basic design as a precursor to computational design complements the more haptic, more customized, and more open-source design and fabrication technologies today. Basic design described and illustrated here as a form of low-tech computation offers a setting for the beginning designer to consciously experience what it means to design. Individualized dealings with materials, tools, and analytical techniques foster skills and attitudes relevant to creative and technologically adept designers. The book is a timely contribution to the theory and methods of beginning design education when fast-changing design and production technology demands change in architecture schools’ foundations curricula.