Art Monograms and Lettering (8th Edition)

Released by way of J.M. Bergling - Chicago, IL

1916 - 8th version - fifty one plates of monograms in a number of kinds to be used by way of engravers, penman, artists, signal painters and letterers. Ribbons, undefined, alphabets, adorns, thrives and extra is usually to be chanced on inside of this ebook - the most effective of its kind.

Digitized via Lettering Library, a source for fans of typography, lettering, sign-painting and quite a few different affiliated art-forms. Their website makes a speciality of scarce antiquarian courses, either educational and reference dependent, and serves to supply necessary details on those approximately misplaced art-forms.

Note: as a result of the age of the booklet this PDFs is constituted of top of the range photos of the canopy and every web page.

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Additional resources for Art Monograms and Lettering (8th Edition)

Sample text

The post-punk development of British independent music would have been quite different without John Peel’s determinedly non-commercial Radio 1 show; the very emergence of a specific British rock music would have been impossible without the subsidized spaces, resources and audiences provided by art schools and the college circuit. The music industry itself (in the institutional person of its trade organization, the British Phonograph Industry or BPI) has always therefore had an ambiguous attitude to its own cultural status.

Was a project’s primary purpose to give young people the skills to succeed commercially, or to enable local musicians to develop different ways of doing things? Should projects be concerned with music for its own sake or with music as the basis for a paying career? Such arguments became part of Labour Party cultural debate too, and, in line with its new-found pragmatism, by the end of the decade the trend was clearly towards job-training projects, away from the musicians’ collectives. This was partly a reflection of where the money was (the European Social Fund, which insists on a training component in any scheme it supports, became a particularly important source of music project support) and partly an effect of client demand.

The URBED report was a government commission and not surprisingly, therefore, subordinated music to employment policy, but URBED’s working assumption (common enough in local authority music schemes) was, nevertheless, problematic even in its own economic terms. Starting from the straight statistical point that the black music audience was not, in itself, big enough to support sufficient jobs, URBED argued that the government’s task was to help give young blacks access to the white music market.

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