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Vorticist magazine Blast (UEB contracted)
by RnibThis page shows an image based on the cover of a magazine produced by the Vorticist group of artists during World War One. It was designed by poet and painter Wyndham Lewis. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. In common with much cubist and futurist art of the period, this image has been designed using simple geometric shapes with straight edges. It is in black ink on white. The image is semi-abstract and difficult to read. It shows the top halves of three soldiers in the bottom right quarter of the image. They are seen from the side facing to the left, and are holding rifles that point to the left. In the tactile version of the picture there is a clear area around the soldiers and their weapons to make them easier to find. To the right of the soldiers is the date of publication, JULY 1915, in print letters and at the bottom centre the artists name is shown. The rest of the image shows a highly abstract urban landscape with buildings represented by rectangular shapes at different angles using solid, clear and textured areas. At the top left of the image is the magazines title BLAST in capital letters and to the right are the words WAR NUMBER.
Vorticist magazine Blast (UEB contracted)
by RnibThis page shows an image based on the cover of a magazine produced by the Vorticist group of artists during World War One. It was designed by poet and painter Wyndham Lewis. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. In common with much cubist and futurist art of the period, this image has been designed using simple geometric shapes with straight edges. It is in black ink on white. The image is semi-abstract and difficult to read. It shows the top halves of three soldiers in the bottom right quarter of the image. They are seen from the side facing to the left, and are holding rifles that point to the left. In the tactile version of the picture there is a clear area around the soldiers and their weapons to make them easier to find. To the right of the soldiers is the date of publication, JULY 1915, in print letters and at the bottom centre the artists name is shown. The rest of the image shows a highly abstract urban landscape with buildings represented by rectangular shapes at different angles using solid, clear and textured areas. At the top left of the image is the magazines title BLAST in capital letters and to the right are the words WAR NUMBER.
Vorticist magazine Blast (large print)
by RnibThis page shows an image based on the cover of a magazine produced by the Vorticist group of artists during World War One. It was designed by poet and painter Wyndham Lewis. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. In common with much cubist and futurist art of the period, this image has been designed using simple geometric shapes with straight edges. It is in black ink on white. The image is semi-abstract and difficult to read. It shows the top halves of three soldiers in the bottom right quarter of the image. They are seen from the side facing to the left, and are holding rifles that point to the left. In the tactile version of the picture there is a clear area around the soldiers and their weapons to make them easier to find. To the right of the soldiers is the date of publication, JULY 1915, in print letters and at the bottom centre the artists name is shown. The rest of the image shows a highly abstract urban landscape with buildings represented by rectangular shapes at different angles using solid, clear and textured areas. At the top left of the image is the magazines title BLAST in capital letters and to the right are the words WAR NUMBER.
Venetian mask (UEB uncontracted)
by RnibThis page shows an image of a highly decorated mask. There is a locator dot shown, which will be at the top left, when the image is the correct way up. The mask is symmetrical with an eye hole to the left and right. It would cover the upper face. In the bottom centre the tip of the nose would show when it was being worn. The top of the mask is shaped like a crown and the wearers hair would stick up above this. To the top right and left a decorative wing goes out from the wearers head. The mask is silver with lines of gold decorations running across it. The lines swell at their ends. There are four rubies forming an eyebrow above each eye hole. A ring of four rubies decorate the forehead part of the mask. Up from them is a fifth ruby at top tip of the mask.
Venetian mask(large print)
by RnibThis page shows an image of a highly decorated mask. There is a locator dot shown, which will be at the top left, when the image is the correct way up. The mask is symmetrical with an eye hole to the left and right. It would cover the upper face. In the bottom centre the tip of the nose would show when it was being worn. The top of the mask is shaped like a crown and the wearers hair would stick up above this. To the top right and left a decorative wing goes out from the wearers head. The mask is silver with lines of gold decorations running across it. The lines swell at their ends. There are four rubies forming an eyebrow above each eye hole. A ring of four rubies decorate the forehead part of the mask. Up from them is a fifth ruby at top tip of the mask."
Venetian mask (UEB contracted)
by RnibThis page shows an image of a highly decorated mask. There is a locator dot shown, which will be at the top left, when the image is the correct way up. The mask is symmetrical with an eye hole to the left and right. It would cover the upper face. In the bottom centre the tip of the nose would show when it was being worn. The top of the mask is shaped like a crown and the wearers hair would stick up above this. To the top right and left a decorative wing goes out from the wearers head. The mask is silver with lines of gold decorations running across it. The lines swell at their ends. There are four rubies forming an eyebrow above each eye hole. A ring of four rubies decorate the forehead part of the mask. Up from them is a fifth ruby at top tip of the mask.
Tomb Figures of John Blacknall, his Wife and Two Daughters (SEB)
by RnibThis life-size memorial shows John Blacknall kneeling on a red cushion facing his wife Jane and their two daughters who are also kneeling on red cushions. Between John and his wife is a lectern-shaped short pillar. He wears a long black robe with short banded sleeves over a black undergarment with long sleeves and white cuffs. The undergarment has buttons down the front. Around his neck is a stiff white ruff. He has black curly hair that comes down to the ruff and he has a short beard with moustache. He holds a red book to his chest in his left hand and in his right hand he holds a white scroll down by his side. His wife and daughters also wear long black robes with waist detail and long sleeves and white cuffs. Around their necks are stiff white ruffs and on their heads they wear tight fitting black caps with white trim. Down the front of Jane's robe is button detail that runs right down to the hem. All three female figures hold their hands together in prayer. Framing the figures are two arches. Between John and his wife just above the lectern pillar where the two arches meet is a golden angel head. The first 2 pages show a braille description, thethird page has a tactile image focusing on the four figures and surrounding arches that frame them. It is approximately ten times smaller than the actual figures. The arches, lectern pillar, book, scroll, cushions, detail on Blacknall's sleeve, and caps are shown as solid texture. Two textures show Blacknall's long robes, one for the over robe with lines for the folds in the fabric and one for the under garments with small dots for the buttons down the front. The texture for the over robe is also used for the long robes of the female figures with lines for the waist detail. On Jane's robe, small dots show the front button detail. The facial features and ruffs are shown as lines. The white cuffs have no texture. A further texture shows the golden angel head.
Tile designed by William Morris(UEB uncontracted)
by RnibThis is an image of a square ceramic tile designed by William Morris who was associated with the Arts and Crafts movement. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. The tile is handmade from earthenware clay and hand painted with a floral design. Two green, vine-like stems grow from the bottom left hand corner of the image, curving and crossing over each other, reaching into the corners of the tile. Thin, pointed leaves grow from the stems and yellow flowers with long thin petals grow from the tips of the stems. In the tactile image, the leaves and stems have a solid texture and the flowers have a fine dotted texture, they are green and yellow in the large print version. On each side of the tile there are two thick plant stems pointing diagonally towards the centre of the image. Right on the edge, between these stems is a semicircle with pointed lines radiating out from it.
Tile designed by William Morris(UEB contracted)
by RnibThis is an image of a square ceramic tile designed by William Morris who was associated with the Arts and Crafts movement. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. The tile is handmade from earthenware clay and hand painted with a floral design. Two green, vine-like stems grow from the bottom left hand corner of the image, curving and crossing over each other, reaching into the corners of the tile. Thin, pointed leaves grow from the stems and yellow flowers with long thin petals grow from the tips of the stems. In the tactile image, the leaves and stems have a solid texture and the flowers have a fine dotted texture, they are green and yellow in the large print version. On each side of the tile there are two thick plant stems pointing diagonally towards the centre of the image. Right on the edge, between these stems is a semicircle with pointed lines radiating out from it.
The Scream by Edvard Munch (UEB contracted)
by RnibThis is an image based on ‘The Scream ‘ created as both paintings and pastels and a black and white woodcut, by the Norwegian Expressionist artist Edvard Munch between 1893 and 1910. We have recreated the image, based on the black and white woodcut, and have coloured it for the Large Print version. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. Expressionist artists were not interested in portraying physical reality, but instead tried to express emotions and psychological states through distortion, exaggeration and the dramatic use of colour. The picture shows a figure in the foreground standing on a bridge holding its head, hands over its ears, mouth and eyes wide open as though screaming. In the background are two figures, an area of water and a raging red sky. It is impossible to tell the sex of the figure. It is shown from the thighs up, facing you with its head just below the centre of the image. Behind the figure is the handrail of the bridge. It goes from the bottom right corner of the image to the centre left edge where you will find the silhouettes of the two other figures. They seem to be looking to the right, at two boats on the water in the centre of the image. In the tactile version of the image, we have put a clear area around all of the figures to make them easier to find. The top third of the image is filled with the swirling red clouds that seem to race horizontally across the page. All of the lines in the image are rough and expressive. The orange red of the sky and the contrasting dark, muted colours in the rest of the picture give an air of fear and tension.
Tile designed by William Morris(large print)
by RnibThis is an image of a square ceramic tile designed by William Morris who was associated with the Arts and Crafts movement. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. The tile is handmade from earthenware clay and hand painted with a floral design. Two green, vine-like stems grow from the bottom left hand corner of the image, curving and crossing over each other, reaching into the corners of the tile. Thin, pointed leaves grow from the stems and yellow flowers with long thin petals grow from the tips of the stems. In the tactile image, the leaves and stems have a solid texture and the flowers have a fine dotted texture, they are green and yellow in the large print version. On each side of the tile there are two thick plant stems pointing diagonally towards the centre of the image. Right on the edge, between these stems is a semicircle with pointed lines radiating out from it.
Tides, 1946 Painted Wood by Barbara Hepworth (tactile)
by Sheffield Vi ServiceThis is an image of an abstract stone sculpture by artist Barbara Hepworth. It is approximately globe-shaped with holes and curved grooves carved into it. It stands on a square base, which is seen in perspective.
The Scream by Edvard Munch (UEB contracted)
by RnibThis is an image based on ‘The Scream ‘ created as both paintings and pastels and a black and white woodcut, by the Norwegian Expressionist artist Edvard Munch between 1893 and 1910. We have recreated the image, based on the black and white woodcut, and have coloured it for the Large Print version. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. Expressionist artists were not interested in portraying physical reality, but instead tried to express emotions and psychological states through distortion, exaggeration and the dramatic use of colour. The picture shows a figure in the foreground standing on a bridge holding its head, hands over its ears, mouth and eyes wide open as though screaming. In the background are two figures, an area of water and a raging red sky. It is impossible to tell the sex of the figure. It is shown from the thighs up, facing you with its head just below the centre of the image. Behind the figure is the handrail of the bridge. It goes from the bottom right corner of the image to the centre left edge where you will find the silhouettes of the two other figures. They seem to be looking to the right, at two boats on the water in the centre of the image. In the tactile version of the image, we have put a clear area around all of the figures to make them easier to find. The top third of the image is filled with the swirling red clouds that seem to race horizontally across the page. All of the lines in the image are rough and expressive. The orange red of the sky and the contrasting dark, muted colours in the rest of the picture give an air of fear and tension.
The Scream by Edvard Munch (large print)
by RnibThis is an image based on ‘The Scream ‘ created as both paintings and pastels and a black and white woodcut, by the Norwegian Expressionist artist Edvard Munch between 1893 and 1910. We have recreated the image, based on the black and white woodcut, and have coloured it for the Large Print version. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. Expressionist artists were not interested in portraying physical reality, but instead tried to express emotions and psychological states through distortion, exaggeration and the dramatic use of colour. The picture shows a figure in the foreground standing on a bridge holding its head, hands over its ears, mouth and eyes wide open as though screaming. In the background are two figures, an area of water and a raging red sky. It is impossible to tell the sex of the figure. It is shown from the thighs up, facing you with its head just below the centre of the image. Behind the figure is the handrail of the bridge. It goes from the bottom right corner of the image to the centre left edge where you will find the silhouettes of the two other figures. They seem to be looking to the right, at two boats on the water in the centre of the image. In the tactile version of the image, we have put a clear area around all of the figures to make them easier to find. The top third of the image is filled with the swirling red clouds that seem to race horizontally across the page. All of the lines in the image are rough and expressive. The orange red of the sky and the contrasting dark, muted colours in the rest of the picture give an air of fear and tension.
The Hay Wain by John Constable (SEB)
by RnibThis is an image of the Hay Wain by John Constable. This painting shows a tranquil landscape scene on a summer’s day during harvest time. The main focus of the painting is the hay wain (a horse-drawn cart), devoid of load, in the middle of the shallow millpond on the River Stour at Flatford Mill. This is a very simplified overview of the painting focusing on the important features that have also been labelled. For clarity, only the horse nearest the front of the hay wain has been shown. A very thick line forms the border of the painting. A thick line edges the millpond and the open fields in the far distance. The millpond and sky have no texture. Very thin lines follow some of the shapes of the clouds in the sky. A very rough texture shows the sandy area at the edge of the millpond and the open fields with the letter H indicating the position of the harvesters. A texture shows the mature tree canopies around the millpond and in the far distance, with a different texture for the tall plants edging the millpond and small tree at the side of the cottage. Solid texture shows the following: the hay wain, the two men driving it, a horse, the cottage (labelled C), the woman on the jetty, the dog, the stumps in the water, the ducks, the rowing boat (labelled "B"), the brick pillar (labelled "P”), the figure with fishing rod (labelled F), the trunks of the two oaks either side of the millpond and the ash tree near the ford.
The Indian Mutiny, photograph by Felice Beato (SEB)
by RnibThis is a photogragh. This disturbing photograph shows the courtyard in front of the damaged shell of Secundra Bagh palace. The courtyard is covered with disarticulated skeletons amongst bits of fallen masonry, broken doors and some pieces of cloth, presumably the remnants of clothing from the corpses. There appear to be more skulls than there are bones for. Only about four whole skeletons are visible by their exposed rib cages. One of the skulls sits upright on the ground facing the camera with its dropped jaw clearly visible. Secundra Bagh palace would once have been a very splendid building with the facade facing the courtyard in the Greek style of architecture. The two storey building had a row of ornately decorated Ionic (scrolls) columns on each floor with a large doorway on the ground floor on the right hand side. There was further decoration between the two floors with a triangular pediment on the roof and above the large doorway. The doorways to the rooms within the palace were set back behind the columns with an open corridor running in front of them. The photograph records the damage done to the building during the fighting. Part of the roof and upper storey decoration has gone with other parts badly damaged by cannon balls and musket fire. Circular holes can be seen peppered all over the building. All wooden doors and shutters have gone with some lying smashed in the courtyard. You can now see daylight right through the building where the doors would have been. Looking over this gruesome scene and posing for the photograph are four Indian men. Two of the men are seated centrally at the base of the palace building. Another is standing just to the left of the seated men leaning on one of the ornate Ionic columns. The fourth man stands further to the left behind a small white pony with a saddle and reins that has its back to the camera. The men are wearing Indian clothing - a long-sleeved shirt over a dhoti (knee-length baggy trousers) with simple sandals on their feet. The man with the pony is wearing a turban. The standing man and the seated one nearest to him are wearing skullcaps. The men appear undeterred by all the skeletal remains laid out in front of them."
The guitar player by Jan Vermeer (UEB uncontracted)
by RnibThis is an image of a painting of an attractive young lady who is seated and playing a guitar. It was painted in 1672. A locator dot and title are shown. These must always be at the top left of the page when the image is the right way up. The chair and her legs are not shown. The original painting is a beautiful old oil master with rich colours and subtle tones. Moving down the page from the title in the top left is a thick line border all around the image to define the edge of the painting. In the top left of the image is an old oil painting of a tree hanging on the wall. It is a painting within a painting. It is in a heavy gold frame with ornate decorations. The decorations glow in the light from a window. The rounded leafy parts of the top of the tree are at the top and the trunk is down from this. Down from the picture is the ladys head. She has a pretty face with rosy cheeks and hair in attractive ringlets on each side of her head. Both eyes and the nose and smiley mouth can be found. Down from her face is a pearl necklace around her neck. The necklace is shining in the light from the window. Moving down from the necklace are her shoulders and chest. She is wearing a yellow silk dress which has a large ermine fur collar and fur trimmings down the centre of her chest where it is fastened. On the left of her chest is her arm with some more fur at the bent elbow. Her lower arm, moving to the right, is bare skin. To the right of her lower arm is her hand with the fingers splayed. She is playing a guitar. To the right of her hand are the strings, follow them to the right and up slightly along the fingerboard. Halfway along is the lady's other hand, only four fingers can be found as her thumb is hidden. At the end of the fingerboard there are six tuning pegs in two rows of three. They stick up towards you not out sideways. Below the guitar is the rest of her very full dress. It has two more strips of ermine fur to the left and right. In the bottom right corner of the picture is a small cabinet made from dark varnished wood with a large leather bound book resting on it. It is the sort with gilt embossed lettering. It is seen from the end with the spine on the left and the pages to the right. In the top right corner hangs a heavy velvet curtain in front of a window, which is not seen. It is from here the light comes and plays on the gold frame of the picture on the wall and the lady's pearl necklace.
The guitar player by Jan Vermeer (large Print)
by RnibThis is an image of a painting of an attractive young lady who is seated and playing a guitar. It was painted in 1672. A locator dot and title are shown. These must always be at the top left of the page when the image is the right way up. The chair and her legs are not shown. The original painting is a beautiful old oil master with rich colours and subtle tones. Moving down the page from the title in the top left is a thick line border all around the image to define the edge of the painting. In the top left of the image is an old oil painting of a tree hanging on the wall. It is a painting within a painting. It is in a heavy gold frame with ornate decorations. The decorations glow in the light from a window. The rounded leafy parts of the top of the tree are at the top and the trunk is down from this. Down from the picture is the ladys head. She has a pretty face with rosy cheeks and hair in attractive ringlets on each side of her head. Both eyes and the nose and smiley mouth can be found. Down from her face is a pearl necklace around her neck. The necklace is shining in the light from the window. Moving down from the necklace are her shoulders and chest. She is wearing a yellow silk dress which has a large ermine fur collar and fur trimmings down the centre of her chest where it is fastened. On the left of her chest is her arm with some more fur at the bent elbow. Her lower arm, moving to the right, is bare skin. To the right of her lower arm is her hand with the fingers splayed. She is playing a guitar. To the right of her hand are the strings, follow them to the right and up slightly along the fingerboard. Halfway along is the lady's other hand, only four fingers can be found as her thumb is hidden. At the end of the fingerboard there are six tuning pegs in two rows of three. They stick up towards you not out sideways. Below the guitar is the rest of her very full dress. It has two more strips of ermine fur to the left and right. In the bottom right corner of the picture is a small cabinet made from dark varnished wood with a large leather bound book resting on it. It is the sort with gilt embossed lettering. It is seen from the end with the spine on the left and the pages to the right. In the top right corner hangs a heavy velvet curtain in front of a window, which is not seen. It is from here the light comes and plays on the gold frame of the picture on the wall and the lady's pearl necklace.
The Fight' by LS Lowry (large print)
by RnibThese pages show a breakdown of this painting and finally the full artwork. It is a multi-page image set on three pages. There is a locator dot shown on each page, which will be at the top left when the image is the correct way up. The first two images are surrounded by an image border. The final image of the full painting has a frame. ‘The Fight’ by LS Lowry (background only): This image shows six men standing outside a house. It is only part of the painting. On the centre left of the page is a man standing on the far side of the top of a low wall. The man’s legs cannot be found as they are hidden by the wall. His arm on the left hangs down so his hand cannot be found. His arm to the right is not shown. He wears a cap and has a long scarf tucked into his coat. He looks forward and slightly to the right so the side of his head can be found as well as his face. To the right is a tall thin man. He wears a cap and a red jacket with three buttons. There is a long grey scarf tucked into the jacket. He wears pale grey trousers. His lower legs and feet are not shown. His arms are held behind him so his hands are not shown. To the right is a man wearing a blue suit, the jacket has two buttons. He is wearing a shirt with a dark grey tie. He has a small bushy moustache. His lower legs and feet are not shown. His arms are held behind him so his hands are not shown. There is less showing of the lower bodies of the man with the red jacket and the man wearing a blue suit in the actual painting because of men standing in front of them in the foreground. Up the page from the blue suited man is a man standing in a doorway. He has a brown scarf tucked into a pale jacket. He is standing on the doorstep so appears to be higher. His legs and some of his body is hidden by the man in the blue suit who is standing in front of him. On the right of the page are two men standing behind another section of the top of a low wall. The men’s legs cannot be found as they are hidden by the wall. They are facing forward and turned slightly to the left. They wear grey jackets and have their hands stuffed into their pockets. The man on the right has brown hair and no hat. To the left the man has a hat and a brown scarf tucked into his jacket. Set in the wall of the house behind the men is a window made of twenty four square panes. The window has a stone lintel and sill ‘The Fight’ by LS Lowry (foreground only): On the centre left of the image is the low wall shown in the first image. It is shown here in entirety and with the railing set at the top. To the left is a man facing right. His legs are apart as if he were walking to the right. He wears a dark suit, shirt and red tie. He has a hat with a brim. His arms are held out to the right and holding the hat of a man standing to the right. This man is facing to the left. He also wears a dark suit. His legs are also apart as though walking. He appears in a slightly crouched position. He has one arm held up to the left. Only the elbow of the other arm is shown. On the right are two men standing next to each other, facing to the left. The man on the left wears a cap and a red scarf. He has his hand thrust into his jacket pocket so only his wrist can be found. The man to the right wears a dark brown suit, shirt and brown tie. He has brown spiky hair. His arm is held down at his side with a large hand showing. On the right of the page is a woman with her body facing to the right, but her head is turned as she looks behind her. She wears a hat and a red jacket. Her skirt is dark and quite long. Behind the woman and the two men to the left is the low wall shown in the first image. It is shown here in entirety and with the railing set at the top.
The Fight' by LS Lowry (UEB uncontracted)
by RnibThese pages show a breakdown of this painting and finally the full artwork. It is a multi-page image set on three pages. There is a locator dot shown on each page, which will be at the top left when the image is the correct way up. The first two images are surrounded by an image border. The final image of the full painting has a frame. ‘The Fight’ by LS Lowry (background only): This image shows six men standing outside a house. It is only part of the painting. On the centre left of the page is a man standing on the far side of the top of a low wall. The man’s legs cannot be found as they are hidden by the wall. His arm on the left hangs down so his hand cannot be found. His arm to the right is not shown. He wears a cap and has a long scarf tucked into his coat. He looks forward and slightly to the right so the side of his head can be found as well as his face. To the right is a tall thin man. He wears a cap and a red jacket with three buttons. There is a long grey scarf tucked into the jacket. He wears pale grey trousers. His lower legs and feet are not shown. His arms are held behind him so his hands are not shown. To the right is a man wearing a blue suit, the jacket has two buttons. He is wearing a shirt with a dark grey tie. He has a small bushy moustache. His lower legs and feet are not shown. His arms are held behind him so his hands are not shown. There is less showing of the lower bodies of the man with the red jacket and the man wearing a blue suit in the actual painting because of men standing in front of them in the foreground. Up the page from the blue suited man is a man standing in a doorway. He has a brown scarf tucked into a pale jacket. He is standing on the doorstep so appears to be higher. His legs and some of his body is hidden by the man in the blue suit who is standing in front of him. On the right of the page are two men standing behind another section of the top of a low wall. The men’s legs cannot be found as they are hidden by the wall. They are facing forward and turned slightly to the left. They wear grey jackets and have their hands stuffed into their pockets. The man on the right has brown hair and no hat. To the left the man has a hat and a brown scarf tucked into his jacket. Set in the wall of the house behind the men is a window made of twenty four square panes. The window has a stone lintel and sill ‘The Fight’ by LS Lowry (foreground only): On the centre left of the image is the low wall shown in the first image. It is shown here in entirety and with the railing set at the top. To the left is a man facing right. His legs are apart as if he were walking to the right. He wears a dark suit, shirt and red tie. He has a hat with a brim. His arms are held out to the right and holding the hat of a man standing to the right. This man is facing to the left. He also wears a dark suit. His legs are also apart as though walking. He appears in a slightly crouched position. He has one arm held up to the left. Only the elbow of the other arm is shown. On the right are two men standing next to each other, facing to the left. The man on the left wears a cap and a red scarf. He has his hand thrust into his jacket pocket so only his wrist can be found. The man to the right wears a dark brown suit, shirt and brown tie. He has brown spiky hair. His arm is held down at his side with a large hand showing. On the right of the page is a woman with her body facing to the right, but her head is turned as she looks behind her. She wears a hat and a red jacket. Her skirt is dark and quite long. Behind the woman and the two men to the left is the low wall shown in the first image. It is shown here in entirety and with the railing set at the top.
The Fight' by LS Lowry (UEB contracted)
by RnibThese pages show a breakdown of this painting and finally the full artwork. It is a multi-page image set on three pages. There is a locator dot shown on each page, which will be at the top left when the image is the correct way up. The first two images are surrounded by an image border. The final image of the full painting has a frame. ‘The Fight’ by LS Lowry (background only): This image shows six men standing outside a house. It is only part of the painting. On the centre left of the page is a man standing on the far side of the top of a low wall. The man’s legs cannot be found as they are hidden by the wall. His arm on the left hangs down so his hand cannot be found. His arm to the right is not shown. He wears a cap and has a long scarf tucked into his coat. He looks forward and slightly to the right so the side of his head can be found as well as his face. To the right is a tall thin man. He wears a cap and a red jacket with three buttons. There is a long grey scarf tucked into the jacket. He wears pale grey trousers. His lower legs and feet are not shown. His arms are held behind him so his hands are not shown. To the right is a man wearing a blue suit, the jacket has two buttons. He is wearing a shirt with a dark grey tie. He has a small bushy moustache. His lower legs and feet are not shown. His arms are held behind him so his hands are not shown. There is less showing of the lower bodies of the man with the red jacket and the man wearing a blue suit in the actual painting because of men standing in front of them in the foreground. Up the page from the blue suited man is a man standing in a doorway. He has a brown scarf tucked into a pale jacket. He is standing on the doorstep so appears to be higher. His legs and some of his body is hidden by the man in the blue suit who is standing in front of him. On the right of the page are two men standing behind another section of the top of a low wall. The men’s legs cannot be found as they are hidden by the wall. They are facing forward and turned slightly to the left. They wear grey jackets and have their hands stuffed into their pockets. The man on the right has brown hair and no hat. To the left the man has a hat and a brown scarf tucked into his jacket. Set in the wall of the house behind the men is a window made of twenty four square panes. The window has a stone lintel and sill ‘The Fight’ by LS Lowry (foreground only): On the centre left of the image is the low wall shown in the first image. It is shown here in entirety and with the railing set at the top. To the left is a man facing right. His legs are apart as if he were walking to the right. He wears a dark suit, shirt and red tie. He has a hat with a brim. His arms are held out to the right and holding the hat of a man standing to the right. This man is facing to the left. He also wears a dark suit. His legs are also apart as though walking. He appears in a slightly crouched position. He has one arm held up to the left. Only the elbow of the other arm is shown. On the right are two men standing next to each other, facing to the left. The man on the left wears a cap and a red scarf. He has his hand thrust into his jacket pocket so only his wrist can be found. The man to the right wears a dark brown suit, shirt and brown tie. He has brown spiky hair. His arm is held down at his side with a large hand showing. On the right of the page is a woman with her body facing to the right, but her head is turned as she looks behind her. She wears a hat and a red jacket. Her skirt is dark and quite long. Behind the woman and the two men to the left is the low wall shown in the first image. It is shown here in entirety and with the railing set at the top.
The Family of Darius before Alexander by Paolo Veronese (SEB)
by RnibVeronese (1528-1588) has captured a highly dramatic and emotional instant in a story that serves to illustrate the magnanimity of Alexander the Great. Alexander spared the family of the Persian King, Darius, after defeating him at the Battle of Issus in 330 BC. There are two tactile images, each with an accompanying key page. The first image shows an overview of the whole painting and the second image shows a close-up of just the family of Darius and the two main soldiers. Both tactile images require the pages to be turned sideways. Braille labels have been added to help orientate the reader with the images and are placed as near to the item being labelled as possible The first tactile image is a very simplified overview of the painting focusing on the position of the important elements. A very thick line forms the border of the painting. The family of Darius (elderly man, eldest princess, young princess, Stateira, Sisygambis and boy dressed in red) and the two main soldiers (soldiers 1 and 2) are outlined with a thick line infilled with a texture. Their hair and the soldiers' boots are shown as solid texture. The royal entourage (bearded courtier, young girls and dwarf), monkey, other soldiers, page with shield, and horse's head are shown outlined with a thinner line infilled with a different texture. The soldiers' halbards are shown as solid texture along with the dog held by the dwarf and hunting dog amongst the soldiers. A further texture shows the arches, ballastrade and stone pedestal. Very thin lines outline the shapes of the figures standing along the colonnade. The second tactile image concentrates on the 6 members of Darius' family along with the two main soldiers, labelled soldiers 1 and 2 on the overview. All other detail has been omitted. The bottom edge of the painting has been shown as a very thick line. Each figure is shown as an outline infilled with a texture and all have solid texture for their hair. The young princess, Stateria and the boy dressed in red have a light texture. Sisygambis has a different texture. The two textures for these figures are also used on the two soldiers - one for their hose, cloak of soldier 2 and undergarment of soldier 1 and the other for their armour. The soldiers' boots are shown with solid texture as is, the sword of soldier 1 and detail on both their armour. A further texture shows the elderly man and the eldest princess who also has her brocade gown shown as solid texture.
Telecommunications by Paul Nash (SEB)
by RnibThis is a Surrealist painting from 1934. This painting was made for the Post Office. They wanted to advertise their new automatic telephone exchanges.The painting consists of an interlocking pattern of many different sized rectangles with several small circles set within the rectangles. Each shape contrasts in colour to the shape next to it, making the colours really stand out particularly the red and black against white, light and dark greys. In the shapes, you can clearly make out a red lectern-style desk (D) with a front lip, very much like a drawing board. On the desk is a white sheet of paper and what looks like a long set square. Across the desk, from top right to bottom left, is a long red cord (1). At the top end of the cord is what appears to be a black plug and is shown just below the frontage of a large piece of black equipment (E1). The bottom end of the cord drops off the desk towards the floor and disappears off the bottom edge of the painting. Two further red cords are shown: one cord (2) coming from the bottom left-hand edge of the desk and curving upwards to the frontage of another large piece of black equipment (E2) and ending in a black plug; and the other cord (3) coming from what looks like a large handset (H) going downwards to join with the cord coming down from the desk at the bottom edge of the painting. The tactile image is nearly two and a half times smaller than the actual painting and follows the shapes as closely as possible with four textures used to represent the colours with white having no texture. The colour and texture palette is shown to the right of the image. The painting has no signature. Key to image: D: lectern-style desk E1: large piece of black equipment E2: large piece of black equipment H: handset 1: cord across desk 2: cord from bottom of desk up to top of large equipment 3: cord from handset and joins with cord 1
The Chevalier Eon (SEB)
by RnibThis full length portrait shows Chevalier d'Eon, standing centrally facing the viewer with his head turned slightly to the left, dressed a fashionably good-looking woman of his time - a gown with an overskirt over a tiered skirt, low-cut bodice and three-quarter length ruffled sleeves. A dainty shoe can just be seen from beneath the tiered skirt. He has an elongated pearl earring is his left ear and he wears a cap over high-dressed hair. He also wears a Freemason's apron around his waist that shows the square and compass and has the order of St. Louis pinned on his left breast. His right hand rests on a sword that is held at his waist. His left arm is outstretched and he holds a long cane that is attached to his wrist by strings. To the right of Chevalier, immediately in front of his long cane, is a military coat hung over the back of a chair. Two chair legs can just be seen beneath the coat. To the left of Chevalier, is a table covered with a cloth hanging in heavy folds. The tip of his sword touches the edge of the table. On the table, nearest Chevalier, a scroll document, “A Policy 25 P Ct On the Chr D'Eon Man, or Woman,” hangs open over the table's cloth. Next to this document are two identical leather bound books, “Lettres du Chr D'Econ” and “L'Hist. du Chr D'Eon”, one on top of the other. Hanging on the wall immediately above Chevalier's head is a military hat and sword hand. Also hanging on the wall above both the table and the military coat on the chair are the bust of a man and a framed picture. The tactile image is slightly smaller than the actual image and shows the layout of the scene with some detail on Chevalier. Three textures show Chevalier's clothing - one for the tiered skirt and bodice, one for the overskirt and one for the apron. Solid texture shows the cap, sword, cane, Order of St. Louis, and one shoe showing beneath her dress. Lines show the ruffled sleeves and the hair under the cap. The bare skin has no texture. Solid texture also shows the frames around the two pictures, the hat and sword on the wall, the two busts, the bottom of the chair's legs and the shoe. The same texture for the overskirt also shows the military coat and the sketchy detail in the two framed pictures. The same texture for the apron also shows the cloth on the table. The same texture as the tiered skirt also shows the document on the table
Take Flowers instead of Grenades- by Banksy (UEB contracted)
by RnibThis image is based on graffiti (street art) by publicity-shy Bristol artist Banksy. There is a locator dot shown, which will be at the top left of the page when the image is the correct way up. The image shows a demonstrator or rioter about to throw a bunch of flowers. He is depicted using areas of solid black and white paint. The figure of a young man is seen from the front with his head facing to the right. His head is in the top centre of the page. He wears a baseball cap with its peak to the left and his mouth and nose are masked by a scarf. Down the page his body is leaning to the left and he has his arm on the right stretched out horizontally with his fingers pointing to the right. The arm to the left of his body is held out and bent up at the elbow with his hand, on the far left centre of the page. He is holding a bunch of flowers wrapped in paper with their stalks at the bottom and the yellow, pink and blue flower heads at the top. Further down the page from his body are the figures legs spread out to the left and right. The image has been created using a stencil technique. The areas of the image that will be dark in the final image are cut out of a sheet of thin card, to leave holes in the card. The card is then placed flat against the surface where the image is to be put and paint is sprayed or brushed through the holes. The card is then removed, leaving paint where the holes have been. The dark parts of the image on this page are the figures hat, chest, arms, and boots.