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Provincial towns in Britain grew in size and importance in the eighteenth century. Ports such as Glasgow and Liverpool greatly expanded, while industrial centres such as Birmingham and Manchester flourished. Market towns outside London developed as commercial centres or as destinations offering spa treatments as in Bath, horse racing in Newmarket or naval services in Portsmouth. Containing over 100 images of towns in England, Wales and Scotland, this book draws on the extensive Gough collection in the Bodleian Library. Contemporary prints and drawings provide a powerful visual record of the development of the town in this period, and finely drawn prospects and maps - made with greater accuracy than ever before - reveal their early development. This book also includes perceptive observations from the journals and letters of collector Richard Gough (1735-1809), who travelled throughout the country on the cusp of the industrial age.
At long last: gorgeous note card sets from renowned printmaker David Lance Goines For fifty years, artist, calligrapher, and printmaker David Lance Goines has been the creator of the inimitable designs that have come to define the Bay Area and its institutions. With stark lines, soft colors, and stunning text, his designs are immediately striking and effective, whether depicting an historic local restaurant or an internationally beloved film. While these designs are iconic and immediately recognizable to most, their timeless aesthetic is appealing to both the newcomer and the longtime fan. Heyday is pleased to announce the initial offerings of the David Lance Goines Note Card Collections: Chez Panisse and Movies. Each set contains twelve white note envelopes and twelve blank cards printed on fine white stock. Chez Panisse will feature 4 images celebrating the famed eatery: Chez Panisse - 26th Anniversary Poster (1997) Chez Panisse - 32nd Anniversary Poster (2003) Chez Panisse - 34th Anniversary Poster (2005) Cafe Chez Panisse - 35th Anniversary Poster (2015)
Part of an exciting series of sturdy, square-box 1000-piece jigsaw puzzles from Flame Tree, featuring powerful and popular works of art. This new jigsaw will satisfy your need for a challenge, with Mabel Royds' Water Lilies. This 1000 piece jigsaw is intended for adults and children over 13 years. Not suitable for children under 3 years due to small parts. Finished Jigsaw size 735 x 510mm/29 x 20 ins. Mabel Allington Royds (1874-1941) was born in Bedford. At age 15 she won a scholarship to London's Royal Academy but opted to study at the Slade. She is famed for her colourful woodcuts of flowers, along with Biblical and Indian scenes, her technique was indebted to Japanese woodcuts.
Copper Plate Photogravure describes in comprehensive detail the technique of traditional copper plate photogravure as would be practiced by visual artists using normally available facilities and materials. Attention is paid to step-by-step guidance through the many stages of the process. A detailed manual of technique, Copper Plate Photogravure also offers the history of the medium and reference to past alternative methods of practice. Copper Plate Photogravure: Demystifying the Process is part of the current revitalization of one of the most satisfyingly beautiful image-making processes. The range of ink color and paper quality possibilities is endless. The potential for handwork and alteration of the copper plate provides yet another realm of expressive variation. The subject matter and the treatment are as variable and broad as photography itself. This book's purpose is to demystify and clarify what is a complex but altogether "do-able" photomechanical process using currently available materials. With Copper Plate Photogravure, you will learn how to: * produce a full-scale film positive from a photographic negative * sensitize the gravure tissue to prepare it for exposure to the positive * prepare the plate and develop the gelatin resist prior to etching * prepare the various strengths of etching solutions and etch the plate to achieve a full tonal scale * rework the plate using printmaking tools to correct flaws or to adjust the image for aesthetic reasons * use the appropriate printing inks, ink additives, quality papers, and printshop equipment to produce a high quality print A historical survey and appendices of detailed technical information, charts, and tables are included, as well as a list of suppliers and sources for the materials required, some of which are highly specialized. A comprehensive glossary introduces the non-photographer or non-printmaker to many of the terms particular to those fields and associated with this process.
A groundbreaking look at how Chicano graphic artists and their collaborators have used their work to imagine and sustain identities and political viewpoints during the past half century The 1960s witnessed the rise of the Chicano civil rights movement, or El Movimiento, and marked a new way of being a person of Mexican descent in the United States. To call oneself Chicano-a formerly derogatory term-became a political and cultural statement, and Chicano graphic artists asserted this identity through their printmaking and activism. !Printing the Revolution! explores the remarkable legacy of Chicano graphic arts relative to major social movements, the way these artists and their cross-cultural collaborators advanced printmaking methods, and the medium's unique role in shaping critical debates about U.S. identity and history. From satire and portraiture to politicized pop, this volume examines how artists created visually captivating graphics that catalyzed audiences. Posters and prints announced labor strikes and cultural events, highlighted the plight of political prisoners, schooled viewers in Third World liberation movements, and, most significantly, challenged the invisibility of Mexican Americans in U.S. society. While screen printing was the dominant mode of printmaking during the civil rights era, this book considers how artists have embraced a wide range of techniques and strategies, from installation art to shareable digital graphics. This book shows how artists have used and continue to use graphic arts as a means to engage the public, address social justice concerns, and wrestle with shifting notions of the term Chicano. Lavishly illustrated and featuring three double gatefolds, !Printing the Revolution! presents a vibrant look at the past, present, and future of an essential aspect of Chicano art. Exhibition Schedule Smithsonian American Art Museum, Washington, DC November 20, 2020-August 8, 2021 Published in association with the Smithsonian American Art Museum, Washington, DC
This is the first book in English devoted to the woodcuts that illustrate that Brazilian literatura de cordel. This string literature, the inexpensive pamphlets often displayed on thin cords hung between posts, is the work of the virtuosos popular poet of the backlands of Northeast Brazil. The passionate narratives are by turn realistic and fantastic, comic and tragic, and reflect the realities and the dreams of the Brazilian poor. Published all over Brazil, these stark woodcuts have all the power, quickness, and wit of great popular art.
Discover the amazing Gelli (R) plate-a revolutionary printmaking surface that makes it easy to produce beautiful, one-of-a-kind artwork with amazing colors and textures! This book will show you how to use gelatin printing to create 32 stunning designs of layered prints, decorative pages for art journals, fabric for quilting, greeting cards, and more! Gelli (R) Printing teaches you all the basics you need to know on supplies, how to get started, and the best techniques for making colorful backgrounds, textured pages, multiple layers, and basic borders. Perfect for both beginners and experts, durable and reusable Gelli (R) plates are easy to clean so you can quickly change paint colors and move on to your next project. This newly expanded edition contains an updated gallery of art featuring the latest Gelli (R) plate techniques. Wonderful results can be obtained quickly, and simple variations give each print its own unique personality!
This pack contains 200 high-quality origami sheets printed with colourful and attractive Kimono Patterns. These kimono patterns were chosen to enhance the creative work of origami artists and paper crafters. The pack contains 12 patterns unique to this pack, and all of the papers are printed in coordinating colours on the reverse to provide aesthetically pleasing origami models. A booklet in the pack provides instructions for: Crane Kimono Simple Swan Star Box Tortoise Kimono.
For the past fifty years, Tamarind has breathed life into the once-underappreciated art of lithography. From Josef Albers and Philip Guston in the 1960s, to Ed Ruscha and Kiki Smith in recent decades, contemporary artists have teamed up with professional printmakers at Tamarind to create an archive of exceptional lithographs. In 1960, in an effort to generate interest in lithography and make it accessible to artists, June Wayne founded Tamarind Lithography Workshop, Inc., in Albuquerque, New Mexico. Fifty years and many thousands of prints later, it is difficult to imagine what lithography in the United States would be without the influence of the renowned Tamarind. Showcasing the broad aesthetic capabilities of lithography, Tamarind Touchstones demonstrates the diversity of the artists who have embraced lithography and their increased facility and comfort with the medium. Highlighting the ninety lithographs in the exhibition, reproduced in full color, this catalogue also includes glimpses into the recent activities of Tamarind, the psyche of the professional printmaker, and the curatorial perspective that guided the selection for this National Endowment for the Arts--funded traveling exhibition. With its trademark passion, Tamarind enters the next fifty years committed to its original goals to invigorate and fortify lithography and to expand its reach throughout the world.
Among William Blake's (1757-1827) most widely recognized and highly regarded works as an artist are twelve color printed drawings, or monoprints, conceived and executed in 1795. This book investigates these masterworks, explaining Blake's technique-one he essentially reinvented, unaware of 17th-century precursors-to show that these works were produced as paintings, and played a crucial role in Blake's development as a painter. Using material and historical analyses, Joseph Viscomi argues that the monoprints were created as autonomous paintings rather than as illustrations for Blake's books with an intended viewing order. Enlivened with bountiful illustrations, the text approaches the works within the context of their time, not divorced from ideas expressed in Blake's writings but not illustrative of or determined by those writings.
On a warm Friday night in 1732, a rowdy group of friends set out from a pub. They are beginning a 'peregrination' that will take them through the scurrilous streets of Georgian London and down the Thames as far as the Isle of Sheppey. And among them is an up-and-coming engraver and painter, just beginning to make a name for himself: William Hogarth. Hogarth's work has come to define early-Georgian Britain; and it speaks to us with equal relevance today. Here, for the first time in over twenty years, Jacqueline Riding brings the artist - and his world - to vivid and detailed life. Following in his own footsteps, Hogarth illuminates an ambitious self-made man, a philanthropist, satirist, devoted husband and an artist who aspired to the highest principles even while charting humanity's lowest vices.
Why Piranesi's greatest works weren't his famous prints but rather the books for which he made them A draftsman, printmaker, architect, and archaeologist, Giovanni Battista Piranesi (1720-78) is best known today as the virtuoso etcher of the immersive and captivating Views of Rome and the darkly inventive Imaginary Prisons. Yet Carolyn Yerkes and Heather Hyde Minor argue that his single greatest art form-one that combined his obsessions most powerfully and that he pursued throughout his career-was the book. Piranesi Unbound provides a fundamental reinterpretation of Piranesi by recognizing him, first and foremost, as a writer, illustrator, printer, and publisher of books. Featuring nearly two hundred of Piranesi's engravings and drawings, including some that have never been published before, this visually stunning book returns Piranesi's artworks to the context for which he originally produced them: a dozen volumes that combine text and image, archaeology and imagination, erudition and humor. Drawing on new research, Piranesi Unbound uncovers the social networks in which Piranesi published, including the readers who bought, read, and debated his books. It reveals his habit of raiding the wastepaper pile for cast-off sheets upon which to draw and fuse printed images and texts. It shows how, even after his books were bound, they were subject to change by Piranesi and others as pages were torn out and added. The first major exploration of the lives of Piranesi's books, Piranesi Unbound reimagines the full range of the artist's creativity by showing how it is inextricably bound to his career as a maker of books.
In 1508 the partnership of Andrew Myllar and Walter Chepman brought printing to Scotland. Their early publications brought into print works by two of medieval Scotland's most celebrated poets, Robert Henryson and William Dunbar, Walter Kennedy and Robert Henryson; they also contain less well-known but important poems and prose in Scots and in English by other writers. The prints feature a wide variety of genres: romance; fable; advice to princes; chivalric treatise; lyric; dream vision; along with a classic example (by Dunbar and Walter Kennedy) of the Scots genre of `flyting', a stylised but scurrilous exchange of poetic insults. In celebration of the anniversary, the Scottish Text Society, in association with the National Library for Scotland, has published a DVD of prints produced by Chepman and Myllar in or close to 1508, containing digitised facsimiles of each of the twenty printed items. Each facsimile is accompanied by a headnote, explaining the print's literary significance and technical features, and a transcription. There is also an introduction by the general editor, SALLY MAPSTONE, which sets the Chepman and Myllar press within the context of early sixteenth-century Scotland and Scottish book history. The edition thus gives readers informative access to Scotland's earliest texts; easily navigable, it will become a vital teaching and research tool. CONTRIBUTORS: PRISCILLA BAWCUTT, A.S.G. EDWARDS, JANET HADLEY WILLIAMS, RALPH HANNA, BRIAN HILLYARD, LUUK HOUWEN, EMILY LYLE, SALLY MAPSTONE, JOANNA MARTIN, NICOLE MEIER, RHIANNON PURDIE
Using the Archives of the Royal Society of Painter-Printmakers at the Bankside Gallery, London, this book tells the story of the struggles of the Society to obtain official recognition for the merits of original etchers and engravers, who had been treated as an inferior class of the Royal Academy (they restricted membership to Painters, Sculptors and Architects from its foundation in 1768).
Part of a series of exciting and luxurious Flame Tree Notebooks. Combining high-quality production with magnificent fine art, the covers are printed on foil in five colours, embossed, then foil stamped. And they're powerfully practical: a pocket at the back for receipts and scraps, two bookmarks and a solid magnetic side flap. These are perfect for personal use and make a dazzling gift. This example features William Morris: Seaweed.
These fine-quality gift wrapping sheets feature 6 prints inspired by the fun and colorful technique of tie-dye! These papers are suitable for craft projects as well as for gift wrapping. The variety of designs means they are useful for any occasion-whether a holiday, birthday, anniversary or "just because." Tie-dye is making a big comeback-from clothing and home accessories to office and school supplies. Share this feel-good trend with loved ones and make them smile! 24 sheets of 18 x 24 inch (45 x 61 cm) paper 6 unique patterns The tradition of gift wrapping originated in Asia, with the first documented use in China in the 2nd century BC. Japanese furoshiki, reusable wrapping cloth, is still in use four centuries after it was first created. Gift wrapping is one custom that has prevailed through the ages and across the world-it should be special for both the gift giver and recipient.
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