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This title features 20 stylish printmaking projects suitable for all levels of ability, including invitations, a tea towel and wrapping paper. It includes a full techniques section to explain the basic skills and equipment needed. It presents clear and beautiful step-by-step photographs to guide the reader along and show the projects in action. What could be better than getting together with friends and getting creative? If you fancy stamping some personality on anything from napkins to canvas shoes then this book of print making from the new Super+Super series is for you. With 20 projects to get your creative teeth into, this quirky step-by-step guide to print making is full of fun. Projects include invitations, napkins, tea towel and wrapping paper.
During his lifetime, Hokusai was one of the most revered artists working in the ukiyo-e school of painting and printmaking. This book gathers the finest examples of Hokusai's breathtaking prints, including his iconic The Great Wave off Kanagawa, views of Mt. Fuji, landscapes, domestic scenes, and painstakingly rendered flora and fauna. An introduction by Matthi Forrer offers a brief biography of Hokusai and commentary on his practice and influence. Each full color poster is backed with a substantial caption that provides insights into the piece's significance and notable characteristics. Printed on heavy coated paper, these detachable posters are suitable for framing, but also taken together create a lasting and illuminating introduction to Hokusai's extraordinary accomplishment.
A new, up-to-date edition of this popular and comprehensive encyclopedia on printing techniques by professional artist Judy Martin. This inspirational, visual guide offers a wealth of information on the techniques and materials you'll need before embarking on your printing pursuits. Starting with your equipment and safety essentials, all the different methods of printmaking are covered, from monoprinting, wood engraving and etching to intaglio printing, screen-printing and more. Then, learn how to apply these methods yourself by following the helpful, illustrated step-by-step demonstrations inside to create your own printed pieces. There is even advice on how to take your printmaking even further, with suggestions on organising studio space at home or in a commercial environment. Finally, a stunning gallery of images created by professional printmakers, featured throughout the book provides inspiration for your own beautiful artwork.
Graphicstudio: Uncommon Practice at USF explores the incredible body of art from Graphicstudio, the print atelier at the University of South Florida, Tampa, Florida that has hosted artists including Louise Bourgeois, Jim Dine, Alex Katz, and Roy Lichtenstein. Founded in 1968, the studio has developed an international reputation, and work produced at Graphicstudio can now be found in private and museum collections across the world. This volume presents over one hundred artworks by forty-five artists including Chuck Close, Roy Lichtenstein, Christian Marclay, Philip Pearlstein, Robert Rauschenberg, Ed Ruscha, and Kiki Smith. The range of artworks includes etchings, photo- and direct gravures, digital or pigment prints, cyanotypes, lithographs, woodcuts and screen prints, as well as sculpture in bronze, concrete, basalt, and cast epoxy resin. Author Jade Dellinger investigates Graphicstudio's innovative atmosphere and interdisciplinary resources as well as the technical challenges artists have faced. Illustrated case studies focus on the work of seven artists; also featured are four illustrated interviews with the current and past Graphicstudio directors and brief biographies of the careers of the forty-five artists represented.
Utagawa Hiroshige (1797-1858) designed a series of 70 landscapes depicting the provinces of Japan between 1854 and 1856. It was the first of a number of sets from the highly productive years of his later life. The designs comprising, i>Famous places in the 60-odd provinces" ("Rokuju yoshu meisho zue") are taken from all corners of Japan. Designs published before this series had already depicted the famous routes between Edo and Kyoto, the Tokaido and the Kisokaido, and various well known locations such as the famous waterfalls, Lake Omi and the Jewel Rivers, but a series on such a grand scale devoted to the provincies was a novelty. It evidently met with critical acclaim as the publishers Koshimuraya Heisuke issued several editions. In this study, the author Marije Jansen briefly discusses Hiroshige's life and the formal aspects of this series. Jansen takes as her point of departure the set in possession of the German collector Gerhard Pulverer, which is generally acknowledged to be a superb example of a first edition, and compares this series to a number of other sets in public and private collections. The detectable printing variations in each design are carefully analysed, making this an indispensable tool for collectors.
This multifaceted book reviews the vast range of types of printmaking that flourished in France during the 19th century. Studies of this period's printmaking tend to be confined to histories of individual processes, such as lithography or steel engraving. This study surveys the field as a whole and discusses the relationships between the various media in the context of an overall visual economy. Lithography, etching, and engraving are all examined through new research on noteworthy artists of the period, including Hyacinthe Aubry-Lecomte, Leopold Flameng, Ferdinand Gaillard, Aime de Lemud, Nadar, and Charles Waltner. Rather than simply tracing the rise of Modernism in the 19th century, Distinguished Images reconstitutes the period's cultural milieu through a series of case studies written with an eye to overarching forces at play. The result is the most original analysis of printmaking to appear in many years - a striking new account of a system in which printmaking, printmakers, and art critics played heretofore unrecognized or misunderstood roles.
The East Asian classical tradition, with its repertoire of ancient narratives and established pictorial themes, was a major force driving cultural development in Japan during the early modern or Edo period (1615-1868). This book offers an in-depth account of three aesthetic concepts "mitate," "yatsushi," and "f ry " which influenced the way early-modern popular culture absorbed and responded to this force of cultural tradition. Combining literary, historical, and visual evidence, the book examines particularly how the three concepts guided artistic choices in the context of Floating World prints (ukiyo-e), and how the concepts have shaped the direction of ukiyo-e studies since the Meiji period (1868-1912).
In the winter of 1886-87, during his stay in Paris, Vincent van Gogh bought 660 Japanese prints at the art gallery of Siegfried Bing. His aim was to start dealing in them, but the exhibition he organized in the cafe-restaurant Le Tambourin was a total failure. However, he was now able to study his collection at ease and in close-up, and he gradually became captivated by their colourful, cheerful and unusual imagery. When he left for Arles, he took some prints with him, but the core remained in Paris with his brother Theo. Although some prints were later given away, the collection did not disperse. This book reveals new analyses of the collection, now held in the Van Gogh Museum, given as a long-term loan from the Vincent van Gogh Foundation. The authors delve into its history, and the role the prints played in Van Gogh's creative output. The book is illustrated with over 100 striking highlights from the collection.
"Genji's world in Japanese Woodblock Prints" provides the first comprehensive overview of Genji prints, an exceptional subject and publishing phenomenon among Japanese woodblock prints that gives insight into nineteenth-century Japan and its art practices. In the late 1820s, when the writer Ry tei Tanehiko (1783 1842), the print designer and book illustrator Utagawa Kunisada (1786 1865) and the publisher Tsuruya Kiemon sat down together in Edo to plot the inaugural chapter of the serial novel "A Rustic Genji by a Fraudulent Murasaki" (Nise Murasaki inaka Genji), it is doubtful that any one of them envisioned that their actions would generate a new genre in Japanese woodblock prints that would flourish until the turn of the century, "Genjie" ( Genji pictures ). During these sixty years, over 1,300 original designs were created, of which many were very popular at their time of release. The story of "A Rustic Genji," set in fifteenth-century Japan, is in many respects drawn from Murasaki Shikibu s (c.973 1014/25) classic novel "The Tale of Genji" from the early eleventh century. As the foremost collection of prints of this subject, the extensive holdings of Paulette and Jack Lantz provided the majority of images necessary for this publication.
Collagraphs are prints made from collages, relief sculpture, carved, stripped or layered plates, or mixed media. Material can be added to prints at any stage, which means that this method of working allows for a much more fluid artistic approach than other types of printmaking. In this book, the authors describe a wide range of collagraph techniques, providing the user with practical help on the choice of materials and printing methods to achieve the best results. It is illustrated with images of the work of British and international collagraph artists, making it a practical and inspirational guide for both students and experienced printmakers. A large portion of the book is dedicated to information about a wide range of collagraph artists and their work.
An inspired collection of the authors' own work spanning 30 years into the 'Visual Art Language'. Demonstrates a variety of mediums including oil paint, etching and drawing. Will appeal to readers with an interest in Fine Art, practitioners or those with an interest in the development of a visual language. This is a book of original art works comprising 49 colour and 62 black and white images, most are at full page size. The book is divided into six sections which look at different aspects of visual language in terms of either subject matter or media. It contains works from memory, etchings, still life, portrait, figure drawings and student work which form these six sections. Readers are able to see the development of a language which has evolved from early student work to current work. There are brief introductions to each section which aim to explain how the ideas came about, providing some detail about the artistic process, the inspiration behind the work and the challenges encountered along the way. Complementing the visual art are short and concise introductions to each section. A biography of the author is included at the end.
This revised work provides a basic introduction to prints and printmaking. It provides explanations of different techniques of printmaking and illustrates both details and whole prints to show the effects that can be achieved. Woodcut, engraving and mezzotint are among the different processes explained and placed within an historical context.
Best known for his monumental images of bathrobes, tools and hearts that became icons of Pop art during the 1960s and 70s, Jim Dine remains one of the most inventive and prolific printmakers of our time. His prints currently number some 1,000 items, and at age 75, he continues to produce new works with remarkable zest and boundless energy. Dine's prints are rooted in the spontaneous, gestural aesthetic of American Abstract Expressionism. Intensely physical in execution, they celebrate the artist's touch. He supplements his energetic, full-body strokes not only by hand coloring but also by collaging with nontraditional media. He may also subtract, scratching or even gouging his surfaces, sometimes with power tools. The results show his great joy in working with the thick paper and rich inks and colors, or in the artist's words, his love for "leaving my tracks." "Jim Dine Printmaker: Leaving My Tracks" explores Dine's etchings, woodcuts, lithographs and illustrated books from the last 50 years, drawing from the prints at the Museum of Fine Arts, Boston, where the artist has created an archive of his life's work. Some 160 lush full-color images, along with text based on conversations between the artist and MFA curator Clifford S. Ackley, offer an intimate look into Dine's deeply personal approach to his favorite subject matter.
"Of all of the contemporary draftsmen, I admire you the most," wrote Alfred Kubin on November 25, 1912, in a letter to Lyonel Feininger. After the two had exchanged drawings with one another, they began an intense correspondence. Their letters are being published in this book for the first time, providing profound insight into the minds of Kubin and Feininger.Besides drawings by Feininger from Kubin's estate, the volume presents an extraordinary selection of drawings and prints by the latter, whose body of work full of dismal symbolism has not lost any of its fascination. Beginning with early drawings by Kubin and commercial caricatures by Feininger, the exhibition traces the artistic paths of two men who corresponded as soul mates yet developed in very different directions: Kubin shifted his attention to the illustration of literary works, while Feininger discovered painting. Exhibition: Internationale Tage, Ingelheim, 24.5.-2.8.2015 | Albertina, Wien/Vienna, 4. 9.2015-10.1.2016
This book reveals the secrets of hybrid and combination techniques. Combined techniques are often used by printmakers as tricky ways of achieving particular results, and then not fully acknowledged or detailed in the information that accompanies the print when it is exhibited. Combination printmaking has a long history, but the explosion of media now available to printmakers has opened up many new possibilities. Learning the techniques associated with creating hybrid prints is, at the moment, a case of trial-and-error for most printmakers, unless they are lucky enough to have a tame and generous printmaking friend who will share their secrets; most printmakers closely guard the secrets of how they make their unique prints. This book will explain a lot of these 'secret' methods and techniques.
This revised and expanded fourth edition of Andy Warhol Prints: A Catalogue Raisonne 1962-1987, with 1,700 illustrations and full documentation, presents the artist's complete graphic production, from his first unique works on paper in 1962 through his final published portfolio in 1987, including trial proof prints and unpublished prints. The fourth edition contains a new portrait section, featuring images of artists, entertainers, writers and sports figures, among others, with 125 illustrations, one hundred of which were not included in the earlier editions of this catalogue. Another highlight is a 33-page supplement covering the illustrated books and portfolios Warhol created in the 1950s, which documents techniques that reappear, in more developed forms, in his later prints. These innovative works of the 1950s, explored in a new essay by Donna De Salvo, represent the first phase in the process of Warhol's conceptualization of printmaking. Two other perceptive essays analyse Warhol's graphic work from different perspectives. In 'God is in the Details', De Salvo traces the evolution of Warhol's printmaking process from blotted line to silkscreen, revealing how Warhol dissected the
This classic text presents the life, times, and works of Albrecht Durer. Through the skill and immense knowledge of Erwin Panofsky, the reader is dazzled not only by Durer the artist but also Durer in a wide array of other roles, including mathematician and scientific thinker. Originally published in 1943 in two volumes, "The Life and Art of Albrecht Durer" met with such wide popular and scholarly acclaim that it led to three editions and then, in 1955, to the first one-volume edition. Without sacrifice of text or illustrations, the book was reduced to this single volume by the omission of the "Handlist" and "Concordance." The new introduction by Jeffrey Chipps Smith reflects upon Panofsky the man, the tumultuous circumstances surrounding the creation of his masterful monograph, its innovative contents, and its early critical reception. Erwin Panofsky was one of the most important art historians of the twentieth century. Panofsky taught for many years at Hamburg University but was forced by the Nazis to leave Germany. He joined the faculty at the Institute for Advanced Study in 1935, where he spent the remainder of his career and wrote The "Life and Art of Albrecht Durer." He developed an iconographic approach to art and interpreted works through an analysis of symbolism, history, and social factors.
This book, one of his most important, is a comprehensive study of painter and printmaker Albrecht Durer (1471-1528), the greatest exponent of northern European Renaissance art. Although an important painter, Durer was most renowned for his graphic works. Artists across Europe admired and copied his innovative and powerful prints, ranging from religious and mythological scenes to maps and exotic animals. The book covers Durer's entire career in exacting detail. With multiple indexes and more than three hundred illustrations, it has served as an indispensable reference, remaining crucial to an understanding of the work of the great artist and printmaker. Subsequent Durer studies have necessarily made reference to Panofsky's masterpiece. Panofsky's work continues to be admired for the author's immense erudition, subtlety of appreciation, technical knowledge, and profound analyses."
The Kimono in Print: 300 Years of Japanese Design is the first publication dedicated to the examination of the kimono as a major source of inspiration and experimentation in Japanese print culture from the widely circulated woodblock prints and illustrated books of the Edo period (1603-1868) to the modern design books of the Meiji period (1868-1912).
Geoffrey Garnier was the only Newlyn artist to devote himself entirely to the art of print-making. After a spell in Canada he studied at the Bushey School of Art and in 1913 at the Forbes School of Art at Newlyn in Cornwall. Friends there included Lamorna Birch, Laura and Harold Knight, Charles and Ruth Simpson, Harold Harvey, his wife Gertrude and her sister Sophie Bodinnar, Frank Dobson the sculptor, Dod and Ernest Procter and A J Munnings and wife Florence. Geoffrey and Jill, coinciding at the Forbes School, married in 1917 while he was serving in the Navy, and after the war settled in Newlyn, where they remained for the rest of their lives. They bought Orchard Cottage, high above the harbour with glorious views across the bay to St Michael's Mount, building studios in the sloping garden. Geoffrey's prints gained international recognition. He worked in dry-point, line engraving, etching, mezzotint and particularly aquatint, developing new processes and rediscovering old methods. Favourite subjects were the sailing ships of the great era of British sea power, Cornish landscapes and sporting scenes, charming studies of children at play and colourful oriental prints. Jill continued to paint despite the demands of domesticity, and produced portraits of her children and friends, landscapes and still lifes, making a record of her times. Geoffrey's versatility extended to calligraphy, bookbinding and fiction writing. Despite his nostalgia for old Cornish life, he had a love of fast cars, owning such exotic makes as Benz, Delage and Austro-Daimler.
Etching can seem mysterious and inaccessible, but this practical book guides you through the process to reveal the potential of this distinctive means of creating artists' prints. With clear instructions and visual guides, it explains the many ways that marks are first made on a metal plate before ink is applied and the image transferred onto a sheet of paper. The book goes on to introduce a broad menu of techniques, allowing the visual artist to develop a uniquely personal approach. Topics include the materials and equipment needed to get started, from the simple etching needle and scraper-burnisher to the etching press. Explanations are given for photo-etching, aquatint, as well as related intaglio processes such as drypoint and photopolymer. This new book encourages artists to experiment and try combining techniques to explore their potential, and includes interviews with leading artists explaining their approaches.
In the 1880s, an economic boom in Japan encouraged a renaissance of
traditional color woodblock painting. During this prosperous
period, a well-born painter named Numata Kashu created "A Picture
Book of Birds. "Kashu's three-volume series blended the
contemporary interest in woodblock prints with East Asia's
centuries-old fascination with artistic depictions of birds and
flowers. His colorful books received a lavish production from a
Tokyo printer that went out of business soon afterward, rendering
the volumes instant rarities. Kashu's woodblock prints were so
popular that dealers carved up available books in order to sell the
images individually, making complete versions even harder to
The work of print artist Ohara Koson (1877-1945) mainly consists of prints of birds and flowers, characterised by their peaceful charm. This book about Koson is the first Western publication of his oeuvre of prints and paintings. It provides all known information on the artist's life and work, his teachers and publishers, facsimiles of his signatures and seals and illustrations of an estimated seventy-five percent of his total print output, now kept in the splendid collection of Japanese prints in the Rijksmuseum, Amsterdam. First published in 2001, this new edition features an additional chapter on Koson s oeuvre and designs which have been discovered since the original publication of "Crows, Cranes and Camellias." This title is the definitive reference book for Koson collectors.
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