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This mini wall calendar is a celebration of the kimono - a traditional Japanese garment. These kimonos were often beautiful and intricately designed and would have been worn by women, children and men, with their patterns indicating the class and identity of the person wearing it. Twelve of these lavish designs from the V&A's collections are reproduced in this calendar. Informative text accompanies each work and the datepad features previous and next month's views.
Originally produced in 1933 by the Kynoch Press, this perpetual week-to-week diary features beautiful wood block engravings by Eric Ravilious on every spread. The delightful illustrations follow the changing seasons, from roaring fires and snowy vignettes for the winter months to strawberries in the summer, bringing to life the simplicity of the English countryside. Beautifully designed, this is the perfect gift for gardeners and nature lovers as well as fans of Ravilious' work.
First published in 1814, Werner's Nomenclature of Colours is a taxonomic guide to colour which been cherished by naturalists and anthropologists for over two centuries. In the late 1790's Abraham Gottlob Werner devised his own standardised colour scheme, which allowed the writer to describe even the subtlest of chromatic differences with consistent terminology. His scheme was then adapted by an Edinburgh flower painter, Patrick Syme, who traced the actual minerals described by Werner, and used them to create the colour charts found in the book. In the pre-photographic age, almost all visual details had to be captured using the written word, and scientific observers could not afford any ambiguity in their descriptions. These included Charles Darwin, for whom Werner's Nomenclature was an indispensable tool during his seminal voyage on the Beagle. Werner's Nomenclature of Colours is a charming artefact from the age of explorers, which continues to be treasured by artists and scientists alike.
Clifford Webb (1894-1972) was one of Britain's foremost wood engravers and a successful illustrator of children's books, but today his work is often overlooked. Held in high esteem by his peers, he studied under Eric Gill and Walter Sickert, and later taught at St Martin's, but much of his work was either deliberately destroyed or otherwise failed to survive. Now, the renowned wood engraver Simon Brett has painstakingly assembled much of what remains of this extraordinary artist's output for this first book about Webb.
How were the first fonts made? Who invented italics? When did we work out how to print in colour? Many of the standard features of printed books were designed by pioneering typographers and printers in the latter half of the fifteenth century. Although Johannes Gutenberg is credited with printing the first books in Europe with moveable type, at the height of the Renaissance many different European printers and publishers found innovative solutions to replicate the appearance of manuscript books in print and improve on them. The illustrated examples in Typographic Firsts originate in those early decades, bringing into focus the influences and innovations that shaped the printed book and established a Western typographic canon. From the practical challenges of polychromatic printing or printing music staves and notes to the techniques for illustrating books with woodcuts, producing books for children and the design of the first fonts, these stories chart the invention of the printed book, the world's first means of mass communication. Also covering title pages, maps, printing in gold and printing in colour, this book shows how a mixture of happenstance and brilliant technological innovation came together to form the typographic and design conventions of the book.
An artist who worked across many media, the multi-skilled Gustave Dore remains unequalled as a supremely talented illustrator, whose detailed and imaginative engravings for major works of literature - from Cervantes's Don Quixote to Dante's Divine Comedy, and even the Bible - have hugely influenced the way we see many cultural and literary characters and still inspire today (David Beckham has a tattoo on his chest of Dore's The Agony in the Garden). This sumptuous new introduction to the artist focuses on these illustrations, first introducing you to his life, work and the rich seam of illustration history that he continued and ignited, from Blake and Fuseli to today's newspaper comics, before presenting a carefully curated thematic selection of his finest and most important engravings. From his vision of Jacob Wrestling with the Angel to Crossing the River Styx, the work of this most prodigious and much borrowed-from artist is represented in glorious full-page reproductions.
This pack contains 500 high-quality origami sheets printed with colourful and attractive nature photographs. These photographs of nature were chosen to enhance the creative work of origami artists and paper crafters. This pack contains 12 different unique nature photographic designs including: Honeycomb Butterflies Green leaves River pebbles Succulents Kiwi. A booklet in the pack provides instructions for: Crane Simple Swan Pig Tortoise Japanese Lantern A Cat's Head Butterfly.
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.
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.
The amazing tales of the knight Theuerdank and his companion Ehrenhold constitute the last great epic verse of the late Middle Ages. The courageous knight's journey to woo his future wife, Mary of Burgundy, and his triumph in battles and other perilous acts of bravery are the focus of this highly embellished "real-life" story of Emperor Maximilian I (1459-1519). A king of Germany before becoming Holy Roman Emperor in 1508, Maximilian was a great patron of the arts, but also the first modern-age ruler to recognize its potential for propaganda. He commissioned a trilogy of luxurious illustrated books to immortalize his existence, among them Theuerdank-the only volume to be published during his lifetime, composed by Melchior Pfinzing, based on Maximilian's rather fanciful draft. The 118 ornate, gold-adorned woodcuts-one for each chapter-were made by Hans Burgkmair the Elder, Hans Schaufelein, and Leonhard Beck, while the typeface (known as the Theuerdank typeface and marked by striking "elephant trunks") was especially designed for the book by the printing workshop of Hans Schoensperger the Elder. This edition, inspired by an extremely rare hand-colored original from the Bayerische Staatsbibliothek, Munich, comes with an essay by Stephan Fussel (covering Maximilian's life and work, as well as his role in the art of printing and use of printed materials) and selections from Melchior Pfinzing's clavis, or "key," which was included in the original to kindly point out to Maximilian's contemporaries exactly what part of the tales were more fiction than fact. The collection also showcases the famed "elephant trunks" typeface in double-spread fascimiles-true to the original down to every stain and smudge. A chapter-by-chapter retelling of the tales in modern vernacular sheds light on the narrative strategy and real events behind the allegories.
The American Dream: From Pop to present presents an overview of the development of American printmaking since 1960, paying particular attention to key figures such as Jasper Johns, Robert Rauschenberg and Andy Warhol. The 1960s was a period of change in the production, marketing and consumption of prints and the medium attracted a new generation of artists whose attitude towards making art had been conditioned by the monumentality and bold, eye-catching nature of popular imagery in postwar America, from advertising billboards to drive-in movies. Artists used to working on large canvases and huge sculptures created prints of an unprecedented ambition, scale and boldness in state-of-the-art workshops newly established on both the East and West coasts. Prints also became a means for expressing opinions on the great social issues of the day, from civil rights to the overt and covert role of government. This has continued, with feminism, gender, the body, race and identity, all topics represented in prints in a variety of stylistic approaches across the decades. The changing nature of American society provides a core element of the narrative, with prints offering a fascinating insight into contemporary thinking and attitudes.
The Julie and Robert Breckman Print Fund has enabled purchases by such art world stars as Damien Hirst, Julian Opie, Chris Ofili, Grayson Perry and Rachel Whiteread to name but a few. The collection is also home of a wide range of other print acquisitions that encompass everything from topographical prints, fashion plates, wallpapers and caricatures to posters, packaging and playing cards, as well as prints by street artists, and often challenging contemporary prints and multiples. This book includes an illustrated introduction that gives the background of the collection and describes the rationale behind the collecting - as well as highlighting the important contributions that the Breckman Fund acquisitions have made to the V&A's programme of exhibitions, displays and galleries.
No other Wilderness region in the country has served America's artists for so long or with so many subjects as the Adirondacks. In a volume that covers nearly three hundred years of artistic achievement, Adirondack Museum curator Caroline Mastin Welsh includes essays that were originally presented at the 1995 North American Print Conference. Comprehensive in scope and lavishly illustrated, the book embodies the artistic spectrum, from the documentary to the aesthetic. From Winslow Homer, Dr. Arpad Gerster, and French naturalist Jacques Gerard Milbert to Canadian artist David Milne, Prints and Printmakers of the Adirondacks underscores the importance of the wilderness landscape in American art and culture and the role that prints have played to document, promote, and celebrate the Adirondacks.
Screenprinting is in the midst of a popular revival among beginners, students, hobbyists and experts alike, but there are very few recent publications that give actual fundamental information on its techniques and processes. This book provides the missing manual on this very popular practice. It includes iInspirational step-by-steps with leading artists, illustrators and designers, including Ben Eine and Rob Ryan. In each step-by-step original work is created to showcase a key process or technique such as hand-cut stencils, colour blending and monoprinting. The information on materials and techniques, along with tips, insights and troubleshooting, will ensure today's creatively minded screenprinters will be able to produce eye-catching work of their own. The book also gives valuable advice to the budding screenprinter on how to organize an exhibition or screenprinting event and promote and sell their work. Deliciously fresh and visual, with specially commissioned photographs and written by a vibrant, innovative group working and teaching at the very epicentre of the contemporary screenprinting scene, this book is the complete modern guide for screenprinters of all levels of knowledge and skill, and will have a vital presence in their studios and workshops.
This pack contains 500 high-quality origami sheets printed with 12 different colourful and attractive kaleidoscope prints. The handmade look of this paper was selected to enhance the creative work of modular origami artists and paper crafters. The pack contains prints unique to this package, which resemble geometric kaleidoscope patterns. There's enough paper here to assemble amazing modular origami sculptures, distribute to students for a class project, or put to a multitude of other creative uses. This origami paper pack includes: 500 sheets of high-quality origami paper 12 fun designs and patterns Small 4x4 inch squares Coordinating colours on the reverse side.
Comprising the finest plates from the great illustrator's work,
this collection features outstanding engravings from such literary
classics as Milton's "Paradise Lost," "The Divine Comedy" by Dante,
Coleridge's "The Rime of the Ancient Mariner, The Raven "by Edgar
Allan Poe, Sue's "The Wandering Jew," and many others.
For the prospective buyer, the world of printmaking can be overwhelming. Intaglio, lithography, aquatint, sugarlift... even the language of printmaking has the potential to confuse. Helen Rosslyn, a print specialist and Director of the London Original Print Fair, provides her expert insider advice in this straight-talking guide. She explains the techniques used by today's printmakers, accompanied by a brief history of printmaking. A comprehensive glossary elucidates printmaking terms, including the newer language of digital printmaking. Rosslyn answers the commonly asked questions to help the reader navigate this often mysterious world. There are tips and expert advice from artists, print dealers, paper conservators, picture framers and art handlers, alongside reproductions of some of the finest prints from the collection of the Royal Academy of Arts, making this book the perfect companion for anyone interested in buying or collecting prints, whether old master or contemporary. A Buyer's Guide to Prints is published in association with the London Original Print Fair, held each year at the Royal Academy of Arts, London.
Hokusai Great Wave Wire-O Journal from Galison is the perfect companion notebook. The cover features The Great Wave, the famous woodblock print by the Japanese ukiyo-e artist Hokusai, lined pages, and a large functional spiral binding.
First published in 1937, the Gardener's Diary was both designed and illustrated by the renowned British graphic designer Edward Bawden (1903-1989). This perpetual week-to-week diary comprises beautiful horticultural block prints and helpful weekly reminders from William Cobbett's English Gardener (1827). Plenty of space is given to note activities and observations such as weather patterns, sewing dates and when plants bloom and fruit. This is a beautiful book for all keen gardeners to help chart your garden's progress from season to season.
Edvard Munch (1863-1944) is best known today as a painter, but his reputation was in fact established through his prints, which were central to his creative process. His printmaking was experimental and innovative, and he continually revisited the subjects of his paintings in striking prints, in which he evoked a wide range of emotion and mood through the use of varied techniques. Munch's early life in the industrial town of Kristiania (renamed Oslo in 1925) was marked by sickness and poverty. His first works centred on the expression of deep emotional experiences, specifically the deaths of his mother and teenage sister when he was growing up, as well as passionate yet unhappy love affairs of which his deeply religious father disapproved. Encouraged by his encounters with a Bohemian society of artists, writers and poets, he developed a visual landscape that was a radical deviation from the slick society portraits and grand Scandinavian landscapes then so much in vogue. His efforts attracted considerable attention and much criticism, and he practised with little financial success as a painter for ten years before he started to gain his reputation as a profoundly innovative printmaker. Written by a team of acknowledged experts, and with an interview by writer Karl Ove Knausgaard, this book will shed new light on the production of some of Munch's most remarkable works.
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