Printed artworks were often ephemeral, but in the early modern period, exchanges between print and other media were common, setting off chain reactions of images and objects that endured. Paintings, sculpture, decorative arts, musical or scientific instruments, and armor exerted their own influence on prints, while prints provided artists with paper veneers, templates, and sources of adaptable images. This interdisciplinary collection unites scholars from different fields of art history who elucidate the agency of prints on more traditionally valued media, and vice-versa. Contributors explore how, after translations across traditional geographic, temporal, and material boundaries, original 'meanings' may be lost, reconfigured, or subverted in surprising ways, whether a Netherlandish motif graces a cabinet in Italy or the print itself, colored or copied, is integrated into the calligraphic scheme of a Persian royal album. These intertwined relationships yield unexpected yet surprisingly prevalent modes of perception. Andrea Mantegna's 1470/1500 Battle of the Sea Gods, an engraving that emulates the properties of sculpted relief, was in fact reborn as relief sculpture, and fabrics based on print designs were reapplied to prints, returning color and tactility to the very objects from which the derived. Together, the essays in this volume witness a methodological shift in the study of print, from examining the printed image as an index of an absent invention in another medium - a painting, sculpture, or drawing - to considering its role as a generative, active agent driving modes of invention and perception far beyond the locus of its production.

These fine-quality tear-out sheets feature 12 prints inspired by Japanese Washi paper designs--a type of traditional handmade paper. In Japanese, wa means 'Japanese' and shi means 'paper.' Having been made for 1400 years, the craft of making washi paper is a registered UNESCO intangible cultural heritage. 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." An introduction details the history and meaning behind the designs, giving you a better idea of their origin. Some wrapping ideas are also provided for inspiration to maximize your creativity. This book includes: 12 sheets of 18 x 24 inch (45 x 61 cm) tear-out paper 12 unique patterns Perforations so the papers are easy to tear out Wrapping tips & tricks 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.

How did Victorians, as creators and viewers of images, visualize the politics of franchise reform? This study of Victorian art and parliamentary politics, specifically in the 1840s and 1860s, answers that question by viewing the First and Second Reform Acts from the perspectives offered by Ruskin's political theories of art and Bagehot's visual theory of politics. Combining subjects and approaches characteristic of art history, political history, literary criticism and cultural critique, Picturing Reform in Victorian Britain treats both paintings and wood engravings, particularly those published in Punch and the Illustrated London News. Carlisle analyzes unlikely pairings - a novel by Trollope and a painting by Hayter, an engraving after Leech and a high-society portrait by Landseer - to argue that such conjunctions marked both everyday life in Victorian Britain and the nature of its visual politics as it was manifested in the myriad heterogeneous and often incongruous images of illustrated journalism.

Originally published in 1945, this book contains a comprehensive list of the portraits executed by engraver Jean Morin. Morin's subjects included such celebrated figures as the French kings Henri II and IV, as well as Cardinal Richelieu, and Hornibrook and Petitjean note the various states of the engraving plates, as well as a note on the watermarks on the paper that Morin used. This book will be of value to anyone with an interest in the works of this little-known artist.

This pack contains 200 high-quality origami sheets printed with fun and whimsical flower patterns. These colorful designs were developed to enhance the creative work of origami artists and paper crafters. The pack contains 12 unique patterns, and all of the papers are printed with coordinating colors on the reverse to provide aesthetically pleasing combinations in origami models that show both the front and back of the papers. This origami paper pack includes: 200 sheets of high-quality origami paper 12 different patterns Vibrant and bright colors Double-sided color 6 x 6 inch (15 cm) squares Instructions for 6 easy origami projects

These fine-quality tear-out wrapping sheets feature six whimsical watercolor patterns, suitable for craft projects as well as for gift wrapping. An introduction details the history and meaning behind the designs and provides some wrapping inspiration Tuttle Gift Wrapping Papers are an excellent value--a fraction of the price of a single sheet of gift wrap paper from stationery shops Each sheet is removable by tearing along a perforated line There are six sheets with six different patterns in each book

Synonymous with finely crafted wood engravings of the natural world, Thomas Bewick (1753-1828) perfected an instantly recognisable style which was to influence book illustration well into the nineteenth century. Begun in November 1822, at the behest of his daughter Jane, and completed in 1828, Bewick's autobiography was first published in 1862. The opening chapters recall vividly his early life on Tyneside, his interest in the natural world, his passion for drawing, and his apprenticeship with engraver Ralph Beilby in Newcastle, where he would learn his trade and then work in fruitful partnership for twenty years. Later passages in the work reveal Bewick's strongly held views on religion, politics and nature. The work also features illustrations for a proposed work on British fish. Bewick's General History of Quadrupeds (1790) and History of British Birds (1797-1804), the works which secured his high reputation, are also reissued in this series.

A modern, stylish and practical exploration of the traditional craft of block printing. For self-taught textile designer Molly Mahon, there is something special about block printing that has stood the test of time. From the initial design process, through to the carving of the block, the mixing of the colour and the actual printing process, Molly has always found printing to be meditative. This book enables readers to explore this ancient craft through Molly's contemporary designs and the influences that inspire her use of pattern and colour, before teaching them practical skills and potential ways to transform their creations into beautiful homeware. The book is divided into three main sections: A Modern Block Printer: An introduction to Molly and how she found and nurtured her love of block printing. Also, Molly gives a brief history of the tradition of block printing. Design Journeys: Molly sees pattern everywhere she looks and this is what creates the basis of her blocks. When Molly is designing, it's as if she goes on a journey, whether it be a walk in the forest or a work trip to India. She is constantly inspired by her surroundings in all that she sees and feels. Here the reader is taken on some of her favourite journeys with an inspirational sourcebook filled with beautiful images. Discover a brief history of block printing, design ideas and stories focusing on how India's artisan craftspeople and traditional block printing techniques, nature and the Bloomsbury Group have all inspired Molly's designs. Practical Printing: This chapter focuses on how to block print, including information on key tools, step-by-step techniques for printing on paper and fabric, and pattern design advice. Follow instructions to make five simple homeware projects with your newly printed creations and find exclusive block templates drawn by Molly for you to copy and recreate at home. House of Print is a celebration of both the art of block printing and the joy of design.

This pack contains 500 high-quality origami sheets printed with fun and funky Tie-Dye Patterns. These colorful paper patterns were developed to enhance the creative work of origami artists and paper crafters. The pack contains 12 designs unique to this pack, and all of the papers are printed with coordinating colors on the reverse to provide aesthetically pleasing combinations in origami models that show both the front and back of the papers. This origami paper pack includes: 500 sheets of high-quality origami paper 12 unique designs Vibrant and bright colors Double-sided color 6 x 6 inch (15 cm) squares Instructions for 6 easy origami projects

Thomas Bewick (1753-1828) was the foremost wood engraver not only of his generation, but of all subsequent generations, and the quality of his work has remained unsurpassed. His extraordinary woodcuts of animals and birds made him famous, and he dramatically influenced the development of the illustrated book in both England and America. Yet Bewick was no isolated creative genius toiling in an artist's atelier, but a trade engraver in the heart of the city of Newcastle upon Tyne, working at the very moment when the Industrial Revolution was beginning to change the world. His was an exceptional artistic talent, yet his trade engraving shop was tasked with similar commissions to those offered to hundreds of other similar businesses the length and breadth of the kingdom, catering for their local customers. Bewick's own talent, however, meant that he approached the trade commissions with his own particular flair and originality, creating many commercial works that are very little known. The British Museum holds an unrivalled collection of Bewick's works, including those from his commercial ventures, and this book celebrates the skill of the artist by presenting sixty engravings, some never published before, and by offering a historical perspective. Bewick made important - but even today often unrealised - contributions to the development of what we would today call graphic design. From the Victorian times onwards, his work was often separated from his commercial world and he was regarded as an artist-naturalist rather than the artist-craftsman he actually was. This book takes an original approach by addressing this balance for the first time, and places Bewick at the centre of English commercial life in the eighteenth and early nineteenth centuries.

Woodblock printing is an ancient art form, which produces beautiful, subtle and lively pieces with just a few simple materials. This book introduces the art, and shares technical information and ideas for those with more experience. A wide range of exciting examples of printed woodcuts are shown along with advice on materials and tools, and a step-by-step guide to sharpening. Techniques to achieve quality prints and perfect registration are covered too. Drawing on the vibrant living traditions from China and Japan, it is both a technical guide and an inspiration.

How did Victorians, as creators and viewers of images, visualize the politics of franchise reform? This study of Victorian art and parliamentary politics, specifically in the 1840s and 1860s, answers that question by viewing the First and Second Reform Acts from the perspectives offered by Ruskin's political theories of art and Bagehot's visual theory of politics. Combining subjects and approaches characteristic of art history, political history, literary criticism and cultural critique, Picturing Reform in Victorian Britain treats both paintings and wood engravings, particularly those published in Punch and the Illustrated London News. Carlisle analyzes unlikely pairings - a novel by Trollope and a painting by Hayter, an engraving after Leech and a high-society portrait by Landseer - to argue that such conjunctions marked both everyday life in Victorian Britain and the nature of its visual politics as it was manifested in the myriad heterogeneous and often incongruous images of illustrated journalism.

Linocut and screenprinting have undergone a resurgence in recent years. This book teaches the basic techniques for learning to make your own prints under the guidance and tutelage of expert teacher and artist Susan Yeates. Susan, who runs her own print business, Magenta Sky, explains the rudiments of linocutting, and guides you through ten practical and attainable projects including greeting cards, artworks to frame, labels for jam jars, seed packets and bags or tea towels to print and give as personalised presents. There are handy tips and suggestions throughout the book and each project begins with a list of tools and materials needed.

In this book, derived from his 1994 Sandars lectures, Bamber Gascoigne concentrates on those areas in the history of colour printing that have yet to receive critical attention. This broad historical survey covers the intaglio colour printing of the seventeenth and eighteenth century, the inventive attempts of nineteenth-century British publishers to achieve cheap, effective colour printing, and the pioneering work of the firm Thomas Nelson and Sons. A catalogue of more than 1,000 British and foreign views published by the firm in their own distinctive technique, the Nelson print, is also provided. Gascoigne links these developments to the wider scientific, cultural, and social currents during the period. This lavishly illustrated book presents with clarity and wit an extensive overview of the emergence of colour printing. It will be of interest to all students of publishing and printing history and bibliography, as well as art historians.

Prints and Their Makers invites art enthusiasts on a tour of the top printmaking workshops around the world. Master printer Phil Sanders places today's fine art printmaking in the context of printing traditions and techniques developed over more than a thousand years. Clear and engaging explanations illuminate the seven major printmaking processes, from lithography to chine colle. Sanders showcases the collaborative aspect of printmaking among artists, printers, and publishers. Case studies show the process of celebrated artists with their work photographed at each stage of creation. Prints and Their Makers features historical prints from artists like Albrecht Du rer and Sister Corita Kent, as well as contemporary works by more than one hundred artists, including William Kentridge, Polly Apfelbaum, Julie Mehretu, Richard Serra, Glenn Ligon, Will Cotton, Nicole Eisenman, John Baldessari, Chakaia Booker, and Elizabeth Peyton.

Inspired satire on religion and morality, including 70 aphorisms of "Proverbs of Hell." 27 full-color plates, full text.

Meet your dream plate and fall in love with a faster, friendlier approach to printmaking.

For artists and crafters who love the creative possibilities of monoprinting on gelatin but not the prep time, mess and inconvenience that comes with it, the Gelli Arts Gel Printing Plate is a dream come true It's durable, reusable, stored at room temperature, and ready to get creative whenever you are. Simply apply paint with a soft rubber brayer, make your marks and pull your print. It's that simple Wipe the plate down with a spritz of water and a paper towel, and you're ready to go again.

In this premier guide, artist Joan Bess--inventor of the concept for the Gelli plate--unleashes the fun through more than 50 step-by-step techniques. Create intriguing patterns using tools like sponges, textured rollers and homemade combs. Learn how to incorporate stencils and rubber stamps. Experiment with metallic paint, dimensional paint and gel medium. Become a texture-hunter, creating a wide world of effects using embossed papers, natural objects, rubber bands, lace, corrugated cardboard, metal tape, die cut letters...anything goes

Even beginners can enjoy immediate gratification--just grab a textured surface, smoosh it into your painted Gelli plate, and you'll have a stack of amazing prints in no time. For experienced printmakers, the inspirations in these pages will push you to experiment, adapt, combine and layer. It's easy, fun and totally addicting

Printmaking just got easier

• Expert tips from the creator of the Gelli plate
• 50+ awesome step-by-step techniques
• Ideas for incorporating stamps and stencils, using ghost prints, salvaging uninspired prints, and more
• 26-page gallery shows the many wonderful ways artists are incorporating Gelli printing into their work

This pack contains 48 high-quality origami sheets printed with 8 different colorful dot patterns plus 1 bonus gold foil sheet. This affordable origami paper pack includes durable, authentic origami paper folding sheets in a variety of dot-like patterns. It's perfect for any folder who wants to add a distinctive flair to their origami projects. This origami paper pack includes: 48 Sheets of high-quality origami paper Vivid colors and patterns Double-sided color 1 sheet of gold foil paper 6 3/4'' squares Origami basics and folding techniques Instructions for 6 easy origami projects

From his theatrical early canvases to his more recent photographic collages and operatic set designs, Hockney has tackled the challenge of space on a grand scale. At the same time, much of his work has been devoted to the things most dear to him-friends, family, home, and studio. An intellectual of wide-ranging erudition and a world traveller who makes his home in Hollywood, he still cherishes his roots in Bradford, the northern British town where he was born in 1937. Invention, the driving force behind Hockney's art, is in good part play: "If art isn't playful," he once commented, "it's nothing." This illuminating, colour-rich volume conveys with vivid clarity Hockney's serious delight in making art that gives pleasure to both its creator and its audience. About the Modern Masters series: With informative, enjoyable texts and over 100 illustrations - approximately 48 in full colour - this innovative series offers a fresh look at the most creative and influential artists of the postwar era. The authors are highly respected art historians and critics chosen for their ability to think clearly and write well. Each handsomely designed volume presents a thorough survey of the artist's life and work, as well as statements by the artist, an illustrated chapter on technique, a chronology, lists of exhibitions and public collections, an annotated bibliography, and an index. Every art lover, from the casual museumgoer to the serious student, teacher, critic, or curator, will be eager to collect these Modern Masters. And with such a low price, they can afford to collect them all.

The etchings of Wenceslaus Hollar are not only of a remarkably high artistic standard, but also represent an important pictorial chronicle of seventeenth-century England. Numbering over 2700 they cover a vast range of subjects: cathedrals, ships, bird’s-eye views of cities, scenes of the Thirty Years’ War, butterflies, shells, women’s costumes. Hollar drew portraits of his contemporaries, illustrated the Bible, Aesop’s fables, Homer, and Virgil. Rembrandt apart, he was arguably the greatest, certainly the most skilful etcher of his day. This catalogue for the first time identifies and listes all the etchings of Hollar. Each print is fully described, and the various problems of the editions of the Dance of Death, of the costume prints, and of the Dugdale illustrations and the London maps are fully dealt with. Mr Pennington has also written the first comprehensive and accurate life of Hollar, and this appears at the beginning of the book.

The art of Edvard Munch is striking for the originality and universality of its themes, which cross moments in place and time. Yet he was very much an artist of the nineteenth century, and the focus of this publication is to show how especially in his prints and photographs Munch was enabled by technical advances developed by his contemporaries to create an entirely new visual language. Munch is probably best known for his desire to express emotions surrounding love, illness and death. However, the authors in this volume show that this preoccupation was not only based on biographical events but reflects wider contemporary debates on developments in medicine and science, including treatment of mental illness, as well as a proliferation of technical expertise in the production of prints. The arguments presented expand on subjects touched upon in the critically acclaimed British Museum exhibition Edvard Munch: love and angst (2019). Munch's remarkable prints were fundamental to establishing his international career, but there remains much to investigate in connection with the background to his innovatory techniques, his relationship with contemporary printmakers and his experiments with photography. The authors in this volume go some way to address these themes and outline future avenues of research.

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 illustrated and highly practical guide to the technique of making collagraphs. Collagraphs are prints that can be made in a number of ways: from collages, relief sculpture, caste plaster plates, carved, stripped and layered plates, plates painted with glues or even from a combination of all these methods. The flexibility of this process means that it is one of the most fluid approaches to printmaking which gives you greater creative freedom than other methods. In this book, explore a wide range of techniques with practical hints about choosing materials and printing methods to achieve the best results. You can also learn all about the historical use of collage in printmaking, looking at the work of artists like Picasso, Georges Braque and Kurt Schwitters. With illustrations of the work of many different British and international collagraph artists, this book is the perfect practical and inspirational guide for printmakers of all levels.