Utagawa Hiroshige (1797-1858) was one of the last great artists in the ukiyo-e tradition. Literally meaning "pictures of the floating world," ukiyo-e was a particular woodblock print genre of art that flourished between the 17th and 19th centuries. Subjects ranged from the bright lights and attractions of Edo (modern-day Tokyo), to spectacular natural landscapes. In the West, Hiroshige's prints became exemplary of the Japonisme that swept through Europe and defined the Western world's visual idea of Japan. Because they could be mass produced, ukiyo-e works were often used as designs for fans, greeting cards, and book illustrations. The style influenced Impressionist, Post-Impressionist, and Art Nouveau artists alike, with Vincent van Gogh and James Abbott McNeill Whistler both particularly inspired by Hiroshige's landscapes. This introductory book presents key images from Hiroshige's vibrant, vivid portfolio of blooming cherry trees, beautiful women, Kabuki actors, and busy shopping streets to introduce one of the greats of Asian art history. About the series Born back in 1985, the Basic Art Series has evolved into the best-selling art book collection ever published. Each book in TASCHEN's Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

A stunning introduction to the history of Japanese printmaking, with highlights from the de Young museum's vast collectionIn 1868, Japan underwent a dramatic transformation following the overthrow of the shogun by supporters of Emperor Meiji, marking the end of feudal military rule and ushering in a new era of government that promoted modernizing the country and interacting with other nations.Japanese print culture, which had flourished for more than a century with the production of color woodcuts (the so-called ukiyo-e, or "floating world" images), also changed course during the Meiji era (1868-1912), as societal changes and the once-isolationist country's new global engagement provided a wealth of new subjects for artists to capture. Featuring selections from the renowned Achenbach Foundation for Graphic Arts' permanent collection, Japanese Prints in Transition: From the Floating World to the Modern World documents the shift from delicately colored ukiyo-e depictions of actors, courtesans, and scenic views to brightly colored images of Western architecture, modern military warfare, technology (railroad trains, steam-powered ships, telegraph lines), and Victorian fashions and customs.

Written and illustrated by master wood engraver Barry Moser, this primer on the art of wood engraving is filled with valuable knowledge including how to prepare a printing block; how to think in the medium's properties of line, shape, and ink; and how to transfer a drawing onto a block. It also offers practical advice on which tools to use for a project and which ink works best. A highly illustrated guide to this art form, Wood Engraving will be useful to experienced and beginner engravers alike. This book features stunning examples of Moser's art and skill to admire and inspire.

In 14 original essays, The Oxford Illustrated History of the Book reveals the history of books in all their various forms, from the ancient world to the digital present. Leading international scholars offer an original and richly illustrated narrative that is global in scope. The history of the book is the history of millions of written, printed, and illustrated texts, their manufacture, distribution, and reception. Here are different types of production, from clay tablets to scrolls, from inscribed codices to printed books, pamphlets, magazines, and newspapers, from written parchment to digital texts. The history of the book is a history of different methods of circulation and dissemination, all dependent on innovations in transport, from coastal and transoceanic shipping to roads, trains, planes and the internet. It is a history of different modes of reading and reception, from learned debate and individual study to public instruction and entertainment. It is a history of manufacture, craftsmanship, dissemination, reading and debate. Yet the history of books is not simply a question of material form, nor indeed of the history of reading and reception. The larger question is of the effect of textual production, distribution and reception - of how books themselves made history. To this end, each chapter of this volume, succinctly bounded by period and geography, offers incisive and stimulating insights into the relationship between books and the story of their times.

Learn to create classic block print patterns for greeting cards, wallpaper, book illustrations and more with Andrea Lauren's easy step-by-step instruction! Artist and Designer Lauren shows you simple techniques for creating your own printing blocks out of art-foam. With no cutting and chiseling, these art-foam blocks can be made into shapes and patterns using only scissors and a pencil. Use these printing blocks, or purchased stamps, to create repeat patterns or bundled groupings to get that classic block print look for wallpaper, book illustrations, framing prints, greeting cards, gift wrap, fabric prints, and so much more! Throughout the book, find inspiration from selected works of block print artists from around the world. The new, easy-to-use block printing materials are great for beginners and skilled artists alike. Make your mark with Block Print!

A timely reexamination of the experimental New York print studio Atelier 17, focusing on the women whose work defied gender norms through novel aesthetic forms and techniques In this important book Christina Weyl takes us into the experimental New York print studio Atelier 17 and highlights the women whose work there advanced both modernism and feminism in the 1940s and 1950s. Weyl focuses on eight artists-Louise Bourgeois, Minna Citron, Worden Day, Dorothy Dehner, Sue Fuller, Alice Trumbull Mason, Louise Nevelson, and Anne Ryan-who bent the technical rules of printmaking and blazed new aesthetic terrain with their etchings, engravings, and woodcuts. She reveals how Atelier 17 operated as an uncommonly egalitarian laboratory for revolutionizing print technique, style, and scale. It facilitated women artists' engagement with modernist styles, providing a forum for extraordinary achievements that shaped postwar sculpture, fiber art, neo-Dadaism, and the Pattern and Decoration movement. Atelier 17 fostered solidarity among women pursuing modernist forms of expression, providing inspiration for feminist collective action in the 1960s and 1970s. The Women of Atelier 17 also identifies for the first time nearly 100 women, many previously unknown, who worked at the studio, and provides incisive illustrated biographies of selected artists.

A look at the artistic and technical innovation of British printmaking from World War I to the eve of World War II, as artists from the Grosvenor School and beyond harnessed an emerging modernist style Throughout the tumultuous decades of the early twentieth century, the graphic arts flourished in Great Britain as artists sought to portray everyday life during the machine age. This richly illustrated volume reintroduces rare print works from the collection of Leslie and Johanna Garfield into the narrative of modernism, demonstrating their relationship to other movements such as Cubism, Futurism, and Constructivism. Essays explore how artists turned to printmaking to alleviate trauma, memorialize their wartime experiences, and capture the aspirations and fears of the twenties and thirties. Special attention is given to the linocut technique revolutionized by Claude Flight and his students at London's Grosvenor School of Modern Art. Highlighted as well are the pioneering works of artists such as C. R. W. Nevinson, Sybil Andrews, Cyril E. Power, Paul Nash, Edward Wadsworth, Edith Lawrence, Ursula Fookes, and Lill Tschudi. In their quest to promote a more democratic art, these artists created innovative graphics that portrayed in subject, form, material, and technique the dynamic era in which they lived. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: The Metropolitan Museum of Art, New York (October 21, 2021-January 17, 2022)

Allen W. Seaby's life has been described as "a classic tale of Victorian self-improvement." But there is more to the tale than just upward mobility. A. W. Seaby was a pioneering, innovative and inspirational man who rose to become a prominent print-maker, teacher, author and illustrator. Best-known for his colour woodcut printing using traditional Japanese methods, and as a prominent wildlife artist, the story of Seaby's many accomplishments is recounted by his grandson, who inherited Seaby's love of birds and became internationally renowned in his own right, Robert Gillmor. Alongside this personal recount, Martin Andrews (Seaby's successor as President of the Reading Guild of Artists) selects aspects of his career and expands upon his techniques, his illustrative methods, his circle of fellow artists and the books he published to give a full and rounded account of a man whose work is currently enjoying a well-deserved renaissance.

This is your essential guide to less harmful, but equally effective, environmentally friendly printmaking methods. Traditional printmaking techniques expose the artist and the environment to a multitude of toxic materials. In this book, Mark Graver puts the case for non-toxic printmaking and discusses the replication of traditional techniques with less harmful, but equally effective, environmentally friendly methods. This book covers engraving, etching with acrylic resists, using drypoint, making aquatints, mezzotints and collagraphs, and using photopolymers as well as combining various printmaking techniques. Highly illustrated wit the works of artists from around the world, this practical and inspiring book contains everything you need to know about switching to a non-toxic printmaking practice.

In 1975 Abram Games, one of Britain's greatest graphic designers, was commissioned to make a fund-raising poster for the Royal Shakespeare Company. His brilliant solution was to become iconic: the face of Shakespeare built up from the titles of all the plays as they appear in the First Folio. The poster has been seen all over the world; but Abram Games intended much more. After his death, his daughter Naomi discovered a mock up he had made of a flick book. As the reader flicked the pages, Games planned to make Shakespeare's face gradually emerge. Now at last Games' original project is coming to life. All 37 plays are included, in the order they are printed in the First Folio of 1623, ending with Pericles, Prince of Tyre, added to the collection in the Third Folio of 1664. At the end, the playwright makes a graceful exit, marked by the poems and the lost or doubtful plays. The book is completed with some favourite quotations, and the date of each work. Naomi Games has written a brief introduction about the history of Games' image. Pallas Athene is excited to be producing this little monument in the history of design.

This book examines the entwined and simultaneous rise of graphic satire and cultures of paper money in late eighteenth- and early nineteenth-century Britain. Asking how Britons learned to value both graphic art and money, the book makes surprising connections between these two types of engraved images that grew in popularity and influence during this time. Graphic satire grew in visual risk-taking along, while paper money became a more standard carrier of financial value, courting controversy as a medium, moral problem, and factor in inflation. Through analysis of satirical prints, as well as case studies of monetary satires beyond London, this book demonstrates several key ways that cultures attach value to printed paper, accepting it as social reality and institutional fact. Thus, satirical banknotes were objects that broke down the distinction between paper money and graphic satire altogether.

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.

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

This book examines the entwined and simultaneous rise of graphic satire and cultures of paper money in late eighteenth- and early nineteenth-century Britain. Asking how Britons learned to value both graphic art and money, the book makes surprising connections between these two types of engraved images that grew in popularity and influence during this time. Graphic satire grew in visual risk-taking along, while paper money became a more standard carrier of financial value, courting controversy as a medium, moral problem, and factor in inflation. Through analysis of satirical prints, as well as case studies of monetary satires beyond London, this book demonstrates several key ways that cultures attach value to printed paper, accepting it as social reality and institutional fact. Thus, satirical banknotes were objects that broke down the distinction between paper money and graphic satire ​altogether. 

This volume in the 21st Century Oxford Authors series offers students and readers a comprehensive selection of the work of William Blake (1757-1827). Accompanied by full scholarly apparatus, this authoritative edition enables students to explore Blake's poetry, illuminated poetry, and prose alongside selections from his letters, manuscripts, notebook, advertising pamphlets, marginalia, and works he printed in conventional letterpress. The edition arranges Blake's works in chronological order, according to the date when they were first printed or, in the case of unpublished works, the years in which they were composed. With the help of editorial headnotes and annotations, this arrangement brings to the foreground Blake's material and intellectual labours as a poet, painter, prophet, and non-academic philosopher; the networks of acquaintances, friends, patrons, and enemies who helped support or provoke this work; and the tumultuous historical events he responded to, which included the beginning of modern feminism, the agricultural and industrial revolutions, the American and French Revolutions, William Pitt's so-called 'Reign of Terror' in Britain, an attempted revolution in Ireland (1798), a successful slave rebellion in Haiti (1791-1804), and the French revolutionary and Napoleonic wars. Some editions attempt to sanitize Blake, by hiding from view the most startling elements of his thought; but in this edition Blake's sexual, political, religious, and poetic heterodoxy comes into full view. At the same time, this edition foregrounds the dynamics of Blake's composite art, with equal weight given to its verbal and visual dimensions; makes visible the chief lines of force that structure his oeuvre; and highlights his developing thought on sapphism, sodomy, the body, relations between the sexes, the roots of violence, and the politics of imagination. This is a Blake whose dialogue with his own time anticipates much later developments, including modern depth psychologies; analyses of the social and psychological dynamics of war and peace; interest in the body, sexuality, and gender; and experiments in the relation between actual and virtual realities-a Blake who is provocative, unsettling, exhilarating, and somehow our contemporary. Explanatory notes and commentary are included, to enhance the study, understanding, and enjoyment of these works, and the edition includes an Introduction to the life and works of Blake, and a Chronology.

Albrecht Durer is probably the most famous German artist of the Renaissance, if not of all time. His works are world-famous and he was a master in numerous artistic disciplines such as woodcut, copperplate engraving, drawing and painting. What is less well known is that he was interested in weapons and fencing throughout his life. He produced several woodcuts for a tournament book by Emperor Maximilian I, but he devoted himself much more thoroughly to the subject of duels in his own extensive fencing manuscript. Durer's fight book stands out from the mass of illustrated fencing manuscripts because of its outstanding quality. In well over 100 elaborate drawings, the master uniquely depicts dynamic pairs of fighters practising contemporary combat techniques, such as wrestling or sword and dagger fighting. Since its creation more than 500 years ago, the fight book has never been published in its entirety. This edition offers the complete contents of the manuscript for the very first time: All illustrations are reproduced in colour and the complete text is presented in a letter-perfect transcription as well as a translation into modern English. Albrecht Durer's fight book offers a unique, new look at Durer the artist and Durer the fighter.

Clear wood engravings present, in extremely lifelike poses, over 1,000 species of animals.

Printmakers today are sustained both by their traditions and by their willingness to embrace new technologies, new mediums, and innovative processes. Over 500 beautiful color images display the innovative work of 75 talented printmakers and 30 print shops. Traditional printing techniques featured include lithography, intaglio, screen print, and relief, while newer techniques include installation, digital, and fiber, among other forms of new print media. The artists speak for themselves, revealing why they create their art. Consequently, the readers will gain a deeper understanding of their world. These assembled prints reflect the talent of this time and in this place. The artists' mediums, patterns, images, and environments also capture our culture and attempt to foretell our future. This book will be a treasured resource for anyone who appreciates the printmaker's art.

Learning Linocut is an exciting and detailed guide to the art of relief printing by exploring linocut. The book takes the reader on a comprehensive tour of the whole creative process, from generating ideas and setting up a studio space to cutting techniques, mark-making and printing a lino block. The book also covers more complex techniques for multiple-coloured linocuts including the reduction technique, the key-block system and experimental linocutting. Learning Linocut contains plenty of easy to follow step-by-step guides (illustrated by colour photos), interesting and innovative suggestions of ways to work with lino and even useful 'tips' from the author providing extra pointers for things to try next. The linocut techniques discussed in this book can either be carried out at home or in a professional printmaking studio. * Packed full of colour images * Step-by-step guides to each technique * Provides lists of materials and equipment needed * Investigates how to generate ideas and gain inspiration for prints * Information on cutting techniques, mark-making and image interpretation * Explains printing and registration methods * Explores multiple-coloured prints - reduction and key-block systems * How to store, finish and sell linocut prints * Includes a selection of interesting linocut projects * Useful 'tips' from the author throughout the book Whether you are a complete beginner to art, just new to printmaking or you are an accomplished printmaker looking for some new ideas and tips, there will be something in here for you to take away. This is a must read for anyone interested in linocut printing!

Thomas Bewick wrote A History of British Birds at the end of the eighteenth century, just as Britain fell in love with nature. This was one of the wildlife books that marked the moment, the first 'field-guide' for ordinary people, illustrated by woodcuts of astonishing accuracy and beauty. But it was far more than that, for in the vivid vignettes scattered through the book Bewick drew the life of the country people of the North East - a world already vanishing under the threat of enclosures. In Nature's Engraver: The life of Thomas Bewick, Jenny Uglow tells the story of the farmer's son from Tyneside who revolutionised wood-engraving and influenced book illustration for a century to come. It is a story of violent change, radical politics, lost ways of life and the beauty of the wild - a journey to the beginning of our lasting obsession with the natural world. Nature's Engraver won the National Arts Writers Award in 2007. Jenny Uglow is the author of, among others, A Gambling Man: Charles II and the Restoration, which was shortlisted for the 2010 Samuel Johnson Prize, Lunar Men and In These Times. 'The most perfect historian imaginable' Peter Ackroyd

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.