The first comprehensive look at the origins and diffusion across Europe of the etched print during the late 15th and early 16th centuries The etching of images on metal, originally used as a method for decorating armor, was first employed as a printmaking technique at the end of the 15th century. This in-depth study explores the origins of the etched print, its evolution from decorative technique to fine art, and its spread across Europe in the early Renaissance, leading to the professionalization of the field in the Netherlands in the 1550s. Beautifully illustrated, this book features the work of familiar Renaissance artists, including Albrecht Durer, Jan Gossart, Pieter Breughel the Elder, and Parmigianino, as well as lesser known practitioners, such as Daniel Hopfer and Lucas van Leyden, whose pioneering work paved the way for later printmakers like Rembrandt and Goya. The book also includes a clear and fascinating description of the etching process, as well as an investigation of how the medium allowed artists to create highly detailed prints that were more durable than engravings and more delicate than woodblocks. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: The Metropolitan Museum of Art, New York (October 23, 2019-January 19, 2020)

From jewellery designers to scientists, graphic artists to naturalists, the range of people inspired by Ernst Haeckel's illustrations continues to grow. Following up on Prestel's Art Forms in Nature and Art Forms from the Ocean, this new collection features startlingly beautiful images created by Haeckel, who was commissioned to contribute to the report of the HMS Challenger expedition, which circumnavigated the world from 1872-76. The Challenger's achievements were unparalleled, with nearly 5,000 new species discovered and catalogued from the depths of Earth's oceans. Full-page reproductions bring these organisms colourfully to life, drawing readers into a world at once hypnotic and highly ordered. Divided into three sections-Siphonophores, Medusae and Radiolarians-these illustrations display Haeckel's remarkable artistic skill and understanding of the architecture of organic matter. The authors provide a brief history of the Challenger expedition, background on Haeckel's scientific and artistic accomplishments, as well as informative texts on each group of organisms.A guide to the natural world and an inspiration to artists of every stripe, this collection of Haeckel's work is a fitting tribute to a 19th century genius.

Before Austin became the "live music capital of the world" and attracted tens of thousands of music fans, it had a vibrant local music scene that spanned late sixties psychedelic and avant-garde rock to early eighties punk. Venues such as the Vulcan Gas Company and the Armadillo World Headquarters hosted both innovative local musicians and big-name touring acts. Poster artists not only advertised the performances-they visually defined the music and culture of Austin during this pivotal period. Their posters promoted an alternative lifestyle that permeated the city and reflected Austin's transformation from a sleepy university town into a veritable oasis of underground artistic and cultural activity in the state of Texas. This book presents a definitive survey of music poster art produced in Austin between 1967 and 1982. It vividly illustrates four distinct generations of posters-psychedelic art of the Vulcan Gas Company, early works from the Armadillo World Headquarters, an emerging variety of styles from the mid-1970s, and the radical visual aesthetic of punk-produced by such renowned artists as Gilbert Shelton, Jim Franklin, Kerry Awn, Micael Priest, Guy Juke, Ken Featherston, NOXX, and Danny Garrett. Setting the posters in context, Texas music and pop-culture authority Joe Nick Patoski details the history of music posters in Austin, and artist and poster art scholar Nels Jacobson explores the lives and techniques of the artists.

The seventeenth-century London Wenceslaus Hollar knew is now largely destroyed or buried. Yet its populous river, its timbered streets, fashionable ladies, old St Paul's, the devestation of the Fire, the palace of Whitehall and the meadows of Islington live on for us in his etchings. Drawing on numerous sources, Gillian Tindall creates a montage of Hollar's life and times and of the illustrious lives that touched his. It is a carefully researched factual account, but she has also employed her novelist's skill to form an intricate whole - a life's texture which is also an absorbing and occasionally tragic story.

The leading historians who are the authors of this work offer a highly original account of one of the most important transformations in Western culture: the change brought about by the discovery and development of printing in Europe. Focusing primarily on printed matter other than books, The Culture of Print emphasizes the specific and local contexts in which printed materials, such as broadsheets, flysheets, and posters, were used in modern Europe. The authors show that festive, ritual, cultic, civic, and pedagogic uses of print were social activities that involved deciphering texts in a collective way, with those who knew how to read leading those who did not. Only gradually did these collective forms of appropriation give way to a practice of reading--privately, silently, using the eyes alone--that has become common today. This wide-ranging work opens up new historical and methodological perspectives and will become a focal point of debate for historians and sociologists interested in the cultural transformations that accompanied the rise of modern societies.

Originally published in 1989.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Schmahungen und Herabsetzungen scheinen derzeit allgegenwartig. Doch sind Phanomene des Invektiven keinesfalls auf die Gegenwart be grenzt. Es hat sie zu allen Zeiten und in allen Kulturen gegeben. Sie koennen sich in spontanen Akten ebenso ent falten wie in literarischen und bild lichen Gattungen. Medien vergroessern ihre Reichweite und binden sie an etablierte kommunikative Muster. Derartige Konventionen bilden den Rahmen, der das subjektive Erleben von Schmahung und Herabsetzung steuert. In einundzwanzig schlaglichtartigen Betrachtungen will der Essayband einen Eindruck von den vielfaltigen Formen der Herabsetzung vermitteln - von der antiken Schmahrede uber Flugschriften der Reformationszeit und den Wahlplakaten der Weimarer Republik bis hin zu aktuellen Satiren und Twittersturmen. Kunst und visuelle Gewalt Kunst als soziale Waffe

The fully revised edition of the most comprehensive and up-to-date reference on print production

A II graphic designers and illustrators must be familiar with the steps involved in preparing their work for publication. Now completely revised to reflect the latest technology and trends, "A Guide to Graphic Print Production, Third Edition" is the complete guide to the entire process of print production, from the early stages of conception and planning, to the technical stages of manufacturing and off-press processing. Structured around the graphic print production flow, essential material is included for all aspects of the process including coverage of computers, color management, layouts, digital images, image editing, prepress, paper, printing, finishing and binding, legal issues, environmental issues, and more.

A practical reference to keep at your fingertips, this new edition: Covers the entire production process, from conception to manufacturing to archivingCovers new topics, such as variable data printing, sustainability, large/wide format printing, inks, and color managementIs full color throughout, with updated images and screenshotsIncludes sidebars offering design tips, troubleshooting hints, and key points to consider for very stage of design

Delivering information that reflects all aspects essential for understanding the ins and outs of digital printing, "A Guide to Graphic Print Production, Third Edition" is an ideal resource for students and professionals of graphic design, print production, production technology, and visual communication.

A Sparrow's Life's as Sweet as Ours is a collection based on the Bird of the Month column in The Oldie, which is written by an instigator of the magazine, John McEwen and illustrated by renowned wildlife artist Carry Akroyd. In this beautiful new book, painter and printmaker Carry Akroyd presents a sequence of her small screenprints, full of variety and colour, that illustrate British birds in all four seasons of the year. These stunning prints give full rein to her extensive knowledge of the British landscape, and what shines out of these dynamic designs is Carry's deft capturing of each bird's characteristics set beautifully in relation to its habitat. Her consideration of each species combines accuracy with elegant simplicity. John McEwen's accompanying text is written with charm and concision, and his original columns have been updated for this new collection. John's light, eclectic approach connects snippets of ornithology, history, etymology and cookery, all expressed with wit and knowledge. His writing is spiced with poetry - from Chaucer to the present - as well as facts and stories, while personal and other anecdotes are included to inform and, above all, entertain.

Prints have played a unique and vital role in the history of art and image. Yet printmaking remains a mysterious discipline, often considered in terms of reproduction instead of as an innovative and highly considered creative process. Among the leading artists for whom printmaking has been an important and experimental part of their practice are William Hogarth, George Stubbs, William Blake, J.M.W. Turner, Pablo Picasso, Barbara Hepworth, Andy Warhol, Lucian Freud, Bridget Riley, Paula Rego, William Kentridge and Kara Walker. This insightful publication explores the numerous ways these and many other notable artists have embraced printmaking over the course of three centuries. The 130 works showcased here reveal a fascinating spectrum of printmaking techniques and purposes, and provide a survey of Tate's extensive but little-known print collection, a remarkable and diverse grouping no previous book has considered as a whole.

Downtown Los Angeles's Colby Poster Printing Co. famously churned out their iconic "show print" posters from 1946 until 2012. Peter Coffin's Imaginary Concerts grew out of experimenting with the print shop's patent eyeball-attracting inks and exhibiting a series of eighty text-less posters in Colby's tricolor gradient style, allowing the viewer to "what if...?" imaginary line ups into existence. After displaying the posters worldwide, Coffin enticed a handful of artists, authors, and otherwise daydreamers to depict their wildest concert bills in black letterpress. Co-published with Printed Matter, Imaginary Concerts collects and displays over 70 submissions against the hazy, horizontal color bands encouraging your cranium to creep its deepest concert fantasies.

Getting Up for the People tells the story of the Assembly of Revolutionary Artists of Oaxaca (ASARO) by remixing their own images and words with curatorial descriptions. Part of a long tradition of socially-conscious Mexican art, ASARO gives respect to Mexican national icons; however, their themes are also global, entering contemporary debates on issues of corporate greed, genetically modified organisms, violence against women and abuses of natural resources. In 2006 ASARO formed as part of a broader social movement, and now they enjoy international recognition.

Wahrend seiner Schaffensperioden wandte sich Andy Warhol zwei von der Kunstwissenschaft bislang kaum wahrgenommenen Medien zu: der Schallplatte und insbesondere der Schallplattenhulle, ihrem Grafik- und Produkt-Design. In der interdisziplinaren Untersuchung und Rekonstruktion dieses Werkbereichs wird detailliert auf Warhols mediale und schoepferische Vielfalt verwiesen und werden seine synthesenhaften Konzeptideen zwischen angewandter und bildender Kunst herausgestellt. Die Ergebnisse zeichnen dabei ein thematisch ubergreifendes Bild uber Warhols kunstlerische Expansion: Diese umfasst sein stilistisches und technisches Repertoire, UEberlegungen zu unterschiedlichen Materialien, Bildtragern und Formaten und schliesst die Beschaftigung mit Grafik, Malerei, Objektkunst, Film, Multimedia, die Verwendung von Text- und Bildelementen, von "Images" und einer individuellen Symbol- und Bildersprache ein.

The period of post-World War II American printmaking is unique in the history of printmaking, as the volume and variety of prints proliferated and printmakers experimented with modern motifs and abstract forms. The printmaking explosion in America that began in the late 40s and early 50s carried the medium to prominence and acceptance. As a result of this rapid and fantastic growth, printmaking has come into its own as a respected art medium. Alongside printmaking's growing prestige, the print market flourished. Interest in printmaking grew quickly, and with new techniques emerging and evolving, the atmosphere in the nation encouraged creativity and experimentation. This period of American art was an innovative and productive era in the history of printmaking. Until now, there has been no comprehensive index of prints to bring biographical and critical material together with the published reproductions of works. The earlier indexes have been too general to be of value for scholarly research on prints. This index provides a one stop reference for this important period in printmaking history. In a single work, it provides all the information on published visual images of American prints from 1946 to 1996 as well as biocritical information on printmakers working in this time period.