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

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 Camelopard, The Monstrous Pig, The Famous Porcupine, Durer's Rhinoceros: these are but a few of the beautiful and bizarre creatures that feature in this delightful book. In the visual arts of the fifteenth to the early nineteenth centuries in Europe, animals were understood in relation to the human world, whether as animals of the farm, estate or household, beasts of burden or as diversions in menageries and travelling shows. At the same time, rapidly increasing investigation of the natural world engaged artists in the problems of accurate representation: prints were particularly important in distributing natural historical information (or misinformation) across a wide, international audience. This beautifully illustrated book explores perceptions of the natural world as seen through the eyes of imaginative artists: works by Goya, Stubbs and Bewick stand alongside prints by lesser-known artists, each selected for its graphic strength, charm and narrative interest. Featured are natural history studies, masterpieces from the British Museum's exceptional collection of classical old master prints, book illustrations, satires and popular prints to beautifully capture the diversity and appeal of early modern print culture. Visually stunning, entertaining and intriguing, this book explores humankind's enduring curiosity about the animal world.

This original collection unites the finest woodcuts of one of the twentieth century's most creative and prolific English artists. Ranging from the religious to the erotic, the engravings include images inspired by "The Song of Songs, The Canterbury Tales, " and "The Four Gospels."
Eric Gill was a sculptor, typeface designer, stonecutter, and engraver. In addition to designing such well-known typefaces as Joanna, Perpetua, and Gill Sans, he produced illustrations for more than a hundred books. The first affordable edition to showcase Gill's wood engravings, this volume constitutes a feast for the eyes as well as an important and accessible reference work for artists, designers, crafters, and bibliophiles. Contains mature content.

This pack contains 100 high-quality origami sheets printed with mesmerizing Kaleidoscope Patterns. These illustrations were chosen to enhance the creative work of origami artists and paper crafters. The pack contains 12 patterns unique to this pack, and all of the papers are printed with coordinating colors on the reverse side to provide aesthetically pleasing combinations in origami projects that show both the front and back of the papers. This origami paper pack includes: 100 sheets of high-quality origami paper 12 unique designs Vibrant and bright colors Double-sided color Small 6 x 6 inch squares Instructions for 6 easy origami projects

Hanna Nagel's focus as an artist was on drawing and graphic prints. Like no other woman artist of her time, she examined the relationship between men and women as well as the problematic balancing act between professional work and motherhood. Her work following her studies in Karlsruhe was at first characterized by objective precision. With her move to Berlin, she, however, distanced herself from the stringent drawing style of Neue Sachlichkeit. The oft-biographical works executed with a brush and pen in Indian ink are formally more complex and painterly, whereby the impression of these so-called "Dunkle Blatter" (Dark Works) corresponds to the narratively and symbolically charged topics chosen. The focus of the exhibition and catalogue is on the works of the 1920s and the early 1930s.

Focusing on the vital role of literature in the development of the artistic practice of Frank Stella (b. 1936), this insightful book looks at four transformative series of prints made between 1984 and 1999. Each of these series is named after a literary work--the Had Gadya (a playful song traditionally sung at the end of the Passover Seder), Italian Folktales, compiled by Italo Calvino, Moby-Dick by Herman Melville, and The Dictionary of Imaginary Places by Alberto Manguel and Gianni Guadalupi. This investigation offers a critical new perspective on Stella: an examination of his interdisciplinary process, literary approach, and interest in the lessons of art history as crucial factors for his artistic development as a printmaker. Mitra Abbaspour, Calvin Brown, and Erica Cooke examine how Stella's dynamic engagement with literature paralleled the artist's experimentation with unconventional printmaking techniques and engendered new ways of representing spatial depth to unleash the narrative potential of abstract forms.

Knight, Death and Devil; Melencolia I, and more-all Dürer's known works in all three media, including 6 works formerly attributed to him. 120 plates.

Very thorough, step-by-step coverage, from printing simple monograms to converting photographs to block prints and printing in two or more colors. Lettering, silhouettes, borders, and other basic techniques, plus inks, materials, projects. 175 illustrations. "...one of the really fine books on that subject."-Grand Junction (Colorado) Sentinel.

Japanese artist Kitagawa Utamaro (1753-1806) was one of the most influential artists working in the genre of ukiyo-e, `pictures of the floating world', in late eighteenth-century Japan, and was widely appreciated for his prints of beautiful women. In this book, Julie Nelson Davis draws on a wide range of period sources, makes a close study of selected print sets and reinterprets Utamaro in the context of his times. Offering a new approach to issues of the status of the artist and the construction of gender, identity, sexuality and celebrity in the Edo period, and now in an updated edition containing a new preface and many new images, this book is a significant contribution to the field, and will be a key work for readers interested in Japanese arts and cultures.

"Hallum's painting is charged with delight in colour, line, surface and composition, in powerfully unconventional ways." - Hettie Judah This is the first monograph on the London-born, Devon-based artist Jacqui Hallum. The publication documents Hallum's solo exhibition at The Walker Art Gallery, Liverpool (10 October 2019 - 1 March 2020), along with a series of solo, two-person and group exhibitions held between 2014 and 2020. Hallum is best-known for her mixed-media paintings on textiles - techniques she has developed and refined over the course of twenty years since completing her studies. Incorporating imagery and visual languages ranging from medieval woodcuts and stained-glass windows to Art Nouveau children's illustrations, tarot cards and Berber rugs, Hallum employs ink staining, painting, drawing and printing to create layers of pattern, abstraction and passages of figurative imagery. As part of her working process, Hallum often leaves the fabrics in the open air, exposed to the elements, in order to introduce weathering into the works. History, religion, mysticism and the beliefs and creativity of past civilisations are among the themes that overlap - often in a literal sense of pieces of fabrics layered, pinned, draped and hung together - to form painterly palimpsests that carry a sense of the past with them into the present. Along with a foreword by Professor Caroline Wilkinson, Director of the School of Art and Design at Liverpool John Moores University, and an introductory essay by artist, curator and director of Kingsgate Workshops and Project Space in London, Dan Howard-Birt, the publication features newly commissioned essays by arts journalist and critic Hettie Judah and by Andrew Hunt, Professor of Fine Art and Curating at the University of Manchester. Also featured is the edited transcript of a conversation between Hallum and Howard-Birt held at The Walker Art Gallery, Liverpool. Jacqui Hallum (b.1977, London) graduated with a BA in Fine Art from Coventry School of Art& Design, Coventry University, in 1999, and an MFA in Painting from the Slade School of Fine Art, University of London, in 2002. Hallum's solo exhibition at The Walker Art Gallery followed a three-month fellowship at Liverpool John Moores University, which resulted from winning the prestigious John Moores Painting Prize in 2018. The monograph, designed by work-form and edited by Susan Taylor, has been produced by Kingsgate Project Space and co-published with Anomie Publishing.

Die hier erstmals vorgestellten Klebebande der Furstlich Waldeckschen Hofbibliothek Arolsen fassen in z.T. gewaltigen Folianten uber 7.000 montierte Druckgraphiken von grosser thematischer Vielfalt - u.a. Portraits, Flugblatter, Buhnenbilder oder Kupferstiche zum Zeitgeschehen. Jeder Band ist ein Unikat und noch heute in seinem ursprunglichen Arrangement erhalten. Der Bestand diente als Instrument zur aktiven Bildung und besass eine lebenspraktische Bedeutung fur Hofhaltung und Hofkultur im fruhmodernen Furstenstaat. Die Abfolge und Ideen des Ein- und Aufgeklebten geben Aufschluss daruber, was Nutzer in dieser Epoche fur wissenswert hielten und wie sie sich Wissen uber Fragmentierung und Neuordnung verfugbar machten.

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.

It is rare that a story comes along that sweeps you into its heart. Painstakingly handwritten over a three year period, it is the life story of William Zulu, a linocut artist, highly acclaimed for his evocative art-works. Having contracted spinal TB as a baby, William underwent misplaced corrective surgery to his spine in his late teens which left him paralysed and permanently wheelchair bound. William's story is no victim's litany. It recounts with zest and humour the events of his life, his unfolding artistic development and the world of deep rural Africa in which he is rooted. His artist's eye paints in the details of his world with vivid observation. This book is full of disarming lapses, diverting anecdotes - such as how he acquired a car in order to travel to Jo'burg in the hope of finding there a woman who might be more willing to love someone disabled. Weaving through the personal narrative is a strong political consciousnesss that sketches the fortunes of a country in violent transition, wracked by the ethnic rivalries that overshadowed every aspect of black life in the 1980s. William Zulu's writing is informed and articulate. He has an instinctive grasp of storytelling with pace. He conveys the unrelenting hardship of rural life and offers a fascinating window to the world of traditional Africa - with all its superstition, patriarchal rigidity and prejudices on the one hand, and its humour, shrewd observance and innovative survival strategies on the other. Reading his work, one is left with a strong sense of the battles for survival that pit ingenuity against lack of resources - and of the redemptive power of 'ubuntu' demonstrated in the kindness of strangers of all races, who extend helping hand and heart in the midst of penury. Spring Will Come is a story that lives up to its title.

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)