Topless, Topless, Topless Color photos clippings of over 399 breasts from around the world. If you think you have seen one teat and thus seen them all, you will need to think again. Female breasts (also slang "tits") vary in size, firmness, color, and nipple shape... which has never been more apparent. How they sit, how they tilt, how the muscles are structured, how the chests muscles pull... There are pretty breasts, fat breasts, skinny breasts, perfect breasts... and frankly breasts from every possible angle and direction and position, aroused or not. While we understand that any man or woman (lesbian or straight) who loves breasts will absolutely love leafing through this book due to the vivid illustrations, BUT it is meant for educational purposes. So if you are studying to be a breast examiner, or just plain love looking at a wide ass-sortment of boobs, pull up a chair and see what we have posted. Every single picture is completely topless Naked, nude, no clothes Nipples everywhere. This book will make you want to give a pearl necklace Each page is 5.5 inches wide by 8.5 inches tall, two pictures on each page...

"Aldus and His Dream Book" is a tribute to the life and work of the pioneering scholar-publisher, Aldus Manutius (1449/50-1515). Helen Barolini's text discusses Aldus, his education, his publishing vision, his typographic innovations, and his famous Venetian press. At the same time, this book reproduces all the illustrations, and many of the full pages, from the Aldine press edition of Francesco Colonna's "Hypnerotomachia Poliphili," which many consider the most beautiful book printed in the Renaissance. It also includes a bibliography of works on Aldus and the "Hypnerotomachia." This edition is certain to appeal to the historian, bibliophile, art historian, designer, and student of the many psychologically rich and emblematic illustrations that have delighted and intrigued generations of readers and scholars. The third printing completely resets the text, using digital typefaces that approximate the original even more closely, offers newly reproduced images of the art pages, and includes an updated Bibliography.

The Kisokaido route through Japan was ordained in the early 1600s by the country's then-ruler Tokugawa Ieyasu, who decreed that staging posts be installed along the length of the arduous passage between Edo (present-day Tokyo) and Kyoto. Inns, shops, and restaurants were established to provide sustenance and lodging to weary travelers. In 1835, renowned woodblock print artist Keisai Eisen was commissioned to create a series of works to chart the Kisokaido journey. After producing 24 prints, Eisen was replaced by Utagawa Hiroshige, who completed the series of 70 prints in 1838. Both Eisen and Hiroshige were master print practitioners. In The Sixty-Nine Stations along the Kisokaido, we find the artists' distinct styles as much as their shared expertise. From the busy starting post of Nihonbashi to the castle town of Iwamurata, Eisen opts for a more muted palette but excels in figuration, particularly of glamorous women, and relishes snapshots of activity along the route, from shoeing a horse to winnowing rice. Hiroshige demonstrates his mastery of landscape with grandiose and evocative scenes, whether it's the peaceful banks of the Ota River, the forbidding Wada Pass, or a moonlit ascent between Yawata and Mochizuki. Taken as a whole, The Sixty-Nine Stations collection represents not only a masterpiece of woodblock practice, including bold compositions and an experimental use of color, but also a charming tapestry of 19th-century Japan, long before the specter of industrialization. This TASCHEN XXL edition revives the series with due scale and splendor. Sourced from the only-known set of a near-complete run of the first edition of the series, this legendary publication is reproduced in optimum quality, bound in the Japanese tradition and with uncut paper. A perfect companion piece to TASCHEN's One Hundred Famous Views of Edo, it is at once a visual delight and a major artifact from the bygone era of Imperial Japan.

ADAPTATION is a project about the impact of design in people's daily lives and the 'redesign' of public spaces by the people who use them. We have invited artists who approach design and everyday life in various ways: Adams, APA (Akay, Kidpele and Made), Brett Bloom and Bonnie Fortune, Marjolijn Dijkman, Brad Downey, Ulrika Erdes, Dominic Hislop and Leopold Kessler. Their work ranges from examinations of the human use and construction of space in photographic documentation and research to interventions in specific locations in the city. Those interventions and investigations show how design structures public life. They suggest alternative ways to experience and use the city. With simplicity and ingenuity, they reveal design as a central force in shaping our daily lives. Presented by Peacock Visual Arts for Six Cities Design Festival. The Six Cities Design Festival is a project developed and managed by The Lighthouse, Scotland's National Centre for Architecture, Design and the City, and is funded by the Scottish Executive. You can also download a pdf of this publication at www.peacockvisualarts.com/adaptation.

Krishna Reddy's artistic quest includes the exploration of nature beyond the limitations of the visible world, and a spiritual curiosity about the cosmos. This has led to devising ways to overcome technical difficulties in creating icons which reduce the appearances of objects to their pure and essential forms. This creativity is a process of learning for the artist and his students. It enables an observer to peer into the innermost essence of things and ponder on the universe in constant upheaval. The inward life of the cosmos itself is shown here through Reddy's viscosity prints. Krishna Reddy worked a revolution in printmaking by discovering this method of printing numerous colours from a single metal plate.

Lynwood Krenecks screenprints are recognized throughout the world for their imaginative, often humor-filled content, vivid colors, and always superb technical execution. His print series, such as ""Space Probes"", ""Earths Mysteries Solved"", ""Great Moments in Domestic Mishaps"", and ""Clownz"", show wit combined with care and passion for the screenprinting form. This personal, casual, and straightforward story follows the artists rise from a lonely childhood on a South Texas farm to recognition as one of the leading printmakers in the world today. The story begins with Krenecks youth during the lean World War II years and continues through his education in advertising at the University of Texas in Austin, his mentoring by printmaker and teacher Constance Forsyth, and his decision to abandon a successful advertising career to make his own art. After earning his MFA at the University of Texas, Kreneck joined the faculty at Texas Tech University, where he has remained through a career of nearly four decades. As a teacher, Kreneck has himself been a mentor to many printmakers. He is also the founder of Colorprint U.S.A., one of the most influential print exhibits in the world today, and he has had a primary influence on the development of water-based inks, which have made screenprinting labs safer for teachers, students, and professional artists. This book is filled with full-color reproductions of many of Krenecks screenprints, and it includes a step-by-step description of the artists new screenprinting technique, which he calls no prints. It also gives readers a glimpse of some of the outrageously inventive ideas of this colorful yet careful printmaker, who has dedicated his career to making his art, paving the way for others to make their art, and promoting printmaking as an art form. Owning this beautiful book will be a pleasure not only for the insight it gives into Krenecks body of work, but also for its fascinating, personal resume of his life and career.

The Print Room of the Royal Library of Belgium currently possesses roughly 700,000 independent prints, including a few hundred early woodcuts and engravings from the fifteenth and early sixteenth centuries, which make up one of the most important parts of the collection. In the course of time, only a small portion of these has been recorded in a systematic catalogue. One-and-a-half centuries ago, in 1857, the head curator Louis Alvin catalogued the Librarys noteworthy collection of Italian niello prints. Thirty-five years later, in 1892, Max Lehrs, then head of the Dresden Print Room, published the first and only inventory of the collection of fifteenth-century northern engravings in the Royal Librarys Print Room. As for the two other parts of the collection included in this book, namely the early woodcuts and the early Italian prints, this is the very first time that each has been examined as a group. Consequently, the exceptionally rich collection of early prints in the Royal Library of Belgium has remained essentially unknown to many thus far. This catalogue is a first step in making the collection better known.

This completely revised edition of Imagery on Fabric is updated with all the latest techniques and technology for transferring images to fabric. You'll go step-by-step through today's most exciting processes, aided by new full-color photos and instructions for safely accomplishing beautiful results. Almost any image can be captured forever on fabric - family photos, a child's drawing, the words of a love letter. Included are clear explanations and complete material lists, along with troubleshooting tips and tested solutions. This is an indispensable reference and source book for anyone working with textiles. Fabric transfers using copiers and computer printers; Light sensitive printing - blueprint, brownprint; Drawing and painting with crayons, dye sticks, permanent markers, and paints; Stamp printing; Discharge printing; Silk screening, with quick methods and photo methods; and Dye transfers with disperse dyes.

Hailed as a classic in music studies when it was first published in 1977, Early Downhome Blues is a detailed look at traditional country blues artists and their work. Combining musical analysis and cultural history approaches, Titon examines the origins of downhome blues in African American society. He also explores what happened to the art form when the blues were commercially recorded and became part of the larger American culture. From forty-seven musical transcriptions, Titon derives a grammar of early downhome blues melody. His book is enriched with the recollections of blues performers, audience members, and those working in the recording industry. In a new afterword, Titon reflects on the genesis of this book in the blues revival of the 1960s and the politics of tourism in the current revival under way. |Kalman examines the crucial period of 1967-1970 at Yale Law School, when the mainstream liberal faculty was challenged by left-liberal students who aimed to unlock the democratic visions of law and social change they associated with Yale's legal realists of the 1930s. Law students during this phase of the school's history included Bill Clinton, Hillary Rodham Clinton, and Clarence Thomas.

Tired of reading negative and disparaging remarks directed at Indigenous people of Winnipeg in the press and social media, artist KC Adams created a photo series that presented another perspective. Called "Perception Photo Series," it confronted common stereotypes of First Nation, Inuit and Metis people to illustrate a more contemporary truthful story. First appearing on billboards, in storefronts, in bus shelters, and projected onto Winnipeg's downtown buildings, Adams's stunning photographs now appear in the book, Perception: A Photo Series. Meant to challenge the culture of apathy and willful ignorance about Indigenous issues, Adams hopes to unite readers in the fight against prejudice of all kinds. Perception is one title in The Debwe Series.

An essential reference, this gorgeous book documents the magnificent botanical prints produced by notable artists of the 17th through the turn of the 20th centuries. Celebrated artists include Basil Besler, Maria Sybilla Merian, Mark Catesby, Georg Ehret, George Brookshaw, Robert John Thornton, Pierre Joseph Redoute, and many others. Illustrated with over 300 full-color images of original and valuable botanical prints, this book fills a void in the literature, as few good botanical references remain in print. The text recounts the fascinating lives and passions of the artists and their patrons, the technical advances in printmaking, and the history and cultural influences that shaped the depiction of flowers, plants, and trees. Also discussed are many variables affecting the values of original antique botanical prints including condition, rarity, historical significance, and aesthetic appeal. A range of prices is included to guide you in your collecting and a section on framing, displaying, and proper storage makes this an indispensable reference. A fascinating book for collectors of botanical prints, gardeners, and those interested in the history of flowers.

The sophistication of the photographic process has had two dramatic results--freeing the artist from the confines of journalistic reproductions and freeing the scientist from the unavoidable imprecision of the artist's prints. So released, both have prospered and produced their impressive nineteenth- and twentieth-century outputs.It is this premise that William M. Ivins, Jr., elaborates in Prints and Visual Communication, a history of printmaking from the crudest wood block, through engraving and lithography, to Talbot's discovery of the negative-positive photographic process and its far reaching consequences.

In "Peasants, Warriors, and Wives," Keith Moxey examines woodcut images from the German Reformation that have often been ignored as a crude and inferior form of artistic production. In this richly illustrated study, Moxey argues that while they may not satisfy received notions of "art," they nevertheless constitute an important dimension of the visual culture of the period. Far from being manifestations of universal public opinion, as a cursory acquaintance with their subject matter might suggest, such prints were the means by which the reformed attitudes of the middle and upper classes were disseminated to a broad popular audience.

Unusual and imaginative illustrations, carefully arranged into four major divisions (quadrupeds, birds, fishes, and insects), include realistic and fanciful depictions of virtually every real animal, plus such fantasy creatures as unicorns, dragons and basilisks. Indispensable volume of copyright-free graphics for immediate use by commercial and graphic artists; fascinating subjects for art lovers, antiquarians, and anyone interested in the ideas and art of an earlier era.

A record of every print Freud made, from early linocuts of the 1930s to his last etching published in 2007 This first volume of the Lucian Freud catalogue raisonne focuses on the artist's prints. The only complete volume of Freud's prints, the book builds upon the work of earlier cataloguers and adds much new material which has come to light since the artist's death. The volume records every print Freud made, from the early linocuts of the 1930s to his last etching published in 2007. Each work-including uneditioned etchings and unique proofs-is reproduced and fully catalogued by Toby Treves. Treves's remarks include clear, precise technical detail for specialists and are informed by his knowledge of the wider oeuvre. An essay by the critic and Freud specialist Sebastian Smee, and an account of working with Freud by his main printmaker, Marc Balakjian, provide further insights into this part of the artist's oeuvre. Distributed for Modern Art Press

This is a lavishly illustrated exploration of the rise of printmaking in Southern California and its legacy on post-war American art. The first goal of the Tamarind Lithography Workshop, founded in Los Angeles in 1960, was to "create a pool of master artisan-printers in the United States" to revive the medium of fine-art lithography. With essays by both established print scholars and new voices, this lavishly illustrated volume introduces the printmaking pioneers who nurtured an environment suitable for the founding of the country's most significant print shop. By tracing the local printmaking communities, the academic establishment, as well as the significant influence of workshops like Gemini G.E.L. and Cirrus Editions, the catalogue addresses the spectacular spread of printmaking from its modern beginnings in Southern California within the larger narrative of post-war American art.

This updated third edition explores new techniques in digital and 3D printing, as well as refreshing older techniques such as mono-printing. Printing has become a common part of the ceramic artist's practice and today there are more possibilities than ever before. From low-tech mono-prints to digital laser decal, it is now possible to employ a range of techniques to print on clay and vitreous surfaces. With the ongoing advancement of new technologies and more developed studio-based transfer processes artists continue to push the boundaries of the medium. In this comprehensive update of his popular Ceramics Handbook title, Paul Scott explains the historical context for contemporary printed ceramics before explaining the principles of core techniques and their application in the studio. He explores photographic processes, as well as the new opportunities presented by digital technology, including digital and 3D printing. Illustrated with brand new images of beautiful works by leading artists working in printed ceramics, Ceramics and Print is a must-read guide for artists and makers interested in this ever-developing field.

The work of Italian printmaker Giovanni Battista Piranesi (1720-1778) has captivated artists, architects and designers for centuries. Although contemporary Australia is a long way from eighteenth-century Rome, it is home to substantial collections of his works, the largest being at the State Library of Victoria and the University of Melbourne. The Piranesi Effect is a collection of exquisitely illustrated essays on the impact of Piranesi's work throughout the years. The book brings together Australian and international experts who investigate Piranesi's world and its connections to the study of art and the practice of artists today. From curators and art historians, to contemporary artists like Bill Henson and Ron McBurnie, the contributors each bring their own passion and insight into the work of Piranesi, illuminating what it is about his work that still inspires such wonder.

This is the first modern study on Japanese erotic print art (so called "shunga"), illustrating a large selection of the best works mainly from private collections in Europe and the USA. The publication shows highlights from the oeuvre of Kitagawa Utamaro, Katsushika Hokusai, Suzuki Harunobu, Utagawa Kunisada, Utagawa Kuniyoshi and many others. It outlines the artistic developments from the early period to the end of the 19th century when Western themes began to appear in Japanese erotic art. Various essays written by international experts describe this fascinating genre in its social, historical and artistic context, discussing themes like homosexuality, voyeurism, life in Edo's brothels, techniques of composition etc.

This book presents both an overview of the print production in the 17th century Southern Low Countries and a focused approach to the work of three collaborators of Rubens. Apart from their work as painters, these artists quickly penetrated the world of prints and each dominated a specific market segment. Abraham Van Diepenbeeck was a prolific designer of individual prints and print series. Erasmus Quelinus II often drew models for book-illustrations. Cornelis Schut ran an important workshop which produced many beautiful etchings. The book explores how these artists positioned themselves in an artistic field, operating in a highly competitive field that presented both threats and new opportunities. Their oeuvre is firmly set in a European context, spanning local, regional and international markets. An analysis is made of the relation between prints as reproductions of paintings and prints as autonomous inventions. The book argues that the importance of prints as autonomous creations has been underestimated for the 17th century. The book studies the connections between the three artists and some forty professional engravers who were active in 17th-century Antwerp. Many biographical data on these engravers are presented, and more than 100 prints are published for the first time.