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.

Rembrandt's stunning religious prints stand as evidence of the Dutch master's extraordinary skill as a technician and as a testament to his genius as a teller of tales. Here, several virtually unknown etchings, collected by the Feddersen family and now preserved for the ages at the University of Notre Dame, are made widely available in a lavishly illustrated volume. Building on the contributions of earlier Rembrandt scholars, noted art historian Charles M. Rosenberg illuminates each of the 70 religious prints through detailed background information on the artist's career as well as the historical, religious, and artistic impulses informing their creation. Readers will enjoy an impression of the earliest work, The Circumcision (1625-26); the famous Hundred Guilder Print; the enigmatic eighth state of Christ Presented to the People; one of a handful of examples of the very rare final posthumous state of The Three Crosses; and an impression and counterproof of The Triumph of Mordecai. From the joyous epiphany of the coming of the Messiah to the anguish of the betrayal of a father (Jacob) by his children, from choirs of angels waiting to receive the Virgin into heaven to the dog who defecates in the road by an ancient inn (The Good Samaritan), Rembrandt's etchings offer a window into the nature of faith, aspiration, and human experience, ranging from the ecstatically divine to the worldly and mundane. Ultimately, these prints- modest, intimate, fragile objects-are great works of art which, like all masterpieces, reward us with fresh insights and discoveries at each new encounter.

This original and relevant book investigates the relationship between intellectual property and the visual arts in France from the 16th century to the French Revolution. It charts the early history of privilege legislation (today's copyright and patent) for books and inventions, and the translation of its legal terms by and for the image. Those terms are explored in their force of law and in relation to artistic discourse and creative practice in the early modern period. The consequences of commercially motivated law for art and its definitions, specifically its eventual separation from industry, are important aspects of the story. The artists who were caught up in disputes about intellectual property ranged from the officers of the Academy down to the lowest hacks of Grub Street. Lessons from this book may still apply in the 21st century; with the advent of inexpensive methods of reproduction, multiplication, and dissemination via digital channels, questions of intellectual property and the visual arts become important once more.

Chris Orr MBE RA is one of Britain's foremost printmakers. In this definitive book he and Robert Hewison explore his remarkable printmaking career, from his early experiments as a student in the 1960s, when he first discovered how etching could enhance his drawing, to his later innovations in lithography, silkscreen and digital printing, and his ingenious use of long-forgotten processes. Hewison also considers the significant contribution that Orr has made to printmaking as a teacher, first at Cardiff College of Art and then in London at Central St Martins and the Royal College of Art, where he was Professor of Printmaking from 1998 to 2008. Illustrated with over 150 of Orr's theatrical, witty and wilfully allusive prints, this book looks for the first time in depth at the gloriously original output of a ceaseless inventor. The book will also be published in a limited edition containing a specially made print signed by the artist.