The fascination with monotype and monoprint never diminishes, thanks to the primal thrill of making a mark, combined with suspense and surprise as paper is lifted from a press. Recent prints from more than 70 top artists across the US demonstrate what monotypes and monoprints offer to artists and the broader world of art, while Kernan, a professional printmaker, provides a view from the studio. She explains the processes and motivations for making singular prints, as well as current practice and context. Examples include unique prints and variations that cross boundaries with combinations of collage, collagraph, direct and transfer drawing, painting, photosensitive plates, digital printing, and paper casting with stencils. With their backgrounds in curating, collecting, and art history, Laura G. Einstein draws us into the history and traditions of the forms, and Janice Oresman writes as a collector about the fascination of monotype as a magically spontaneous process.

George Baxter (1804-1867) was a pioneer in advancing the art of colour printing. A perfectionist, Baxter not only engraved but also examined the prints as they were produced, often providing touch-ups by hand. Baxter's process was, in the end, uneconomical, and he died bankrupt, but no one did more to bring vivid artworks within financial reach of every household, or leave a more colourful legacy for generations of admiring collectors of Victoriana. His oil-coloured prints have given viewers pleasure since they began appearing in the 1830s. Thanks to Donald and Barbara Cameron's generous donation of their Baxter collection in 2010, the Bruce Peel Special Collections & Archives was able to mount a remarkable exhibition.

The Norwegian painter Bjørn Ransve (b. 1944) is one of the best-known contemporary Scandinavian artists. Very few painters indeed express themselves so brilliantly in two dimensions, thematically, technically and formally. The third volume of the catalogue raisonné is devoted to Ransve 's graphic oeuvre: in over 1,300 illustrations it documents prints and multiples, created from the 1960s to 2013. This book is not only an indispensable standard reference for all scholars, art dealers and collectors, it also provides insights in the complex interrelations between prints, paintings and drawings in Ransve 's artistic work. The accompanying text by Lars Eisenlöffel investigates the changing and recurrent groups of motifs and places the works in their art historical context. Since each page of the book has been designed individually in close collaboration between Ransve and the graphic artist and book designer Silke Nalbach, Bjørn Ransve 's development as an artist can be traced in a way that is particularly illuminating. Text in Norwegian.

Der weibliche Akt, geschaffen als Dialog zwischen Kunstler und Muse.

Wie Sie sicher schon festgestellt haben, gibt es eine Fulle von Anleitungen, die sich detailliert mit dem Zeichnen von Comic-Figuren beschaftigen. Comics zeichnen mit Illustrator & Photoshop geht einen Schritt weiter, und stellt Ihnen eine Methode vor, mit der es Ihnen moglich wird, Ihre Zeichnungen auf ein professionelles Level zu bringen. Anhand der beiden Adobe-Programme Illustrator und Photoshop wird Ihnen eine Anleitung an die Hand gegeben, mit der Sie spielend leicht saubere Ergebnisse erzielen werden. Sie werden Lernen, wie Sie Ihre Zeichnungen mittels Illustrator zeichnen und vorkolorieren konnen, und wie Sie mittels Photoshop weiche Schattierungen anlegen und Bereiche umfarben konnen.

This volume presents for the first time an edited version of Harold D. Woodbury's « Notes on the History of Woodbury & Company, Inc. This history offers a fascinating glimpse into the workings of a family firm that emerged as the largest commercial engraver in central New England in the 1890s. The company specialized in Bird's-Eye-Views of factories and industrial buildings, large numbers of which graced the walls of boardrooms and executive suites in the Northeast and throughout North America. A notable success for the company, in addition to its excellence in engraved letterheads, was its series of First Day Covers, pictorial impressions of commemorative stamps. The introduction to this volume focuses on printing and printing-related businesses in Worcester, Massachusetts: their founders, contributions to technological innovation, and contributions to New England's workforce.

During the day, painter and graphic artist Fred Bervoets (1942) works almost routinely at his large format etchings. At night, he lets his imagination run wild. The hundreds of drawings, sketches, doodles and paintings done in the margin today fill almost the entire ground floor of his studio home. The one thing they have in common, apart from their maker, is their modest A4 format. The spontaneity of these small works on paper forms the heart of this book, which also includes Bervoets' more monumental etchings since 2013. This one-of-its kind "print room" offers an impressive kaleidoscopic self-portrait of an absolutely unique artist.

As the first serious study and presentation of the Sheldon Museum of Art's collection of works on paper, this catalog introduces students and art lovers alike to the largest, most international area of the museum's holdings, which includes prints and drawings from the European Renaissance to the present. Like the other collection catalogs in the American Transnationalism series, this publication draws together a team of distinguished scholars and features some of the museum's most iconic works. These include rarely seen yet important objects such as medieval manuscript illuminations and Renaissance prints; nineteenth-century drawings and prints by such artists as Mary Cassatt, Winslow Homer, and James McNeill Whistler; twentieth-century works by Peggy Bacon, George Bellows, Charles Demuth, Marjorie Organ Henri, John Marin, Georgia O'Keeffe, Diego Rivera, and Charles White; and contemporary works by Robert Colescott, Vija Celmins, Roy Lichtenstein, Judy Pfaff, and Kara Walker.