Gail Mallatratt says, 'I'm a colour person and the longer I live the more I love it and am motivated by it. Colour and stories are best. Colour gives me energy.' The vitality of Gail's colour printmaking is often startling and even surreal, making the familiar seem new. 'I hold a dialogue with the print coming off the woodcut', and there is always an element of surprise for her in the result, causing her to adapt colour and process as the work proceeds. 'One important thing about colour and living with it', Gail reflects, 'is that it is relative. It changes depending on what it is next to - a muddy ochre can zing out next to a blue or a black. Burnt Sienna can look bright next to a polished medium-tone oak wood. Water can be grey or brown or blue depending on how the light hits it.' 'I need to wear colour, lots of different ones, to feel right for the day. There is no underestimating its importance to the spirit.' Born in San Francisco, Gail came to London in 1972 with an English husband and her first child. She has an MA degree from Stanford University in teaching English, and Graphic Design and Information Design degrees from the University of the Arts. She studied printmaking at Camberwell and was awarded an MA degree. Before taking up printmaking full-time Gail worked in Corporate Identity design.

The legacy of graphic artist William Hogarth (1697-1764) remains so emphatic that even his last name has evolved into a common vernacular term referring to his characteristically scathing form of satire. Featuring rarely seen images and written contributions from leading scholars, this book showcases a collection of the artist's works gathered from the Lewis Walpole Library at Yale University and other repositories. It attests to the idiosyncratic nature of his style and its international influence, which continues to incite aesthetic and moral debate among critics. The eight essays by eminent Hogarth experts help to further contextualize the artist's unique narrative strategies, embedding the work within German philosophical debates and the moral confusion of the Victorian period and emphasizing the social and political dimensions that are part and parcel of its profound impact. Endlessly parodied and emulated, Hogarth's distinctive satire persists in its influence throughout the centuries and this publication provides the necessary lens through which to view it. Distributed for the Lewis Walpole Library

All 50 of Doré's powerful illustrations for Milton's epic poem, with quotes from the text and a plot summary of the entire poem.

American artist Nancy Spero (b.1929) concentrates on the depiction of women: mythological women, movie women, tortured women. Inspired by classical and modern sources, she collages and imprints her contemporary goddesses on to long, papyrus-like friezes that scroll around museum walls. Her subject matter, which has ranged from the writings of Artaud to the Vietnam War, mirrors her life. Working in Paris in the cultural ferment of the 1960s, she moved to New York in the 1970s to co-establish the feminist gallery A.I.R. and to join with artists and critics such as Leon Golub, Robert Morris and Lucy R Lippard in forming the Art Workers' Coalition. Since the 1980s she has attracted international acclaim, her exquisite works giving form to feminist issues and new critical discourses. The Survey by Jon Bird, cultural theorist and curator of the first British retrospective of Spero's work, discusses developments in her practice since the 1950s. Contemporary art scholar and critic Jo Anna Isaak talks with the artist about her life and work. Art historian Sylvere Lotringer, Edtior of Semiotext(e) and author of Overexposed, focuses on her 1993 installation at the Whitney Museum of American Art. In recognition of the impact Stanley Kubrick's Dr Strangelove made on her, Spero has chosen a scene from the screenplay; key excerpts from Gynesis: Configurations of Woman and Modernity by feminist theorist Alice Jardine on the place of women in a patriarchal culture complete the Artist's Choice section. Also included are a selection of Spero's own writings, many published here for the first time.

This anthology, the first of its kind, presents thirty-two texts on contemporary prints and printmaking written from the mid-1980s to the present by authors from across the world. The texts range from history and criticism to creative writing. More than a general survey, they provide a critical topography of artistic printmaking during the period. The book is directed at an audience of international stakeholders in the field of contemporary print, printmaking and printmedia, including art students, practising artists, museum curators, critics, educationalists, print publishers and print scholars. It expands debate in the field and will act as a starting point for further research. -- .

Surimono poetry prints are among the finest examples of Japanese woodblock printmaking of the late eighteenth and early nineteenth centuries. Consisting of witty poetry combined with related images, surimono were often designed by leading print artists and were exquisitely produced using the best materials and most sophisticated printing techniques. Unlike the ukiyo-e prints of actors, courtesans and landscapes that were being commercially published around the same time, surimono were never intended for sale to the general public. Instead they were privately published in limited editions by members of poetry clubs, to present to friends and acquaintances on festive occasions, especially at the New Year. This book introduces over forty surimono in the collection of the Ashmolean Museum and provides readers with an insight into the refined and cultivated Japanese literati culture of the early nineteenth century. As well as exploring the customs, legends, figures and objects depicted, it presents new translations of the humorous poems (kyoka) that lie at the heart of surimono, and highlights the intricate relationship that existed between the poetry and accompanying images. This will be the first time that the Ashmolean's collection of surimono, mostly from the Jennings-Spalding Gift and containing a number of rare and previously unpublished prints, has ever been catalogued.

This paper pack contains 500 high-quality, 6-inch origami sheets printed with colorful and psychedelic patterns. This origami paper pack includes: 500 sheets of high-quality origami paper 12 unique patterns Bright, vibrant colors Double-sided color 6 x 6 inch (15 cm) squares Step-by-step instructions for 5 easy-to-fold origami projects These stunning origami papers were developed to enhance the creative work of origami artists and paper crafters. The pack contains 12 unique patterns, and all of the papers are printed with coordinating colors on the reverse to provide aesthetically pleasing combinations in origami models that show both the front and back. Warm up your origami skills with included instructions for 5 classic origami models: Pinwheel Star Box Balloon Helmet Crane

There are really two books in this volume; one an historical study of Parisian artist Louis Icart's famous etchings of the early twentieth century, and the other a chronological catalog of all of Icart's known etchings. Both sections are vital information for collectors, art historians and dealers who want to date, identify and interpret the work of this prolific, stylish, and reflective artist. During his forty year artistic career, Louis Icart portrayed beautiful women through joyful, witty, and often poignant images. Icart's etchings are once again being collected and adored, just as they were between the two world wars.

Sold in packs of 6. Gorgeous, foiled, handmade greeting cards, blank inside and shrink-wrapped with a gold envelope. Themed with our art calendars, foiled notebooks and illustrated art books. Our greeting cards are printed on FSC paper and wrapped in biodegradable cellobag, and are themed with our art calendars, foiled notebooks and illustrated art books. Born in Kent, Annie Soudain lives by the sea in Sussex and much of her work continues to be inspired by the beautiful landscapes surrounding her. This colourful linoprint was created using the reduction method, which involves progressively cutting, inking up, and printing from the same block.

Sold in packs of 6. Gorgeous, foiled, handmade greeting cards, blank inside and shrink-wrapped with a gold envelope. Themed with our art calendars, foiled notebooks and illustrated art books. Our greeting cards are printed on FSC paper and wrapped in biodegradable cellobag, and are themed with our art calendars, foiled notebooks and illustrated art books. Born in Kent, Annie Soudain lives by the sea in Sussex and much of her work continues to be inspired by the beautiful landscapes surrounding her. This colourful linoprint was created using the reduction method, which involves progressively cutting, inking up, and printing from the same block.

Encompassing black-and-white linoleum cuts made at community art centers in the 1960s and 1970s, resistance posters and other political art of the 1980s and the wide variety of subjects and techniques explored by artists in printshops over the last two decades, printmaking has been a driving force in contemporary South African artistic and political expression. "Impressions from South Africa, 1965 to Now," published to accompany an exhibition at The Museum of Modern Art, introduces the vital role of printmaking through works by more than 20 artists in the Museum's collection. The volume features prints by John Muafangejo and Dan Rakgoathe, whose vigorous, metaphoric linoleum cuts conveying social messages were cultivated at Rorke's Drift Art and Craft Centre in the 1960s and 1970s, posters produced for anti-apartheid coalitions in the 1980s, and political work by Sue Williamson, Norman Catherine and William Kentridge, representing periods of apartheid resistance. More recent projects, including traditional etchings by Diane Victor, comic books by Bitterkomix, lithographs by Joachim Schonfeldt and Claudette Schreuders and digital prints by Cameron Platter, address ongoing social issues and explore new subjects. New linoleum cut projects by a younger generation of artists--Paul Edmunds, Senzeni Marasela and Vuyile Voyiya--demonstrate the relevance of the medium in South Africa today. Judith B. Hesker, Assistant Curator of Prints and Illustrated Books at MoMA, contributes an introduction, biographies of the artists, publishers and printers, and a timeline of relevant events in South Africa.

Hokusai's series depicting Mount Fuji is widely considered to be the pinnacle of his career. This beautiful boxed accordion- fold edition comprises the full set of forty-six prints (the original thirty-six and ten more that were completed later) and features a luxurious silken binding along with a separate explanatory booklet. The book and booklet are packaged in an elegant slipcase. Devoted entirely to landscapes, Hokusai's series shows Mount Fuji from various viewpoints, framed in different ways. An indefatigable traveler who was passionate about nature, Hokusai explored every vantage point and season at the volcano. He presented it both as a solitary and majestic snow-capped peak and as a smaller object on a distant horizon. Hokusai also portrayed the mountain as an element in Japanese daily life and as an imposing force of nature that can be peaceful and beneficent, or ferocious and unforgiving. These impeccably reproduced prints invite readers to examine Hokusai's virtuosic use of color and composition, his talent for contrasting perspectives, and his interest in the dueling roles of man and nature. An exquisite objet d'art, this volume is the perfect vehicle for appreciating Hokusai's crowning achievement in all its lasting and subtle beauty.

Eric Gill (1882-1940) is one of the twentieth century's most controversial artists. This illustrated introduction focuses on the clarity of Gill's drawn and cut line. It explores his genius as a letter cutter, wood engraver, sculptor and typographer in the light of his refined finished drawings and preparatory sketches. Like all modernists of the early twentieth-century, he used stylised form, explicit sexuality and the influence of other cultures to position himself at the forefront of the avant-garde. An outsider and a radical, Gill nevertheless became one the establishment's favourite artists, with his patrons including the Catholic Church, the Lord Chancellor's office, the British Museum, the Victoria and Albert Museum, the Royal Mint, the London Underground, the BBC, the Post Office and the League of Nations. The authors illuminate here the quality, complexities and contradictions of Gill's fascinating life and art.

The book Art Forms in Nature is a collection of prints, made by the scientist Ernst Haeckel, of an enormous variety of flora and fauna from the sea-including microscopic Radiolaria, starfish and jelly fish-and since Prestel published it in 1998, it has been a favourite with artists, designers, illustrators and anyone who enjoys the wondrous forms of the natural world. Now paper engineer Maike Biederstaedt has transformed Haeckel's transcendent work into a three-dimensional book that allows readers to appreciate Haeckel's vivid colours, exceptional precision and fascination with patterns and geometry. This stunning book features seven pop-ups that allow readers to see nature's brilliance the way that Haeckel did-as marvellous, mathematically based creations that support his theory of the unity of all living things. Certain to appeal to his huge variety of fans, this pop-up version of a timeless classic will be treasured for years to come.

Printed artworks were often ephemeral, but in the early modern period, exchanges between print and other media were common, setting off chain reactions of images and objects that endured. Paintings, sculpture, decorative arts, musical or scientific instruments, and armor exerted their own influence on prints, while prints provided artists with paper veneers, templates, and sources of adaptable images. This interdisciplinary collection unites scholars from different fields of art history who elucidate the agency of prints on more traditionally valued media, and vice-versa. Contributors explore how, after translations across traditional geographic, temporal, and material boundaries, original 'meanings' may be lost, reconfigured, or subverted in surprising ways, whether a Netherlandish motif graces a cabinet in Italy or the print itself, colored or copied, is integrated into the calligraphic scheme of a Persian royal album. These intertwined relationships yield unexpected yet surprisingly prevalent modes of perception. Andrea Mantegna's 1470/1500 Battle of the Sea Gods, an engraving that emulates the properties of sculpted relief, was in fact reborn as relief sculpture, and fabrics based on print designs were reapplied to prints, returning color and tactility to the very objects from which the derived. Together, the essays in this volume witness a methodological shift in the study of print, from examining the printed image as an index of an absent invention in another medium - a painting, sculpture, or drawing - to considering its role as a generative, active agent driving modes of invention and perception far beyond the locus of its production.

Etching can seem mysterious and inaccessible, but this practical book guides you through the process to reveal the potential of this distinctive means of creating artists' prints. With clear instructions and visual guides, it explains the many ways that marks are first made on a metal plate before ink is applied and the image transferred onto a sheet of paper. The book goes on to introduce a broad menu of techniques, allowing the visual artist to develop a uniquely personal approach. Topics include the materials and equipment needed to get started, from the simple etching needle and scraper-burnisher to the etching press. Explanations are given for photo-etching, aquatint, as well as related intaglio processes such as drypoint and photopolymer. This new book encourages artists to experiment and try combining techniques to explore their potential, and includes interviews with leading artists explaining their approaches.

An engaging investigation of contemporary Brazilian artist Lygia Pape's early body of woodblock prints, which profoundly influenced the trajectory of her oeuvre One of Brazil's best-known contemporary artists, Lygia Pape (1927-2004) was a founding member of the Neo-Concrete movement in the late 1950s along with artists such as Lygia Clark and Helio Oiticica. Pape explored new visual languages in painting, performance, printmaking, and sculpture, and her work-much of it based in geometry- invited viewers to participate in the existential, sensorial, and psychological experience of her art. Presenting the first in-depth treatment of the experimental woodblock prints Pape made between 1952 and 1960, this volume examines the foundational role these works played in the rest of Pape's career, foreshadowing her philosophy of "magnetized space." Composed of overlapping geometric and linear elements that at times suggest atomic particles or slides of microscopic specimens, Pape's prints display an extraordinary depth accentuated by her use of incredibly thin, translucent Japanese papers. The artist applied the title Tecelares to these works decades after their creation. Loosely translated as "weavings," the term captures Pape's uniquely handmade approach to printmaking as well as her interest in indigenous Brazilian culture. Lavishly illustrated, this study is filled with revealing insights into how the artist's printmaking aesthetic, materials, and process embody her core ideas about art. Distributed for the Art Institute of Chicago Exhibition Schedule: Art Institute of Chicago (February 11-June 5, 2023)

An illuminating investigation of how aquatint travel books transformed the way Britons viewed the world and their place within it In the late 18th century, British artists embraced the medium of aquatint for its ability to produce prints with rich and varied tones that became even more stunning with the addition of color. At the same time, the expanding purview of the British empire created a market for images of far-away places. Book publishers quickly seized on these two trends and began producing travel books illustrated with aquatint prints of Indian cave temples, Chinese waterways, African villages, and more. Offering a close analysis of three exceptional publications-Thomas and William Daniell's Oriental Scenery (1795-1808), William Alexander's Costume of China (1797-1805), and Samuel Daniell's African Scenery and Animals (1804-5)-this volume examines how aquatint became a preferred medium for the visual representation of cultural difference, and how it subtly shaped the direction of Western modernism. Distributed for the Paul Mellon Centre for Studies in British Art

Yoshitoshi (1839 - 1892) was the last virtuoso of the Japanese woodblock print, and the One Hundred Aspects of the Moon, published between 1885 and 1892, were his crowning achievement. This series - mainly illustrating stories from history and legend, unified by the motif of the moon - is charged with paradox. In order to carry forward the tradition of ukiyo-e, Yoshitoshi drew stylistic inspiration from the very forces that were rendering it obsolete - namely, Western art and mass media like photography and lithography. As if they realised they were witnessing the end of an era, the artist's public responded enthusiastically to his innovative series - many of the individual prints were sold out on the morning of their publication. This magnificent facsimile of One Hundred Aspects of the Moon reproduces each print at its original size, facing an explanation of the subject. A thorough introductory text, augmented with many comparative illustrations, traces Yoshitoshi's career and the genesis of this series. Printed and bound to the most exacting specifications, this volume will be a must for aficionados of Japanese prints.

This pack contains 500 high-quality origami sheets printed with fun and funky Tie-Dye Patterns. These colorful paper patterns were developed to enhance the creative work of origami artists and paper crafters. The pack contains 12 designs unique to this pack, and all of the papers are printed with coordinating colors on the reverse to provide aesthetically pleasing combinations in origami models that show both the front and back of the papers. This origami paper pack includes: 500 sheets of high-quality origami paper 12 unique designs Vibrant and bright colors Double-sided color 6 x 6 inch (15 cm) squares Instructions for 6 easy origami projects