Thomas Bewick (1753-1828) was the foremost wood engraver not only of his generation, but of all subsequent generations, and the quality of his work has remained unsurpassed. His extraordinary woodcuts of animals and birds made him famous, and he dramatically influenced the development of the illustrated book in both England and America. Yet Bewick was no isolated creative genius toiling in an artist's atelier, but a trade engraver in the heart of the city of Newcastle upon Tyne, working at the very moment when the Industrial Revolution was beginning to change the world. His was an exceptional artistic talent, yet his trade engraving shop was tasked with similar commissions to those offered to hundreds of other similar businesses the length and breadth of the kingdom, catering for their local customers. Bewick's own talent, however, meant that he approached the trade commissions with his own particular flair and originality, creating many commercial works that are very little known. The British Museum holds an unrivalled collection of Bewick's works, including those from his commercial ventures, and this book celebrates the skill of the artist by presenting sixty engravings, some never published before, and by offering a historical perspective. Bewick made important - but even today often unrealised - contributions to the development of what we would today call graphic design. From the Victorian times onwards, his work was often separated from his commercial world and he was regarded as an artist-naturalist rather than the artist-craftsman he actually was. This book takes an original approach by addressing this balance for the first time, and places Bewick at the centre of English commercial life in the eighteenth and early nineteenth centuries.

Make a difference in Ukraine and start folding with this beautiful sunflower paper today! A portion of the sales are donated in support of World Central Kitchen's humanitarian efforts in Ukraine This paper pack contains 100 high-quality origami sheets printed in colorful Sunflower Patterns with coordinating Yellow and Blues on the back-- to inspire Peace Cranes for Ukraine. In Japanese tradition it is said that those who fold 1,000 origami cranes will have their wish of peace granted. We hope for peace in Ukraine, and encourage you to start folding your own sunflower peace cranes for Ukraine today! This origami paper pack includes: 100 sheets of high-quality origami paper 12 Beautiful sunflower patterns, in Ukranian yellow and blues Vibrant and bright colors Double-sided color 6 x 6 inch (15 cm) squares Instructions for 5 simple origami projects About World Central Kitchen: World Central Kitchen is first to the frontlines, providing meals in response to humanitarian, climate, and community crises. They build resilient food systems with locally led solutions, and have created a new model for disaster relief helping devastated communities recover and establish resilient food systems. Over 170 million meals served across eight countries: Across Ukraine, WCK is bringing hundreds of thousands of daily meals and pounds of food to over 8,000 distribution sites. With your purchase of this beautiful paper pack you are also bringing food to a country in need!

Learn to create classic block print patterns for greeting cards, wallpaper, book illustrations and more with Andrea Lauren's easy step-by-step instruction! Artist and Designer Lauren shows you simple techniques for creating your own printing blocks out of art-foam. With no cutting and chiseling, these art-foam blocks can be made into shapes and patterns using only scissors and a pencil. Use these printing blocks, or purchased stamps, to create repeat patterns or bundled groupings to get that classic block print look for wallpaper, book illustrations, framing prints, greeting cards, gift wrap, fabric prints, and so much more! Throughout the book, find inspiration from selected works of block print artists from around the world. The new, easy-to-use block printing materials are great for beginners and skilled artists alike. Make your mark with Block Print!

Mount Fuji has long been a centerpiece of Japanese cultural imagination, and nothing captures this with more virtuosity than the landmark woodblock print series Thirty-six Views of Mount Fuji by Katsushika Hokusai (1760-1849). The renowned printmaker documents 19th-century Japan with exceptional artistry and adoration, celebrating its countryside, cities, people, and serene natural beauty. Produced at the peak of Hokusai's artistic ambition, the series is a quintessential work of ukiyo-e that earned the artist world-wide recognition as a leading master of his craft. The prints illustrate Hokusai's own obsession with Mount Fuji as well as the flourishing domestic tourism of the late Edo period. Just as the mountain was a cherished view for travelers heading to the capital Edo (now Tokyo) along the Tokaido road, Mount Fuji is the infallible backdrop to each of the series' unique scenes. Hokusai captures the distinctive landscape and provincial charm of each setting with a vivid palette and exquisite detail. Including the iconic Under the Great Wave off Kanagawa (also The Great Wave), this widely celebrated series is a treasure of international art history. Among only a few complete reprints of the series, this XXL edition pays homage to Hokusai's striking colors and compositions with unprecedented care and magnitude. Bound in the Japanese tradition with uncut paper, Thirty-six Views of Mount Fuji presents the original 36 plates plus the additional 10 later added by the artist. The perfect companion piece to TASCHEN's One Hundred Views of Edo and The Sixty-Nine Stations along the Kisokaido, this publication paints an enchanting picture of pre-industrial Japan and is itself a stunning monument to the art of woodblock printing.

346 in all: Old Testament, St. Jerome, Passion, Life of Virgin, Apocalypse, many others. Introduction by Campbell Dodgson. "...it was in woodcut design that the creative genius of Dürer reached its highest expression...The only available source for many of these works."-Antique Monthly.

Collagraph printmaking is an accessible and environmentally friendly way of making striking prints with a unique texture. At its simplest it is a method of printing from collaged plates; at its most sophisticated, it is an innovative and exciting experimental medium. This book is a guide to the technique, with step-by-step instructions for creating and printing simple plates for the beginner, as well as tips, ideas and directions for those with more experience. There is advice on how to get started at the kitchen table; a guide to additional materials and equipment; step-by-step instructions for building collagraph plates and techniques for printing in monochrome using relief and intaglio methods.

The geometric shapes and natural forms, captured with exceptional precision in Ernst Haeckel's prints, still influence artists and designers to this day. This attractive volume highlights the research and findings of this outstanding natural scientist. Powerful modern microscopes have confirmed the accuracy of HaecKel's prints winch, even in their day, rightly became world famous.

Haeckel's outstanding portfolio, first published between 1899 and 1904 in separate installments, is described in the opening essays. The plates illustrate Haeckel's fundamental monistic notion of the "unity of all living things", and the wide variety of forms are executed with utmost delicacy. Incipient microscopic organisms are juxtaposed with highly developed plants and animals. The pages, ordered according to geometric and "constructive" aspects, handsomely document the oneness of the world in its most diversified forms.

This collection of plates was not only well-received by scientists, but by artists and architects as well. Rene Binet, a pioneer of glass and iron constructions, Emile Galle, a renowned Art Nouveau designer, and the photographer Karl Blossfeld all acknowledge and make explicit reference to Haeckel in their work.

Inspired satire on religion and morality, including 70 aphorisms of "Proverbs of Hell." 27 full-color plates, full text.

How did Victorians, as creators and viewers of images, visualize the politics of franchise reform? This study of Victorian art and parliamentary politics, specifically in the 1840s and 1860s, answers that question by viewing the First and Second Reform Acts from the perspectives offered by Ruskin's political theories of art and Bagehot's visual theory of politics. Combining subjects and approaches characteristic of art history, political history, literary criticism and cultural critique, Picturing Reform in Victorian Britain treats both paintings and wood engravings, particularly those published in Punch and the Illustrated London News. Carlisle analyzes unlikely pairings - a novel by Trollope and a painting by Hayter, an engraving after Leech and a high-society portrait by Landseer - to argue that such conjunctions marked both everyday life in Victorian Britain and the nature of its visual politics as it was manifested in the myriad heterogeneous and often incongruous images of illustrated journalism.

The work of Samuel Palmer (1805-1881) received mixed critical success during his lifetime, and his later life was overshadowed by the death of his elder son. Largely forgotten after his own death in 1881, Palmer began to attract renewed interest in the mid-twentieth century and he is now recognised as a key figure in English Romanticism. First published in 1892, this combination of a biography and a collection of Samuel Palmer's letters was written and compiled by his surviving son, A. H. Palmer, who later, in 1909, burned large quantities of his father's sketchbooks and notebooks. The letters published here, which date from 1829 to 1881, include correspondence with other members of 'the Ancients', such as John Linnell, George Richmond and Edward Calvert. The book also includes a range of sketches and etchings, as well as a catalogue of exhibited works.

THE SUNDAY TIMES ART BOOK OF THE YEAR A Sunday Times Best Paperback of 2022 Christie's Best Art Books of the Year 'Deft and richly detailed ... rescues the artist from John Bull caricature' - Michael Prodger, Sunday Times 'Marvellous ... a vivid and compelling reconstruction of the settings of Hogarth's life and artistic achievements, and of the nature of the man' - Professor Linda Colley, author of The Gun, the Ship, and the Pen 'Full of richness, originality and considered humour, unafraid to shock with thrilling new insight ... terrific' - Dr Gus Casely-Hayford, Director of V&A Stratford & Sky Arts 'The full technicolour panorama of Georgian life laid out in a huge and passionate book' - Lucy Worsley, Chief Curator at Historic Royal Palaces and author of Courtiers: The Secret History of the Georgian Court On a late spring night in 1732, a boisterous group of friends set out from their local pub. They are beginning a journey, a 'peregrination' that will take them through the gritty streets of Georgian London and along the River Thames as far as the Isle of Sheppey. And among them is an up-and-coming engraver and painter, just beginning to make a name for himself: William Hogarth. Hogarth's vision, to a vast degree, still defines the eighteenth century. In this, the first biography for over twenty years, Jacqueline Riding brings him to vivid life, immersing us in the world he inhabited and from which he drew inspiration. At the same time, she introduces us to an artist who was far bolder and more various than we give him credit for: an ambitious self-made man, a devoted husband, a sensitive portraitist, an unmatched storyteller, philanthropist, technical innovator and author of a seminal work of art theory. Following in his own footsteps from humble beginnings to professional triumph (and occasional disaster), Hogarth illuminates the work and life of a great artist who embraced the highest principles even while charting humanity's lowest vices.

W. D. Richmond's The Grammar of Lithography (1878) is a comprehensive and instructive work on the many varieties of lithography - with all their attendant materials and instruments - described and explained in practical terms for the active participant and the amateur enthusiast alike. Richmond's Grammar should also be understood as part of a wider movement of nineteenth-century industrial disclosure, where pockets of masterly knowledge previously available to apprentices and company employees alone were being made much more widely available through impartial manuals and guides. This noble cause was intended to bring down the walls of ignorance and trade secrecy and to foster an open atmosphere of mutual understanding. In the realm of lithography, Richmond's Grammar was the first treatise to achieve this. While the work forgoes any historical or overly theoretical discussion, it does provide an excellent example of practically oriented expertise in the graphic arts.

William James Linton (1812 1897) was a wood-engraver, poet, prose writer and political activist, who first worked in London but emigrated to the United States in 1866. He began his wood-engraving apprenticeship at the age of sixteen under the well-known London engraver G. W. Bonner. Linton's mature work, championing the use of 'white lining' and favouring the use of horizontal engraved lines and creating tone by differing line thickness, continued in the tradition of Thomas Bewick (1753 1828), the founding figure of wood-engraving. The publication of this book in 1884 marked the culmination of Linton's career, though he continued to research and write on the subject. The manual, originally published in only five hundred copies, is beautifully illustrated with Linton's own engravings and is a rich source for anyone interested in the technical details as well as the historical development of this specialist craft.

A Treatise on Wood Engraving, Historical and Practical (1839), combines the practical knowledge of an engraver with the critical inquiry of an historian. Compiled and edited by William Andrew Chatto, an established author with an interest in woodcuts, the book was originally conceived by the wood-engraver John Jackson, who provided the book's more than three hundred engravings. Roughly three quarters of the Treatise is concerned with the historical evolution of engraving, from the Egyptian hieroglyph stamps held at the British Museum through the masterful works of Albrecht D rer to the decline and reinvigoration of the art in the seventeenth and eighteenth centuries. Practical analysis permeates the text as a whole, with the final section explaining more fully how a block is chosen, cut, and even repaired. The book is therefore of interest to art historians, historians of the book, and even artist practitioners interested in nineteenth-century methods.

Screen printing is a print process involving the forcing of ink through a screen of fine material to create a picture or pattern. It has been around for many years, and has long been perceived as a specialist subject accessible only to professional printers and textile artists due to the high cost of the screens and inks. Recently, however, screen printing has entered the mainstream and the equipment and tools have become more affordable and accessible. In this Beginner's Guide to Screen Printing, Erin Lacy shows you how to make your own screen using an embroidery hoop and silk fabric, and demonstrates how to create beautiful designs that are easy to achieve. Discover how to print onto different surfaces such as wood, cork and fabric, and create twelve stunning, coastal and botanical-themed projects through bright and colourful step-by-step photography. The book includes templates and inspiration on how to design your own screen printing motifs.

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, William Morris was an outstanding character of many talents, being an architect, writer, social campaigner, artist and, with his Kelmscott Press, an important figure of the Arts and Crafts movement. Many of us probably know him best, however, from his superb furnishings and textile designs, intricately weaving together natural motifs in a highly stylized two-dimensional fashion influenced by medieval conventions.

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. -- .

This volume in the 21st Century Oxford Authors series offers students and readers a comprehensive selection of the work of William Blake (1757-1827). Accompanied by full scholarly apparatus, this authoritative edition enables students to explore Blake's poetry, illuminated poetry, and prose alongside selections from his letters, manuscripts, notebook, advertising pamphlets, marginalia, and works he printed in conventional letterpress. The edition arranges Blake's works in chronological order, according to the date when they were first printed or, in the case of unpublished works, the years in which they were composed. With the help of editorial headnotes and annotations, this arrangement brings to the foreground Blake's material and intellectual labours as a poet, painter, prophet, and non-academic philosopher; the networks of acquaintances, friends, patrons, and enemies who helped support or provoke this work; and the tumultuous historical events he responded to, which included the beginning of modern feminism, the agricultural and industrial revolutions, the American and French Revolutions, William Pitt's so-called 'Reign of Terror' in Britain, an attempted revolution in Ireland (1798), a successful slave rebellion in Haiti (1791-1804), and the French revolutionary and Napoleonic wars. Some editions attempt to sanitize Blake, by hiding from view the most startling elements of his thought; but in this edition Blake's sexual, political, religious, and poetic heterodoxy comes into full view. At the same time, this edition foregrounds the dynamics of Blake's composite art, with equal weight given to its verbal and visual dimensions; makes visible the chief lines of force that structure his oeuvre; and highlights his developing thought on sapphism, sodomy, the body, relations between the sexes, the roots of violence, and the politics of imagination. This is a Blake whose dialogue with his own time anticipates much later developments, including modern depth psychologies; analyses of the social and psychological dynamics of war and peace; interest in the body, sexuality, and gender; and experiments in the relation between actual and virtual realities-a Blake who is provocative, unsettling, exhilarating, and somehow our contemporary. Explanatory notes and commentary are included, to enhance the study, understanding, and enjoyment of these works, and the edition includes an Introduction to the life and works of Blake, and a Chronology.

Nordic Bakery is a Scandinavian-style premium coffee shop loved for its Nordic cinnamon buns, coffee, and rye bread. The book tells the tale of how products are sourced and ideas conceived; it describes the design aesthetic, portraying the concept of mixing dining, design, and the way of the Norse people, bringing Scandinavian design and lifestyle from table to book.The -face- behind the business is Miisa Mink, who comes from a successful career in branding and design and is also a passionate baker. Milla Koivisto is a photographer, writer, filmmaker, and artist with a focus on environmental issues.

This jewel-like book evokes unmistakable Italian landscapes and cityscapes. Anne Desmet's pen commits every detail to paper, and the small-scale format emphasises her distinctive flair for capturing the relationship between extreme foreground and distance. This is an opportunity to explore Italy, from Apennines to Veneto, through the eyes of a very particular artist.

For many years the magnificent color prints published by the firm of Rudolf Ackermann during the 19th century have been in the possession of lucky collectors. However, with the passing of many years these frail works of art have become damaged, or have perished, so that many are not available to those who wish to find and appreciate the work and care which went into these productions.

From Still Life to the Screen explores the print culture of 18th-century London, focusing on the correspondences between images and consumer objects. In his lively and insightful text, Joseph Monteyne considers such themes as the display of objects in still lifes and markets, the connoisseur's fetishistic gaze, and the fusion of body and ornament in satires of fashion. The desire for goods emerged in tandem with modern notions of identity, in which things were seen to mirror and symbolize the self. Prints, particularly graphic satires by such artists as Matthew and Mary Darly, James Gillray, William Hogarth, Thomas Rowlandson, and Paul Sandby, were actively involved in this shift. Many of these images play with the boundaries between the animate and the inanimate, self and thing. They also reveal the recurring motif of image display, whether on screens, by magic lanterns, or in "raree-shows" and print-shop windows. The author links this motif to new conceptions of the self, specifically through the penetration of spectacle into everyday experience. Published for the Paul Mellon Centre for Studies in British Art

Meet your dream plate and fall in love with a faster, friendlier approach to printmaking.

For artists and crafters who love the creative possibilities of monoprinting on gelatin but not the prep time, mess and inconvenience that comes with it, the Gelli Arts Gel Printing Plate is a dream come true It's durable, reusable, stored at room temperature, and ready to get creative whenever you are. Simply apply paint with a soft rubber brayer, make your marks and pull your print. It's that simple Wipe the plate down with a spritz of water and a paper towel, and you're ready to go again.

In this premier guide, artist Joan Bess--inventor of the concept for the Gelli plate--unleashes the fun through more than 50 step-by-step techniques. Create intriguing patterns using tools like sponges, textured rollers and homemade combs. Learn how to incorporate stencils and rubber stamps. Experiment with metallic paint, dimensional paint and gel medium. Become a texture-hunter, creating a wide world of effects using embossed papers, natural objects, rubber bands, lace, corrugated cardboard, metal tape, die cut letters...anything goes

Even beginners can enjoy immediate gratification--just grab a textured surface, smoosh it into your painted Gelli plate, and you'll have a stack of amazing prints in no time. For experienced printmakers, the inspirations in these pages will push you to experiment, adapt, combine and layer. It's easy, fun and totally addicting

Printmaking just got easier

• Expert tips from the creator of the Gelli plate
• 50+ awesome step-by-step techniques
• Ideas for incorporating stamps and stencils, using ghost prints, salvaging uninspired prints, and more
• 26-page gallery shows the many wonderful ways artists are incorporating Gelli printing into their work

In the 1880s, James McNeil Whistler revolutionized the way artists represented the city of Venice by producing images that moved away from the major tourist monuments to depict the squares, back alleys, and isolated canals that only residents knew. His novel approach inspired generations of printmakers who worked in Venice, and this book celebrates their work.

Ernest David Roth (1879-1964) was one of the most significant American etchers of the first half of the 20th century, and his most important achievements are the views he did of Venice between 1905 and 1941. Roth and his friends John Taylor Arms and Louis Rosenberg formed the nucleus of a circle of American etchers that created a timeless vision of European and American cityscapes and landscapes in the 1920s and 1930s, and their Venetian views are at the center of their accomplishment.

Eric Denker is a senior lecturer at the National Gallery of Art, Washington, D.C.

Linocut and screenprinting have undergone a resurgence in recent years. This book teaches the basic techniques for learning to make your own prints under the guidance and tutelage of expert teacher and artist Susan Yeates. Susan, who runs her own print business, Magenta Sky, explains the rudiments of linocutting, and guides you through ten practical and attainable projects including greeting cards, artworks to frame, labels for jam jars, seed packets and bags or tea towels to print and give as personalised presents. There are handy tips and suggestions throughout the book and each project begins with a list of tools and materials needed.