An easy-to-use practical guide to mixed-media printmaking including instructions for other printmaking techniques. Practical Mixed-Media Printmaking is an essential introduction to printmaking using a wide range of low-cost materials. This practical guide includes easy-to-follow instructions, hints and tips on all of the main printmaking techniques, as well as over 90 examples of works by contemporary printmakers and 19 profiles explaining the artists' methods and inspiration. As mixed-media printmaking allows vast freedom for experimentation, discover how to adapt and refine basic techniques to suit your own projects and gather inspiration regardless of your level.

Clear wood engravings present, in extremely lifelike poses, over 1,000 species of animals.

The period of post-World War II American printmaking is unique in the history of printmaking, as the volume and variety of prints proliferated and printmakers experimented with modern motifs and abstract forms. The printmaking explosion in America that began in the late 40s and early 50s carried the medium to prominence and acceptance. As a result of this rapid and fantastic growth, printmaking has come into its own as a respected art medium. Alongside printmaking's growing prestige, the print market flourished. Interest in printmaking grew quickly, and with new techniques emerging and evolving, the atmosphere in the nation encouraged creativity and experimentation. This period of American art was an innovative and productive era in the history of printmaking. Until now, there has been no comprehensive index of prints to bring biographical and critical material together with the published reproductions of works. The earlier indexes have been too general to be of value for scholarly research on prints. This index provides a one stop reference for this important period in printmaking history. In a single work, it provides all the information on published visual images of American prints from 1946 to 1996 as well as biocritical information on printmakers working in this time period.

This volume presents a rich survey of the first Golden Age of European printmaking and reveals important artistic and cultural innovations spurred by the proliferation of etchings, engravings, and woodcuts. Featuring many of the era's most extraordinary and influential prints, Renaissance Impressions includes examples in all graphic media from Europe's major printmaking centres, which disseminated images by the period's greatest artists, among them, Michelangelo, Raphael, and Titian. Through absorbing thematic essays and lively entries on more than 80 prints by master printmakers including Albrecht Durer, Marcantonio Raimondi, and Hendrick Goltzius, this lushly illustrated catalogue explores the pivotal role that prints played in shaping visual culture throughout Europe during the Renaissance. Essays by Arthur J. Di Furia, Jamie Gabbarelli, Sharon Gregory.

This pack contains 100 high-quality origami sheets printed with sweet Heart & Flower Patterns. These illustrations were chosen to enhance the creative work of origami artists and paper crafters. The pack contains 12 patterns unique to this pack, and all of the papers are printed with coordinating colors on the reverse side to provide aesthetically pleasing combinations in origami projects that show both the front and back of the papers. This origami paper pack includes: 100 sheets of high-quality origami paper 12 unique designs Vibrant and bright colors Double-sided color Small 6 x 6 inch squares Instructions for 6 easy origami projects

Woodblock printing is an ancient art form, which produces beautiful, subtle and lively pieces with just a few simple materials. This book introduces the art, and shares technical information and ideas for those with more experience. A wide range of exciting examples of printed woodcuts are shown along with advice on materials and tools, and a step-by-step guide to sharpening. Techniques to achieve quality prints and perfect registration are covered too. Drawing on the vibrant living traditions from China and Japan, it is both a technical guide and an inspiration.

Mediating Cultural Memory is the first book to analyze the relationship between cultural memory, national identity and the changing media ecology in early eighteenth-century Britain. Leith Davis focuses on five pivotal episodes in the histories of England, Scotland and Ireland: the 1688 'Glorious' Revolution; the War of the Two Kings in Ireland (1688-91); the Scottish colonial enterprise in Darien (1695-1700); the 1715 Jacobite Rising; and the 1745 Jacobite Rising. She explores the initial inscription of these episodes in forms such as ballads, official documents, manuscript newsletters, correspondence, newspapers and popular histories, and examines how counter-memories of these events continued to circulate in later mediations. Bringing together Memory Studies, Book History and British Studies, Mediating Cultural Memory offers a new interpretation of the early eighteenth century as a crucial stage in the development of cultural memory and illuminates the processes of remembrance and forgetting that have shaped the nation of Britain.

The artistic accomplishments of James Northcote (1746-1831) have tended to be overshadowed by his role as a biographer of Joshua Reynolds, first president of the Royal Academy of Arts, with whom Northcote apprenticed for five years. Here, Mark Ledbury constructs a very different image of Northcote: that of a prolific member of the Royal Academy and an active participant in the cultural and political circles of the Romantic era, as well as a portrait and history painter in his own right. This book pays particular attention to Northcote's One Hundred Fables (1828), a masterpiece of wood engraving, and the unconventional, collaged manuscripts for the volume, now at the Yale Center for British Art. Along with another series of collages now at The Morgan Library & Museum and a second volume of fables published posthumously in 1833, these collages and printed works constitute the most ambitious project of the artist's later years. An underappreciated and courageously eccentric masterpiece, the Fables were an early experiment in what is now a familiar multimedia practice and are extensively published here for the first time. Idiosyncratic, personal, and visionary, the Fables serve as a lens through which to examine Northcote's long, complex, and fruitful artistic career. Distributed for the Yale Center for British Art Exhibition Schedule: Yale Center for British Art (10/02/14-12/14/14)

This pack contains 100 high-quality origami sheets printed with mesmerizing Kaleidoscope Patterns. These illustrations were chosen to enhance the creative work of origami artists and paper crafters. The pack contains 12 patterns unique to this pack, and all of the papers are printed with coordinating colors on the reverse side to provide aesthetically pleasing combinations in origami projects that show both the front and back of the papers. This origami paper pack includes: 100 sheets of high-quality origami paper 12 unique designs Vibrant and bright colors Double-sided color Small 6 x 6 inch squares Instructions for 6 easy origami projects

A landmark survey of Sol LeWitt's printmaking practice The conceptual artist Sol LeWitt (1928-2007) is best known for his programmatic wall drawings and modular structures, but alongside these works he generated more than 350 print projects, comprising thousands of lithographs, silkscreens, etchings, aquatints, woodcuts, and linocuts. This generously illustrated volume is the first to take a comprehensive look at LeWitt's significant yet underexplored printmaking practice. Drawing together new archival research, interviews, and careful material and visual analyses, David S. Areford brilliantly situates LeWitt's prints within the broader context of his serial-, system-, and rule-based approach to artmaking. The specific processes of print media, Areford argues, were perfectly suited for LeWitt's particular brand of conceptual art, in which the "idea becomes the machine that makes the art." With over 400 illustrations, many never before published, this study offers a more complete picture of LeWitt's oeuvre-and the essential place printmaking holds in it. The result will deepen the understanding not only of the variety of LeWitt's output but of the genealogy of his distinct geometric and linear formal language.

Book, Text, Medium: Cross Sectional Reading for a Digital Age utilizes codex history, close reading, and language philosophy to assess the transformative arc between medieval books and today's e-books. It examines what happens to the reading experience in the twenty-first century when the original concept of a book is still held in the mind of a reader, if no longer in the reader's hand. Leading critic Garrett Stewart explores the play of mediation more generally, as the concept of book moves from a manufactured object to simply the language it puts into circulation. Framed by digital poetics, phonorobotics, and the rising popularity of audiobooks, this study sheds new light on both the history of reading and the negation of legible print in conceptual book art.

Thorough, comprehensive handbook covers materials and equipment, tools, printing papers, presses and other essentials. Detailed instructions for etching (hard ground, soft ground, aquatint, sugar lift, etc.), engraving, drypoint, collagraphs, tuilegraphs and the Blake transfer method. Profusely illustrated; also includes bibliography and updated list of suppliers. ..".excellent, step-by-step comprehensive outline...superbly organized..."--AB Bookman's Weekly.

Daniel Chodowieckis Kinder- und Jugendbuchillustrationen in Basedows Elementarwerk und Salzmanns Moralischem Elementarbuch - die zwei von ihm am umfangreichsten illustrierten philanthropen Erziehungsbucher - sind Gegenstand dieser kunsthistorisch-padagogischen Untersuchung. Aufbauend auf den divergierenden Zielsetzungen und Methodiken Basedows und Salzmanns stehen die kunstlerischen Charakteristika und Unterschiede in Bildkonzept, -aufbau und -sprache am Beispiel der Kinderspiele, der Berufe und des Toleranzgedankens in beiden Buchern vergleichend im Fokus. Diese Arbeit stellt somit zwei Typen von Chodowieckis philanthropen Edukationsgrafiken, die sich an ein kindliches Publikum richten, als bislang unbeachtete, aber bedeutsame Facette von Chodowieckis kunstlerischem Schaffen erstmalig vor.

Today we think of ukiyo-e-"the pictures of the floating world"-as masterpieces of Japanese art, highly prized throughout the world. Yet it is often said that ukiyo-e were little appreciated in their own time and were even used as packing material for ceramics. In Picturing the Floating World Julie Nelson Davis debunks this myth and demonstrates that ukiyo-e was thoroughly appreciated as a field of artistic production, worthy of connoisseurship and canonization by its contemporaries. Putting these images back into their dynamic context, she shows how consumers, critics, and makers produced and sold, appraised and collected, described and recorded ukiyo-e. She recovers this multilayered world of pictures in which some were made for a commercial market, backed by savvy entrepreneurs looking for new ways to make a profit, while others were produced for private coteries and high-ranking connoisseurs seeking to enrich their cultural capital. The book opens with an analysis of period documents to establish the terms of appraisal brought to ukiyo-e in late eighteenth-century Japan, mapping the evolution of the genre from a century earlier and the development of its typologies and the creation of a canon of makers-both of which have defined the field ever since. Organized around divisions of major technological and aesthetic developments, the book reveals how artistic practice and commercial enterprise were intertwined throughout ukiyo-e's history, from its earliest imagery through the twentieth century. The depiction of particular subjects in and for the floating world of urban Edo and the process of negotiating this within the larger field of publishing are examined to further ground ukiyo-e as material culture, as commodities in a mercantile economy. Picturing the Floating World offers a new approach: a critical yet accessible analysis of the genre as it was developed in its social, cultural, and political milieu. The book introduces students, collectors, and enthusiasts to ukiyo-e as a genre under construction in its own time while contributing to our understanding of early modern visual production.

Territorial Hues: The Color Print and Washington State, 1920-1960 will consist of prints that display the cultural and stylistic influences used by Washington State artists to produce highly exceptional works that reflect the color, light, and atmosphere that is unique to this region. The book focuses on several mediums including color woodcut, intaglio, serigraphy, and lithography. The influences of Japanese prints and regional appropriations of international movements will be examined as well as the local production of white-line prints.

Book, Text, Medium: Cross Sectional Reading for a Digital Age utilizes codex history, close reading, and language philosophy to assess the transformative arc between medieval books and today's e-books. It examines what happens to the reading experience in the twenty-first century when the original concept of a book is still held in the mind of a reader, if no longer in the reader's hand. Leading critic Garrett Stewart explores the play of mediation more generally, as the concept of book moves from a manufactured object to simply the language it puts into circulation. Framed by digital poetics, phonorobotics, and the rising popularity of audiobooks, this study sheds new light on both the history of reading and the negation of legible print in conceptual book art.

This graphic novel by an Expressionist master offers a stunning depiction of urban Europe between the world wars. First published in Germany in 1925, it presents 100 woodcuts of remarkable force and beauty that depict scenes of work and leisure, wealth and deprivation, and joy and loneliness.

Philadelphia on Stone is the first work in over fifty years to examine the history of nineteenth-century commercial lithography in Philadelphia. The capstone to the Library Company of Philadelphia's multifaceted Philadelphia on Stone project, this heavily illustrated volume of thematic essays provides an analysis of the social, economic, and technological changes in the local trade from 1828 to 1878; biographies of premier lithographers P. S. Duval and James Queen; and new insights about genres of lithographs pertaining to book illustration, advertising, sensational news, and landscape imagery.

Illustrated with more than 130 full-color images, the text will appeal to local historians, scholars of printing history, and those studying visual and popular culture, advertising, and economic history. The depicted advertisements, cityscape and bird's-eye views, disaster prints, and zoological illustrations document Philadelphia while showcasing the skilled work of the city's lithographers. Philadelphia on Stone highlights the finesse and allure of the lithographic process, which radically altered the visual landscape of Philadelphia and the country.

This book is a cultural history of the nineteenth-century songster: pocket-sized anthologies of song texts, usually without musical notation. It examines the musical, social, commercial and aesthetic functions songsters served and the processes by which they were produced and disseminated, the repertory they included, and the singers, printers and entrepreneurs that both inspired their manufacture and facilitated their consumption. Taking an international perspective, chapters focus on songsters from Ireland, North America, Australia and Britain and the varied public and private contexts in which they were used and exploited in oral and print cultures.