An inspired collection of the authors' own work spanning 30 years into the 'Visual Art Language'. Demonstrates a variety of mediums including oil paint, etching and drawing. Will appeal to readers with an interest in Fine Art, practitioners or those with an interest in the development of a visual language. This is a book of original art works comprising 49 colour and 62 black and white images, most are at full page size. The book is divided into six sections which look at different aspects of visual language in terms of either subject matter or media. It contains works from memory, etchings, still life, portrait, figure drawings and student work which form these six sections. Readers are able to see the development of a language which has evolved from early student work to current work. There are brief introductions to each section which aim to explain how the ideas came about, providing some detail about the artistic process, the inspiration behind the work and the challenges encountered along the way. Complementing the visual art are short and concise introductions to each section. A biography of the author is included at the end.

Albert Durer was born in Nuremberg on 21 May 1471. He began his career under the tutelage of Michael Wolgemut, the eminent German painter and printmaker, before travelling through Germany and to parts of Italy. In 1494 he returned to Nuremberg, where he remained until his death on 6 April 1528. Although an artist and a fluent and engaging writer, it is Durer's woodcuts and engravings that most demonstrate his enviable creative skills. Indeed, the editor of this volume, T. D. Barlow, argues that Durer can indeed be reckoned one of the all-time masters of his craft. Within this 1926 volume, Barlow has chronologically catalogued almost 300 of Durer's engravings; it is the result of many years' work. The finished product will be of great interest as a reference work for scholars engaged in the study of Durer's work and in the distribution of his impressions and their reproductions.

In this book, derived from his 1994 Sandars lectures, Bamber Gascoigne concentrates on those areas in the history of colour printing that have yet to receive critical attention. This broad historical survey covers the intaglio colour printing of the seventeenth and eighteenth century, the inventive attempts of nineteenth-century British publishers to achieve cheap, effective colour printing, and the pioneering work of the firm Thomas Nelson and Sons. A catalogue of more than 1,000 British and foreign views published by the firm in their own distinctive technique, the Nelson print, is also provided. Gascoigne links these developments to the wider scientific, cultural, and social currents during the period. This lavishly illustrated book presents with clarity and wit an extensive overview of the emergence of colour printing. It will be of interest to all students of publishing and printing history and bibliography, as well as art historians.

In the late eighteenth century, the British took greater interest than ever before in observing and recording all aspects of the natural world. Travelers and colonists returning from far-flung lands provided dazzling accounts of such exotic creatures as elephants, baboons, and kangaroos. The engraver Thomas Bewick (1753-1828) harnessed this newfound interest by assembling the most comprehensive illustrated guide to nature of his day.

"A General History of Quadrupeds," first published in 1790, showcases Bewick's groundbreaking engraving techniques that allowed text and images to be published on the same page. From anteaters to zebras, armadillos to wolverines, this delightful volume features engravings of over four hundred animals alongside descriptions of their characteristics as scientifically understood at the time. "Quadrupeds "reaffirms Bewick's place in history as an incomparable illustrator, one whose influence on natural history and book printing still endures today.

Originally produced in 1933 by the Kynoch Press, this perpetual week-to-week diary features beautiful wood block engravings by Eric Ravilious on every spread. The delightful illustrations follow the changing seasons, from roaring fires and snowy vignettes for the winter months to strawberries in the summer, bringing to life the simplicity of the English countryside. Beautifully designed, this is the perfect gift for gardeners and nature lovers as well as fans of Ravilious' work.

First published in 1937, the Gardener's Diary was both designed and illustrated by the renowned British graphic designer Edward Bawden (1903-1989). This perpetual week-to-week diary comprises beautiful horticultural block prints and helpful weekly reminders from William Cobbett's English Gardener (1827). Plenty of space is given to note activities and observations such as weather patterns, sewing dates and when plants bloom and fruit. This is a beautiful book for all keen gardeners to help chart your garden's progress from season to season.

A Sparrow's Life's as Sweet as Ours is a collection based on the Bird of the Month column in The Oldie, which is written by an instigator of the magazine, John McEwen and illustrated by renowned wildlife artist Carry Akroyd. In this beautiful new book, painter and printmaker Carry Akroyd presents a sequence of her small screenprints, full of variety and colour, that illustrate British birds in all four seasons of the year. These stunning prints give full rein to her extensive knowledge of the British landscape, and what shines out of these dynamic designs is Carry's deft capturing of each bird's characteristics set beautifully in relation to its habitat. Her consideration of each species combines accuracy with elegant simplicity. John McEwen's accompanying text is written with charm and concision, and his original columns have been updated for this new collection. John's light, eclectic approach connects snippets of ornithology, history, etymology and cookery, all expressed with wit and knowledge. His writing is spiced with poetry - from Chaucer to the present - as well as facts and stories, while personal and other anecdotes are included to inform and, above all, entertain.

Flatbed Press, a collaborative publishing workshop in Austin, Texas, has become one of the premier artists' printshops in America and an epicenter for the art form. Founded in 1989 by Mark Lesly Smith and Katherine Brimberry, Flatbed provides studio spaces for visiting artists to work with the press's master printers to create limited editions of original etchings, lithographs, woodcuts, and monotypes. The roster of artists who have worked at Flatbed includes Robert Rauschenberg, John Alexander, Dan Rizzie, Terry Allen, Michael Ray Charles, Luis Jimenez, Julie Speed, Trenton Doyle Hancock, and James Surls. Prints produced at Flatbed have been collected by major museums-the Museum of Modern Art, the Metropolitan Art Museum, the Whitney Museum of American Art, the Museum of Fine Arts, Houston, and the Brooklyn Museum, among others. Lavishly illustrated and printed, Flatbed Press at 25 presents a quarter-century retrospective of the press's productions. The book features the prints of thirty-five prominent artists who have collaborated with the press, each represented by full-color plates and a lively reminiscence by Smith and Brimberry that describes the process of working with the artist. Eighty additional artists are also included with a single print and documentary details. Susan Tallman's introduction places Flatbed in a national context, defines its uniqueness, and discusses many of the outstanding artworks that have been created there. Photographs of the facilities and equipment, technical processes, and artists and printers at work, as well as a chronology and glossary, complete the volume.

This publication has been developed from ideas first presented at the international symposium Late Hokusai: thought, technique, society, held at the British Museum in May 2017. The symposium was organised to enable specialists in a range of disciplines relating to early modern Japan to view and consider the critically acclaimed exhibition Hokusai: beyond the Great Wave, then being presented at the British Museum. The exhibition brought together representative works by the artist Katsushika Hokusai (1760−1849) in the various media in which he worked – colour woodblock printed, woodblock-printed illustrated books, brush paintings on paper or silk, and brush drawings − that were produced between the age of 61 and his death aged 90. Building on the themes of the exhibition, authors from the UK, Europe, Japan and USA have engaged with late Hokusai from a variety of perspectives, both intrinsic and extrinsic to his life and works. Essays have been grouped within the broad categories of ‘thought’ -- Hokusai’s intellectual concerns and the ways his art brought these to life; ‘technique’ – how the artist pursued excellence in a wide range of media, within a commercialised art market; and ‘society’ – dimensions of cultural interaction and patronage. A fourth section on ‘legacy’ looks at how stories of Hokusai have been as much generated by 130 years of scholarship, as they have by his works themselves. Challengingly, faked paintings and printed works have both contaminated and supported those stories. This innovative approach provides new insights into the work of one of the world’s most celebrated artists and suggests many new avenues for Hokusai research.

The Grosvenor School of Modern Art was founded by the influential teacher, painter and wood-engraver, Iain McNab, in 1925. Situated in London's Pimlico district the school played a key role in the story of modern British printmaking between the wars. The Grosvenor School artists received critical acclaim in their time that continued until the late 1930s under the influence of Claude Flight who pioneered a revolutionary method of making the simple linocut to dynamic and colourful effect. Cyril Power, a lecturer in architecture at the school, and Sybil Andrews, the School Secretary, were two of Flight's star students. Whilst incorporating the avant-garde values of Cubism, Futurism and Vorticism, the Grosvenor School printmakers brought their own unique interpretation of the contemporary world to the medium of linocut in images that are strikingly familiar to this day and are included in the print collections of the world's major museums, including the British Museum, the MoMA New York and the Australian National Gallery.

This new book which accompanies an exhibition at Dulwich Picture Gallery illustrates over 120 linocuts, drawings and posters by Grosvenor School artists and its thematic layout focuses on the key components which made up their dynamic and rhythmic visual imagery. For the first time, three Australian printmakers, Dorrit Black, Ethel Spowers and Eveline Syme - who played a major part in the Grosvenor School story - are included in a major museum exhibition outside of Australia.

C.R.W. Nevinson (1889-1946) is regarded as one of the finest British printmakers of the first half of the twentieth century - admired by contemporaries and modern-day viewers in equal measure. Yet despite this assured reputation, nothing substantial has been published on his remarkable printmaking career until now. Nevinson began creating prints in 1916, only stopping, due to ill health, in 1932. During this period he produced 148 prints, all of which reflecting his distinct vision and outstanding skills as a printmaker. Providing historical and social insights, his body of work is impressive in its range - images depicting the horrors of the First World War sit alongside contrasting cityscapes which present Nevinson's singular interpretation of Paris, New York and London. Drawing on original archival research and including a catalogue raisonne of Nevinson's prints, this unrivalled resource stands as a landmark publication in the literature available on this outstanding British modernist. It is an essential reference volume for all those who collect, sell or study Nevinson's prints and also provides much needed context for those with a general interest in the artist and the period in which he worked.

A modern, stylish and practical exploration of the traditional craft of block printing. For self-taught textile designer Molly Mahon, there is something special about block printing that has stood the test of time. From the initial design process, through to the carving of the block, the mixing of the colour and the actual printing process, Molly has always found printing to be meditative. This book enables readers to explore this ancient craft through Molly's contemporary designs and the influences that inspire her use of pattern and colour, before teaching them practical skills and potential ways to transform their creations into beautiful homeware. The book is divided into three main sections: A Modern Block Printer: An introduction to Molly and how she found and nurtured her love of block printing. Also, Molly gives a brief history of the tradition of block printing. Design Journeys: Molly sees pattern everywhere she looks and this is what creates the basis of her blocks. When Molly is designing, it's as if she goes on a journey, whether it be a walk in the forest or a work trip to India. She is constantly inspired by her surroundings in all that she sees and feels. Here the reader is taken on some of her favourite journeys with an inspirational sourcebook filled with beautiful images. Discover a brief history of block printing, design ideas and stories focusing on how India's artisan craftspeople and traditional block printing techniques, nature and the Bloomsbury Group have all inspired Molly's designs. Practical Printing: This chapter focuses on how to block print, including information on key tools, step-by-step techniques for printing on paper and fabric, and pattern design advice. Follow instructions to make five simple homeware projects with your newly printed creations and find exclusive block templates drawn by Molly for you to copy and recreate at home. House of Print is a celebration of both the art of block printing and the joy of design.

Georg Baselitz's collected writings brings together more than 30 texts by, and interviews with, the artist - spanning the period 1961 to the present - including conversations with Michael Auping, Henry Geldzahler and Donald Kuspit. Known for his rebellious approach to Abstract Expressionism, Baselitz here discusses the impression his paintings convey, the act of painting, his biography and much more. The texts shift between these personal pieces - some of which have never before been published in English - to interviews conducted by a variety of respected critics and art historians. These conversations present a different voice as Baselitz responds to careful and critical questions about his work.

Paul Klee (1879-1940) was an extraordinary draftsman, printmaker, teacher and theoretician with a singular style whose work greatly impacted the development of twentieth-century art. Klee's prints demonstrate, more fully than his works in any other medium, his remarkable evolution from a traditionalist to one of the most daring innovators of modern art. This limited-edition facsimile of "The Prints of Paul Klee," originally published by The Museum of Modern Art, New York in 1947, presents 40 of Klee's etchings and lithographs from MoMA's collection, ranging in date from 1903 to 1931 and each printed on a separate sheet of stiff card, eight of which are in color. Accompanied by a 40-page booklet featuring an essay by James Thrall Soby (then Chairman of the museum's Department of Painting and Sculpture), and a new text by Christophe Cherix, MoMA's Chief Curator of Prints and Illustrated Books, the prints are encased in a cloth-covered and ribbon-bound box. This unique and luxurious portfolio is being reissued for the first time since its original publication, and is available in a limited edition of 2,000 numbered copies.

The etchings of Wenceslaus Hollar are not only of a remarkably high artistic standard, but also represent an important pictorial chronicle of seventeenth-century England. Numbering over 2700 they cover a vast range of subjects: cathedrals, ships, bird’s-eye views of cities, scenes of the Thirty Years’ War, butterflies, shells, women’s costumes. Hollar drew portraits of his contemporaries, illustrated the Bible, Aesop’s fables, Homer, and Virgil. Rembrandt apart, he was arguably the greatest, certainly the most skilful etcher of his day. This catalogue for the first time identifies and listes all the etchings of Hollar. Each print is fully described, and the various problems of the editions of the Dance of Death, of the costume prints, and of the Dugdale illustrations and the London maps are fully dealt with. Mr Pennington has also written the first comprehensive and accurate life of Hollar, and this appears at the beginning of the book.

Featuring over 100 rare Japanese woodblock prints and thoughtful commentary, The Printer's eye paints a vibrant and fascinating picture of Japan's Uikoyo-e or "floating world." Edwin Grabhorn (1889-1968), co-founder of the Grabhorn Press, Northern California's premier letterpress printer, was a pioneer American collector of Japanese prints. The Grabhorn prints in the collection of the Asian Art Museum comprise the upper echelons of the original collection. The collection includes a superb selection of early monochrome and hand-colored ukiyo-e prints by Sugimura Jihei, Torii Kiyonobu, Okumura Masanobu and others, from the seminal decades of the woodblock print production in the late 1600s and early 1700s. Japanese Prints from the Grabhorn Collection marks the first time these prints are being published in quantity for a wide audience. Leading scholars David Waterhouse and Julia Meech provide in-depth looks at the prints in their Japanese contexts and at Grabhorn's role as a print collector. Large full-color reproductions all 140 of the Grabhorn prints in the Asian Art Museum's collection are accompanied by entries by Laura Allen and Melissa Rinne.

How to make block prints for art prints, greeting cards, invitations, signs and more using both linoleum and wood. Covers transferring a design, carving, printing by hand in one or more colors, clean up, editioning, and tearing down paper. Detailed, illustrated instructions for selecting tools, paper, and ink; carving both linoleum and wood; and printing by hand in one color or more to achieve professional results. Techniques can be used for art prints, posters, signs, invitations, greeting cards, gift wrap, and fabric.

A selection of Michael Craig-Martin's paintings, prints and sculptures, with an interview. This book is the result of a collaboration between The Gallery at Windsor, Florida, and the Royal Academy of Arts, London. Born in Ireland, the artist Michael Craig-Martin studied in America. On returning to the UK, he became a key figure in British conceptual art and an influential educator, linked in particular to the YBAs including Damien Hirst and Gary Hume. Craig-Martin's works transform recognisable objects - such as sneakers, headphones, watches and, most recently, Modernist buildings - with bold colour and simplified lines. He cites his 'rationalism' as the root of his practice. Craig-Martin is the latest subject of a three-year curatorial partnership between The Gallery at Windsor, Florida, and the Royal Academy of Arts, London, initiated to celebrate the Academy's 250th anniversary. This lively book reproduces a selection of his paintings, prints and sculptures, with an insightful essay by the art critic Ben Luke and an interview between Tim Marlow and the artist. Published to accompany an exhibition at the Gallery at Windsor, Florida, 26 January - 26 April 2019. Ben Luke is the art critic at the London Evening Standard. Tim Marlow is artistic director at the Royal Academy of Arts, London. Below images, left to right: Sir Michael Craig-Martin CBE RA, Untitled (watch fragment yellow), 2017. Acrylic on aluminium, 90 x 90 cm. Sir Michael Craig-Martin CBE RA, Double Take (iPhone), 2017. Acrylic on aluminium in two panels, 2018, 90 x 180 cm. Sir Michael Craig-Martin CBE RA, Untitled (trainer fragment), 2017. Acrylic on aluminium, 60 x 60 cm. Sir Michael Craig-Martin CBE RA, Untitled (lightbulb blue), 2017. Acrylic on aluminium, 90 x 90 cm. All images courtesy Gagosian. Photos Mike Bruce.

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

This is the most essential, indispensable resource for today's art school and university students, master printers, and fine artists who work with printmaking media. This book provides the latest never-before-published advancements in the three major printmaking mediums of etching, lithography, and screen-printing. With its focus on health safety practices, green sustainability goals and the new benign bio-based, non-carcinogenic solvents, this book demonstrates how to embrace green materials and practices, without sacrificing the quality of fine art prints.

Robert Gillmor, one of Britain's most influential wildlife artist, has illustrated four sets of pictorial stamps featuring birds for Royal Mail's Post & Go. Brought together and reproduced here for the first time, in larger-than-stamp size, these prints demonstrate the author's lifelong love and appreciation of our nation's birds. His own account of the process by which his linocuts are made, along with anecdotal descriptions of his bird encounters, bring the pictures to life. This beautifully produced collection will be coveted by wildlife lovers, artists and stamp collectors alike.