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.

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.

Geoffrey Garnier was the only Newlyn artist to devote himself entirely to the art of print-making. After a spell in Canada he studied at the Bushey School of Art and in 1913 at the Forbes School of Art at Newlyn in Cornwall. Friends there included Lamorna Birch, Laura and Harold Knight, Charles and Ruth Simpson, Harold Harvey, his wife Gertrude and her sister Sophie Bodinnar, Frank Dobson the sculptor, Dod and Ernest Procter and A J Munnings and wife Florence. Geoffrey and Jill, coinciding at the Forbes School, married in 1917 while he was serving in the Navy, and after the war settled in Newlyn, where they remained for the rest of their lives. They bought Orchard Cottage, high above the harbour with glorious views across the bay to St Michael's Mount, building studios in the sloping garden. Geoffrey's prints gained international recognition. He worked in dry-point, line engraving, etching, mezzotint and particularly aquatint, developing new processes and rediscovering old methods. Favourite subjects were the sailing ships of the great era of British sea power, Cornish landscapes and sporting scenes, charming studies of children at play and colourful oriental prints. Jill continued to paint despite the demands of domesticity, and produced portraits of her children and friends, landscapes and still lifes, making a record of her times. Geoffrey's versatility extended to calligraphy, bookbinding and fiction writing. Despite his nostalgia for old Cornish life, he had a love of fast cars, owning such exotic makes as Benz, Delage and Austro-Daimler.

The first monograph on this important but overlooked artist. Coincides with a major show of new work at Alan Cristea Gallery, London, 27 June to 31 July, 2019. Mick Moon RA was born in Edinburgh in 1937 and grew up in Blackpool. He studied at the Chelsea School of Art (1958-62) and later taught at the Slade School of Fine Art (1973-90). He was elected a Royal Academician in 1994 and his work now forms part of many public collections including those of the Scottish National Gallery, Tate and the Victoria and Albert Museum. Moon's paintings and prints combine a wide variety of media and techniques in complex and intriguing layers. More recently, photographic elements have formed part of his practice, along with textural materials such as wood and cloth which Moon combines with ink and paint. The art historian Mel Gooding provides an authoritative insight into Mick Moon's practice and a definitive overview of his career. He argues that Moon is one of the most important artists of his generation and asserts his place as one of the key figures of post-war British art.

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

Whether you're discovering printmaking for the first time or you're looking for fresh ideas to reinvigorate your practice, you'll find plenty of inspiration in The Printmaking Ideas Book. From traditional methods such as screenprinting, etching and lithography to contemporary techniques such as risography and digital collage, this book is packed with new ideas, methods and tips on every page. Brimming with experimental, arresting and beautiful examples of printmaking from all over the world, it will take your creativity further and awaken new ideas.

The powerful imagery and psychological intensity of Ward's wordless works have elicited comparisons to the writings of Hawthorne, Melville, and Poe, and they continue to influence modern graphic novelists such as Frank Miller. This 1930 work tells a gripping tale through imagery alone, consisting solely of hauntingly rendered woodcuts. 128 illustrations.

In the first half of the twentieth century, a group of American artists influenced by the painter and teacher Robert Henri aimed to reject the pretenses of academic fine art and polite society. Embracing the democratic inclusiveness of the Progressive movement, these artists turned to making prints, which were relatively inexpensive to produce and easy to distribute. For their subject matter, the artists mined the bustling activity and stark realities of the urban centers in which they lived and worked. Their prints feature sublime towering skyscrapers and stifling city streets, jazzy dance halls and bleak tenement interiors-intimate and anonymous everyday scenes that addressed modern life in America. True Grit examines a rich selection of prints by well-known figures like George Bellows, Edward Hopper, Joseph Pennell, and John Sloan as well as lesser-known artists such as Ida Abelman, Peggy Bacon, Miguel Covarrubias, and Mabel Dwight. Written by three scholars of printmaking and American art, the essays present nuanced discussions of gender, class, literature, and politics, contextualizing the prints in the rapidly changing milieu of the first decades of twentieth-century America.

Masterfully executed designs in reproductions of two rare catalogs: ornamental borders, corners and frames with intricate floral and foliated patterns, architectural ornaments and design elements, religious symbols and figures, animals, mosaics, landscapes, much more. Invaluable to artists and craftspeople working with textiles, wallpaper and other decorative items.

Monoprinting is a printmaking process in which a drawing or painting, executed on a flat, unworked printing plate or other surface, is transferred through pressure, to a sheet of paper. Recognised as a spontaneous and exciting process, the medium is also effective, convenient and does not necessarily require a press. Only one strong impression can be taken, hence the term monoprint. In this handbook, the authors show how to push the boundaries of monoprinting with various techniques, showing the unique possibilities and showcasing work from around the world.

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.

Praise for the first edition:

"An indispensable guide for those who make art out of the contrast between light and dark. And, it's a sheer pleasure for everyone else, thanks to its many wonderful illustrations."
-- Artsforum

"Walker's instruction is so clear and well organized that this handbook is perfect for the beginner."
-- American Artist

The history of woodcuts goes back more than a thousand years. Working carefully and with great precision, the woodcut artist carves a mirror image of a design on wood or other suitable material. The design is then inked and pressed against paper. The technique allows the artist to create an almost unlimited number of impressions of the same work. The precision of the work and the ability of the artist to create multiple impressions allow many fine woodcut artists to create pieces at a reasonable price, which an average collector can afford.

"The Woodcut Artist's Handbook" provides the basics of this craft with a detailed analysis of its tools and media. This improved second edition features two new chapters that teach artists step by step how to make an engraving and linocut. Artists can improve and develop considerable skill in this art by following these instructions and the author's professional tips. Beginners and advanced woodcutters and collectors will gain a deeper understanding of and appreciation for this craft and art.

This profusely illustrated book is ideal for artists, printmakers, designers and collectors.

Edvard Munch (1863-1944) is best known today as a painter, but his reputation was in fact established through his prints, which were central to his creative process. His printmaking was experimental and innovative, and he continually revisited the subjects of his paintings in striking prints, in which he evoked a wide range of emotion and mood through the use of varied techniques. Munch's early life in the industrial town of Kristiania (renamed Oslo in 1925) was marked by sickness and poverty. His first works centred on the expression of deep emotional experiences, specifically the deaths of his mother and teenage sister when he was growing up, as well as passionate yet unhappy love affairs of which his deeply religious father disapproved. Encouraged by his encounters with a Bohemian society of artists, writers and poets, he developed a visual landscape that was a radical deviation from the slick society portraits and grand Scandinavian landscapes then so much in vogue. His efforts attracted considerable attention and much criticism, and he practised with little financial success as a painter for ten years before he started to gain his reputation as a profoundly innovative printmaker. Written by a team of acknowledged experts, and with an interview by writer Karl Ove Knausgaard, this book will shed new light on the production of some of Munch's most remarkable works.

Nonfiction. Art. Politics. PAPER POLITICS is a major collection of contemporary politically and socially engaged printmaking. This full color book showcases print art that uses themes of social justice and global equity to engage community members in political conversation. Based on an art exhibition which has traveled to a dozen cities in North America, the book features artwork by over 200 international artists; an eclectic collection of work by both activist and non-activist printmakers who have felt the need to respond to the monumental trends and events of our times. Artists range from the well established (Sue Coe, Swoon, Carlos Cortez) to the up-and-coming (Favianna Rodriguez, Chris Stain, Nicole Schulman), from street artists (BORF, You Are Beautiful) to rock poster makers (EMEK, Bughouse).