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DVD contains demonstrations of the processes and artists using them.
Cultural Writing. Art. Essays. MAGICAL SECRETS ABOUT THINKING CREATIVELY: THE ART OF ETCHING AND THE TRUTH OF LIFE by Kathan Brown is a new volume in the Magical Secrets series published by Crown Point Press in San Francisco. What are Magical Secrets? They are ways of setting yourself up for thinking creatively, for a sudden understanding, something like a miracle. Kathan Brown learned the Magical Secrets in this book by helping artists of extraordinary acclaim make etchings. She founded Crown Point Press, now probably the world's most influential etching publisher, in 1962. In this book, you'll meet sixteen artists who will be remembered by future generations. Kathan Brown knows them well, and with pictures and graceful, inviting prose she shares with you their ways of working, thinking, and being.
"Magical secrets are quickly grasped. They open doors to fresh ways of seeing and understanding. Artists use aquatint, a form of etching, to create delicate washes, velvety blacks, and intricate layers of color impossible in other art media. In this book, the third in a series about etchings, Emily York discusses 46 aquatints by 32 artists, with special attention to fascinating sequential works by Richard Diebenkorn and Al Held. Emily York is a master painter at Crown Point Press, a publishing workshop where artists have been creating etchings since 1962. She ties processes directly to art, and with clear writing and abundant illustrations explains the aquatint processes of spit bite, sugar lift, soap ground, and water bite. She also details steel-facing and multiple-plate printing, and gives step-by-step instructions for making your own aquatints. Anyone who cares about art will enjoy this book, and anyone who makes etchings will find it indefensible. The included DVD demonstrates the processes, and the accompanying website provides ongoing information about printmaking."--Publisher's description.
Ever since its original publication in Germany in 1938, Max Schweidler's Die Instandetzung von Kupferstichen, Zeichnungen, Buchern usw has been recognized as a seminal modern text on the conservation and restoration of works on paper. To address what he saw as a woeful dearth of relevant literature and in order to assist those who have 'set themselves the goal of preserving cultural treasures, ' the noted German restorer composed a thorough technical manual covering a wide range of specific techniques, including detailed instructions on how to execute structural repairs and alterations that, if skilfully done, can be virtually undetectable. By the mid-twentieth century, curators and conservators of graphic arts, discovering a nearly invisible repair in an old master print or drawing, might comment that the object had been 'Schweidlerized.' This volume, based on the authoritative revised German edition of 1949, makes Schweidler's work available in English for the first time, in a meticulously edited and annotated critical edition. The editor's introduction places the work in its historical context and probes the philosophical issues the book raises, while some two hundred annotati
This practical new paperback edition explains the full process of etching, covering traditional techniques in depth and introducing modern ideas when they add to mark-making capabilities. Illustrated with lavishly finished examples and clear step-by-step sequences, this beautiful book covers the basics of etching - the materials required, how to prepare a plate, and ways of making marks using hard ground, soft ground and aquatint. Other etching techniques are covered including spit-bite and sugar lift, and how to transfer images onto the plate using photo etching. Engraving techniques are shown with various ways of making the plate without acid: drypoint, line engraving, stipple engraving and mezzotint. Advice on printing is given including papers and inks, the printing process and more advanced techniques such as colour printing and editioning.
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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.