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A step-by-step guide to making paper lithography prints. This practical book explains how to use gum arabic to transfer a photocopied image without specialised equipment. It uses both hand-drawn and photographic images to show how paper lithography (or gum arabic transfer printing) is a quick and simple process that allows for creative experimentation on a range of surfaces. Packed with advice and ideas, it highlights this exciting, flexible and creative technique for artists and makers. Contains clear, detailed instructions to printing a lithographic transfer using a humble photocopy as a plate. Advice on how to incorporate the process as part of sketchbook, textile and etching practice, Ideas for more advanced multimedia applications and inspirational finished examples. Also includes tips for coping with common problems and warnings of pitfalls to be avoided.
This comprehensive text covers all facets of fine art lithography, from setting up a workshop of any size to pulling a successful edition. It ofers complete, illustrated step-by-step instructions for all techniques in use.
The invention in the late eighteenth century of lithography, or "writing on stone," reshaped the course of graphic arts. Some years later, the father of this world-changing technology, Alois Senefelder, published a description of the process. This English translation of the original German work, Vollständiges Lehrbuch der Steindruckerey, vividly describes Senefelder's struggles to develop and popularize the medium and the lithographic techniques employed in the process. The work is divided into two parts: the first presents a history of the invention and its different processes; the second provides practical instructions for its application—the varieties of stone, ink, instruments, paper, and presses used for different tasks, and the pitfalls to be avoided in working with these materials. An essential reference for graphic artists and students, the classic 1819 treatise remains the definitive work on this topic.
The long-awaited history of the art college that became an unlikely epicenter of the art world in the 1960s and 1970s. How did a small art college in Nova Scotia become the epicenter of art education—and to a large extent of the postmimimalist and conceptual art world itself—in the 1960s and 1970s? Like the unorthodox experiments and rich human resources that made Black Mountain College an improbable center of art a generation earlier, the activities and artists at Nova Scotia College of Art and Design (aka NSCAD) in the 1970s redefined the means and methods of art education and the shape of art far beyond Halifax. A partial list of visiting artists and faculty members at NSCAD would include Joseph Beuys, Sol LeWitt, Gerhard Richter, Dan Graham, Mel Bochner, Lucy Lippard, John Baldessari, Hans Haacke, Yvonne Rainer, Robert Frank, Jenny Holzer, Robert Morris, Eric Fischl, and Dara Birnbaum. Kasper Koenig and Benjamin Buchloh ran the NSCAD Press, publishing books by Hollis Frampton, Lawrence Weiner, Donald Judd, Daniel Buren, Michael Asher, Martha Rosler, and Michael Snow, among others. The Lithography Workshop produced early works by many of today's masters, including John Baldessari, Vito Acconci, and Claes Oldenburg. With The Last Art College, Garry Kennedy, the college's visionary president at the time, gives us the long-awaited documentary history of NSCAD during a formative era. From gallery openings to dance performances to visiting lectures to exhibitions to classroom projects, the book gives a rich historical and visual account of the school's activities, supplemented by details of specific events, reminiscences by faculty and students, accounts of artists' talks, and notes on memorable controversies.
A comprehensive practical guide to the many lithographic techniques current in the nineteenth century.