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When printmakers Laura Sofie Hantke and Lucas Grassmann graduated from university, they found themselves without the luxury of a professional print studio. In their search for an easy technique they could implement in their own home, they came across French artist émilie Aizier-Brouard's ingenious Kitchen Lithography, which uses aluminum foil, cola, and oil-based crayons as its main materials, and quickly became ardent fans of and experts in the process, which is eco-friendly, inexpensive, and easy to do. In this book, the first on the subject, they share what they've learned through a process of trial and error in an easy-to-follow guide on turning your kitchen into a creative studio. Hand print your own buttons, bags, pillowcases, posters, cards, T-shirts, and labels using simple household ingredients with surprising and bold results.
This is a book for low budgets and high ambition. Read it and you will learn how to put images of things onto other things. You will start by rolling up your sleeves. Your shirt will be stained anyways. At some point, you will harness the power of the sun. Go ahead, look inside. You will see that you do not need a fancy studio to print a T-shirt or a picnic blanket. There is no specialized machine required to print anything you want in any room you want. A mural, a dartboard, a deck of cards, these are all possible. In a week or a month, you will wake up to find you know words like acetate and substrate. You will be comfortable talking about ink and shopping at military supply stores. Perhaps most important of all, you will be printing images of things onto other things.
Waterless Lithography, An Artist's Guide to Professional-Quality Prints using Nik Semenoff's Method is an excellent studio handbook for any printmaking lab. Step by step instructions aided by full color examples this book guides you through basic, intermediate and advanced aspects of Waterless Lithography.
This study surveys a distinctive type of the “Islamic” book which has been largely neglected in previous scholarship: the genre of illustrated lithographed books produced in nineteenth- and early twentieth-century Iran. In addition to introducing the history of printing in Iran and surveying the investigated sources, the study supplies basic data on genres of illustrated books, artists active in lithographic illustration, and aspects germane to this particular field of art. The documentation includes bibliographical references for 116 illustrated books in a total of 351 particular editions and 150 plates with several hundred single illustrations. Lithographic illustration in Iran constitutes the legitimate successor to manuscript illustration, both in content and style. Contrasting with the latter’s refinement, lithographed illustrations were produced in large numbers and served as a powerful medium of popular iconography.
Illuminates a wide range of printmaking techniques, featuring short overviews and illustrations of more than 130 works from The Museum of Modern Art's print collection
Ever wondered what the difference is between an engraving and an etching? Or needed precise definitions of more recent printing innovations? Illustrated with both colour and black-and-white images, this indispensable guide explains the full range of printmaking techniques. Based on the collections held at the Victoria & Albert Museum, the guide outlines the development and history of printmaking, past and present. Using examples of work by artists ranging from Hogarth to Warhol, Durer to Gormley, it describes the various methods of producing prints - most of which fall into the four key categories of- - relief - intaglio - planographic - stencil. Enlarged details help to illustrate the differing effects that can be achieved and papermaking is also covered, for its effect on the character of an impression. With its glossary of technical terms and of abbreviations most commonly found in print inscriptions, plus a select bibliography, this invaluable introduction will provide an informed appreciation of printmaking to students and collectors alike.
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
Explores the many achievements of Britain's greatest living practitioner of the graphic arts. Featuring over 150 works it accompanies an exhibition at Dulwich Picture Gallery. ,
Helen Borten's Copycat, originally published in 1962, returns to print for the first time in decades to delight a new generation of children. Beautiful, warm and vivid, Helen Borten's picture books inspired a generation of children during the 1960s and '70s. In Copycat, Borten displays her distinctive illustration style, using layered prints and etchings to inspire a real sense of the wonders of life on a farm. These expressionistic images are perfectly complimented by clear and lyrical prose to tell a story of what it means to be comfortable in your own skin.