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(English) Traditional Techniques in Contemporary Chinese Printmaking, David Barker

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029827
Peso: kg

China was one of the first civilisations to engage in printmaking. Ink, paper, printing from cut wooden blocks and moveable type were all invented there. This unique book provides both a helpful introduction to the history and traditions of printmaking in China and a comprehensive guide to traditional and contemporary printmaking techniques, including detailed and illustrated sections on different techniques including single colour, watercolour, poster colour, stencil and ‘dabbed' printing.

128 pages, 23 x 16 cm

(ingles) Printmaking off the beaten track. Richard Noyce

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029828
Peso: kg

Following on from his previous books Printmaking at the Edge and Critical Mass, Richard Noyce ventures once more beyond familiar centres of art production to explore printmaking off the beaten track.
His journey covers the art of a breathtakingly diverse set of regions, from the Middle East, India, Pakistan and Nepal, to the Eastern Mediterranean, south-eastern Europe and the Balkans and more besides. Some of the countries featured have long traditions of using print techniques in their historic and contemporary art but are rarely, if ever, included in international competitions or art journals.
This rich and compelling resource reveals the innovative and exciting approaches of printmakers around the world and gives readers the opportunity to compare art from different places, challenging our understanding of the means and forms of expression in printmaking, and its place in the contemporary visual arts. This book will satisfy curiosity amongst artists, printmakers, students and art lovers about printmaking being done in countries unfamiliar to them.

Hardcover, 176 pages, 28 x 22 cm

(ingles) Non-toxic printmaking, Mark Graver

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029829
Peso: kg

In this book, Mark Graver puts the case for non-toxic printmaking and then discusses the various technical factors (both materials and equipment) to consider when etching with acrylic resists, making aquatints, etching in general, using drypoint, engraving, making mezzotints and collagraphs and using photopolymers as well as combining various printmaking techniques. There is also information on various inks and health and safety measures in the printing workshop. All in all, this book contains everything you need to know to clean up your printmaking practice.

Softcover, 128 pages, 23 x 16 cm

(ingles) Intaglio Printmaking, Mychael Barratt

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029830
Peso: kg

Intaglio is the general name used to describe all printmkaing processes where the artist incises or engraves the surface of a plate either directly with tools or indirectly with chemicals in order to pull a print from it. Although the techniques that come under this category are labelled traditional they are also among the most popular and widely used techniques in contemporary printmaking. The direct methods include techniques such as drypoint, engraving and mezzotint and the indirect methods include etching and aquatint. In this book Mychael Barratt introduces the reader to both the direct and indirect techniques and shows examples of an international range of rtists whose work will serve as an inspiration. These artists include Goya, Rembrandt, Dürer, Picasso, John Heagan Eames, Paula Rego and Chris Orr.

Softcover, 128 pages, 23 x 16 cm

(English) Print workshops directory, Sean Rorke

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029832
Peso: kg

There are over 70 courses teaching printmaking in the UK. Most students can't afford to buy their own printmaking equipment when they leave the course and so printmaking workshops are vital for their continued practice. Even when printmakers have their own equipment, they use these workshops for other techniques, for utilising the expertise of the people who run them and just as centres for information on the field.
This directory lists all the print workshops in the UK, giving details such as address, what type of equipment they hold, space available, courses, shows etc. There are also lists of editioning houses/print publishers as well as the major print workshops abroad. Also included are comprehensive lists of suppliers, print societies, print fairs, established international opens and galleries in the UK that specialise in prints.

Softcover, 240 pages, 22 x 14 cm

(English) Wood Engraving, how to do it, Simon Brett

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029833
Peso: kg

Wood Engraving is an easily followed, practical manual on wood engraving for the beginner, written by a master in the field. The processes of printing and engraving are clearly explained, together with their material requirements. Up-to-date variations on techniques, and all the tips and methods that the author has found helpful in 30 years as a practitioner are included. The book is also a beautiful object in its own right and as the author Simon Brett's work is highly collectible. It is a must have for all those who treasure his work and fine wood engraving in general.

Softcover, 160 pages, 25 x 17 cm

(English) Photogravure - Instruction Manual. Henrik Boegh

Boegh
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029834
Peso: kg

About the contents

This is an instruction manual about photogravure using TOYOBO photopolymer plates. The manual guides you step by step through the entire process, from your first idea of making a photogravure to the final print. Along the way, I discuss the importance of choosing the right positive film, the right printer model, and the significance of the various UV light sources.

In a separate chapter I review the handmade positive for both intaglio printing and relief printing. Here you will get good advice for choosing the best wash and drawing medias, and you will get a unique recipe for making the most beautiful toner washes.

In Appendix I, I discuss the installation of RIP software for respectively Windows and Mac, and in Appendix II, I review the entire printing process from preparing the etching ink and paper to the finishing of the final intaglio print.

This you will learn:

– How to make the perfect positive in Photoshop for printing on film or directly on the plate

– How to prepare the photopolymer plate for exposure and etching

– How to find the optimal UV exposure times of the aquatint screen and the digital positive

– How to etch the photopolymer plate in water

– How to harden, handle and print the photopolymer plate in black and white and in duotone

About the author

Since Henrik in 1995 published his first book on the subject ”Photogravure – From Template to Finished Print”, and the year after the first edition of ”Handbook of Non-Toxic Intaglio,” he has held a great number of courses and conferences in these techniques around the world. His books on the subject have been published in several editions in Dutch, French, English and Spanish.

(English) Hybrid Prints, Printmaking Handbook, Megan Fishpool

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029835
Peso: kg

Hybrid Prints reveals the secrets of hybrid and combination techniques used in printmaking. Combined techniques are often used by printmakers as innovative ways of achieving particular results, and then not fully acknowledged or detailed in the information that accompanies the print when it is exhibited. Combination printmaking has a long history, but the explosion of media now available to printmakers has opened up many new possibilities. Learning the techniques associated with creating hybrid prints is often a case of trial-and-error as most printmakers closely guard the secrets of how they make their unique prints. This book reveals and explains many of these "secret" methods and techniques

144 pages, 16 x 23 cm

Megan Fishpool works at Artichoke Printmaking Studio in South London

(English) Practical Mixed-Media Printmaking, Sarah Riley

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029836
Peso: kg

Practical Mixed-Media Printmaking is an essential introduction to printmaking using a wide range of low cost materials. This practical guide includes easy-to-follow instructions, hints and tips on all of the main printmaking techniques, as well as over 90 examples of works by contemporary printmakers and 19 artist profiles erxplaining their methods and inspiration. Mixed-media printmaking allows vast freedom for experimentation and armed with the knowledge inside this book it is possible to adapt and refine the basic techniques to suit your own projects. This beautiful book will be an inspiration for printmakers at all levels.

Sarah Riley of Professor of Art and Head of Printmaking at the Holland School of the Visual and Performing Arts, Southeast Missouri State University.