Armin Landeck, an American realist whose graphic career spanned more than half of the twentieth century, was trained as an architect but devoted his life to etching, creating his first print in 1927.
A brief period of study under Stanley William Hayter at Atelier 17 in New York City introduced Landeck to copper engraving, establishing his subsequent fascination with the burin and all it can do. For the rest of the l940s Landeck often used both drypoint and engraving on the same plate, but after 1950 he produced only copper engravings with the exception of three wood engravings in 1958.
This revised edition of a book first published in 1977 has been completely rewritten and expanded to include prints not known when the first edition was publishedplus the prints made by the artist from 1977 till his death in 1984. The first edition contained 127 prints and states; 164 prints and states are now pictured and described.
An important addition to this book outlines Landeck s participation in many national print exhibitions such as those at the Library of Congress and the Society of American Etchers. Reflecting the growing appreciation of Landeck s work, the list of public institutions that have Landeck prints in their permanent collections has grown from the first edition s thirty-one to this edition s ninety-six. A new section entitled "Notes on the Prints" gives in-depth information on many Landeck prints. An extensive bibliography is another feature of this second edition."
Learn to create classic block print patterns for greeting cards, wallpaper, book illustrations and more with Andrea Lauren's easy step-by-step instruction
Artist and Designer Lauren shows you simple techniques for creating your own printing blocks out of art-foam. With no cutting and chiseling, these art-foam blocks can be made into shapes and patterns using only scissors and a pencil. Use these printing blocks, or purchased stamps, to create repeat patterns or bundled groupings to get that classic block print look for wallpaper, book illustrations, framing prints, greeting cards, gift wrap, fabric prints, and so much more Throughout the book, find inspiration from selected works of block print artists from around the world. The new, easy-to-use block printing materials are great for beginners and skilled artists alike. Make your mark with Block Print
A vintage reissue for the modern crafter
Now back in print after a long absence, Block Prints: How To Make Them is an eminently readable guide that remains as functional as the day it was made. Written for the novice, Rice's every instruction is provided with a dose of steadying encouragement. The modern crafter or art student will find useful guidance in the contributions of Martin Krause, author of this new edition's introduction. His footnotes added throughout provide context to the original edition, translate terminology that might be unfamiliar, and provide updates where needed. As Rice wrote in his preface, this book "is offered with the sincere hope that it may prove both instructive and encouraging to those who are seriously interested in this most absorbing handicraft."
"Here you may see the face of majesty, divinely drawn, here the mystic symbols of the Evangelists. . . . You will make out intricacies, so delicate and subtle, so exact and compact, so full of knots and links, with colours so fresh and vivid, that you might say that all this was the work of an angel, and not of a man." -- Giraldus Cambrensis, Topographia Hiberniae, ca. 1185.Gerald of Wales wrote his ecstatic description of what is most probably the Book of Kells 800 years ago, some 300 years after the work appeared. It remains the best description; he felt and conveyed the Book's power, the mystery that made it even then unique among early medieval manuscripts.
While clearly subject to international influence (Celtic, British, Norman; possibly Italian, Byzantine, and Coptic), the Book of Kells' painters and scribes illumined their work with a purely idiosyncratic beauty. The Book of Kells is more an icon than a typical evangelistary; indeed, the Saint Jerome text of the gospels is frequently corrupt or carelessly rendered, so intent were the artists on their ornament and iconography.
One may still see the glorious ornament on display at Trinity College, Dublin; a more accessible version is this, newly reproduced from a rare facsimile edition. Thirty-two full-page, full-color plates have been selected and painstakingly printed to retain the ineffable handpainted impression of the original leaves. All the full-page decorations, portraits, and illustrations are included, as well as a representative sampling of the textual leaves, in their graceful Insular (half-uncial) calligraphy, interspersed and initialed with an imaginative, fanciful, and even humorous bestiary of lions, lambs, eagles, otters, cats, dragons, birds, fish, and snakes; strange men are seen in the cross-armed Osiris position, entwined in lion's tails, snakes, vines, and peacock feathers. The interlacing and spiraling follow the Insular tradition; in botanical ornament the Book stands apart from that school. The illustrations include vital specimens of Western art: the first image of the Virgin and Child in a Western manuscript, and numerous early representations of the Apocalyptic visionary symbols of the Evangelists; symbols that lost their eeriness in later, diluted form, but that in the Book of Kells, according to one scholar, "retain their wild, unearthly quality. They are perhaps the most striking element in the decoration of the Book."
Perusers of this Book, casual and serious students of art, religion, or Western culture, will echo Giraldus, who wrote: "For my part, the oftener I see the book, and the more carefully I study it, the more I am lost in ever fresh amazement, and I see more and more wonders in the book."
Edith Diehl (1876-1955) was one of the world's foremost practitioners of traditional bookbinding and an exceptionally able teacher. From the vantage point of a lifetime's experience, she gives today's bookbinders a historical survey of this centuries-old art and an eminently practical guide.
Nearly one half of the encyclopedic volume is devoted to an overview of the historical development of bookbinding. The author shows how the codex form of the book became identified with the Christian era, how bookbinding became a craft and trade in the 15th century, and how the production and distribution of books shifted from the monasteries and universities to the illustrious printer-publishers of the 15th and 16th centuries. She describes various bookbinding practices such as sewing, the use of boards and leathers, hand versus machine binding, cased books, etc. And she examines in depth the different national styles of book decoration in Italy, France, England, Germany, North America, and other countries, and the specific contributions of such influential bookbinders as Jean Grolier, Thomas Mahieu, Le Gascon, Samuel Mearne, Roger Payne, Jacob Krause, Edmund Ranger, and John Ratcliff. Ninety-two full-page plates provide visualization of certain key points and, above all, numerous examples of the finest decorated bindings.
Edith Diehl then guides the reader through more than 400 profusely illustrated pages on the craft of hand bookbinding. She details and illustrates the steps involved in the nearly 30 necessary binding operations: collating and paging, pulling and removing glue, guarding and mending, pressing, sewing, backing, lacing-in, headbanging, lining up back, casing texts in protective cover, covering, cutting inside margins and filling in, and many more. In addition she conveys much useful information on such ancillary topics as doublures, fly-leaves, half bindings, limp bindings, vellum bindings, slipcases, repairing old bindings, cleaning and washing papers, materials (leather, paper, gold leaf, glue, paste), finishing tools, tooling, lettering, etc. The 242 illustrations that accompany this book-within-a-book are unmatched for economy and clarity.
The Book Binding Handbook shows readers how to make their own books with detailed step-by-step instructions, diagrams, and full-color illustrations. There are chapters dealing with simple folded books, pamphlet stitches, more complex multi-section bindings, and containers, all of which can be combined to create your own personalized journals, notebooks, albums, and portfolios. There are gallery sections included for inspiration, with examples of work by practicing book artists, binders, and students, which show ways in which the projects described throughout the book can be developed.
The first half of this book deals with getting started, making your own decorative papers, basic techniques, and an introduction to different types of book forms, while the remaining sections are given over to specific projects. The projects involve many new structures and techniques, while at the same time utilizing and building upon skills acquired in the earlier chapters
This book is intended as a springboard for ideas and creative development. If you need extra information on bookbinding books, and where to buy materials, there is a list of suppliers and useful addresses at the back of the book, and a selected bibliography for further reading.
The Carved Line is about printmaking and printmakers in New Mexico over a significant period of time from 1890 to present. It features block prints, including new works, by New Mexico's best known printmakers and brings to the forefront little-known artists deserving wide recognition and a place in New Mexico's art historical canon. This volume includes 120 beautifully reproduced prints by internationally known New Mexico artists including Gustave Baumann, Willard Clark, Howard Cook, Betty Hahn, T.C. Cannon, Fritz Scholder, Frederick O'Hara, Adja Yunkers, and previously unpublished works by other artists such as Tesuque Pueblo artist Juan Pino, Margaret Herrera Chavez, Tina Fuentes, Yoshiko Shimano, and Ruth Connely. The extraordinary range of block prints in this book shows the types of production, sociopolitical and cultural influences, and wide variety of subjects in New Mexico.
A beautifully accessible and diverse collection of key works in British printmaking from Walter Sickert to Tracey Emin.
A Century of Prints in Britain is a highly illustrated volume providing a long-overdue, affordable and engaging selection of over 200 print works from masters of the medium alongside lesser-known practitioners. Using the Arts Council Collection as a platform, A Century of Prints in Britain spans a broad selection of styles and movements, from the geometric lines of Kenneth Martin and the striking graphics of Michael Craig-Martin to the arresting and abstract work of Howard Hodgkin. This attractive compendium of highlights includes an essay by Julia Beaumont-Jones, who gives an informative overview of the growth of the medium from the 1930s to today. Artists represented include Patrick Caulfield, Peter Blake, Fiona Banner, Helen Chadwick, Lucien Freud, Richard Hamilton, Damien Hirst, David Hockney, Gary Hume, Tess Jaray, R.B. Kitaj, John Minton, Chris Ofili, Julian Opie, Eduardo Paolozzi, Cornelia Parker, Ken Price, Paula Rego, Bridget Riley, Rachael Whiteread and many more.