Modern Etchings And Engravings

This practical course covers line engraving, drypoint, and the tonal variations of mezzotint and stipple; etching and the tonal variations of soft ground, aquatint, and sugar aquatint; relief prints and deep etch; and woodcut, linocut, and wood engraving. Constantly referencing the 156 illustrations reproduced throughout, the author achieves a fine balance between technique and theory.

Excerpt from Modern Etching and Engraving An editor, when reviewing an important work which has just been brought to completion under his guidance, cannot but be sensible of the disparity existing between a thing sketched out vividly in projects - in "enchanted cigarettes" as Balzac called unrealised schemes; for in books, as in all other works of art, many unexpected difficulties and disappointments interpose between conception and execution, limiting the scope of the aim in view, and lowering, more or less, the quality of craftsmanship. The fact that several modern workers of repute are unrepresented amongst the illustrations is one cause of regret; the large but unavoidable reduction in size of many of the illustrations is another; also it is felt that the absence of the raised line of the original plates causes a loss of distinction in the half-tone plates, which no amount of care in the selection of paper and in the printing could entirely remedy. There are, however, other sides of the question in the light of which the very faults of the volume become virtues; and, in spite of inevitable shortcomings, the hope is entertained that the publication will add something to the general knowledge of the subject of etching and will give an impetus to the revival of interest in one of the most delightful and personal forms of artistic expression. The Editor, having received much valued sympathy and help from many quarters, desires to express his cordial thanks to his foreign correspondents, to the artist-contributors, and also to the various publishers who have sanctioned the reproduction of copyright etchings, especially to Mr. C. Klackner and Mr. Frederick Keppel of New York and London, Mr. R. Gutekunst of London, Messrs. Frost and Reed of Bristol, M. E. Sagot, M. C. Hessele and M. Andre Marty of Paris, and Messrs. Amsler and Ruthardt of Berlin. The American Section owes much to Mr. J. M. Bowles, of New York, and to the historical notes supplied by Mr. Louis A. Holman, of Boston. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Relief printing : woodcut, metal type, and wood engraving -- Intaglio and planographic printing : engraving, etching, mezzotint, and lithography -- Color printing : hand coloring and multiple-impression color -- Bits and pieces : modern art prints, oddities, and photographic precursors -- Early photography in silver : daguerreotypes, early silver paper processes and tintypes -- Non-silver processes : carbon, blueprint, platinum, and a couple of others -- Modern photography : developing-out gelatin silver printing -- Color notes : primary colors and neutrality -- Color photography : separation-based processes and chromogenic prints -- Photography in ink : relief and intaglio printing : the letterpress halftone and gravure printing -- Photography in ink : planographic printing : collotype and photo offset lithography -- Digital processes : binary issues, inkjet, dye sublimation, and digital C-prints -- Where do we go from here? : some questions about the future

In this comprehensive guide to etching and engraving, Charles Holme provides detailed information on the techniques and materials used in these art forms. He also includes a wealth of illustrations by accomplished etchers and engravers, making this an invaluable resource for artists and art historians. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Catalog of an exhibition held at the Metropolitan Museum of Art, New York, October 1, 2013-January 5, 2014.

Excerpt from Modern Etchings and Their Collectors Last but not least, to a friend, who at my request has written the Introductory Chapter to this book, who is a lover of fine prints, and who has frequently helped me with advice on matters relating to them. The photogravure process which has been used for the illustrations was considered the most suitable for the particular etchings which have been reproduced. NO mechanical process can approximate original work. It would be lamentable if it did. This process, however, gives some idea Of the beauty of the originals without detracting from the skill of the Artists by too closely resembling original work. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.