Practical Guide To Etching And Other Intaglio Printmaking Techniques

Detailed illustrated instruction in etching, engraving, aquatint, drypoint, mezzotint from preparing plate to mounting print. No better guide for beginners."

Comprehensive handbook covers materials and equipment, tools, printing papers, presses, and other essentials. Detailed instructions for etching, engraving, drypoint, collagraphs, tuilegraphs, and the Blake transfer method.

In this book, Nigel Oxley describes fully the techniques of etching and aquatint employed by the artists who worked with him at Kelpra Studio where he established a reputation for using intaglio processes to create full colour images. Dame Elisabeth Frink, John Piper, John Hoyland, Jim Dine and Patrick Heron are illustrated within and the use of multi-plates is written with great detail. The author introduced the use of carborundum and polymer plates to the studio and the book includes step-by-step descriptions of these techniques. Having editioned for many years the author relates his experience of complex colour and plate combinations clearly enabling the reader to hav comprehensive insight to the work of the many artists illustrated within this book. This book is a valuable practical guide for the beginner and for those wishing to develop their printing and etching skills. For those interested in printmaking it provides a unique insight into the demands of a professional print.

This practical new paperback edition explains the full process of etching, covering traditional techniques in depth and introducing modern ideas when they add to mark-making capabilities. Illustrated with lavishly finished examples and clear step-by-step sequences, this beautiful book covers the basics of etching - the materials required, how to prepare a plate, and ways of making marks using hard ground, soft ground and aquatint. Other etching techniques are covered including spit-bite and sugar lift, and how to transfer images onto the plate using photo etching. Engraving techniques are shown with various ways of making the plate without acid: drypoint, line engraving, stipple engraving and mezzotint. Advice on printing is given including papers and inks, the printing process and more advanced techniques such as colour printing and editioning.

This anthology, the first of its kind, presents thirty-two texts on contemporary prints and printmaking written from the mid-1980s to the present by authors from across the world. The texts range from history and criticism to creative writing. More than a general survey, they provide a critical topography of artistic printmaking during the period. The book is directed at an audience of international stakeholders in the field of contemporary print, printmaking and printmedia, including art students, practising artists, museum curators, critics, educationalists, print publishers and print scholars. It expands debate in the field and will act as a starting point for further research.

Medieval painters built up a tremendous range of technical resources for obtaining brilliance and permanence. In this volume, an internationally known authority on medieval paint technology describes these often jealously guarded recipes, lists of materials, and processes. Based upon years of study of medieval manuscripts and enlarged by laboratory analysis of medieval paintings, this book discusses carriers and grounds, binding media, pigments, coloring materials, and metals used in painting. It describes the surfaces that the medieval artist painted upon, detailing their preparation. It analyzes binding media, discussing relative merits of glair versus gums, oil glazes, and other matters. It tells how the masters obtained their colors, how they processed them, and how they applied them. It tells how metals were prepared for use in painting, how gold powders and leaf were laid on, and dozens of other techniques. Simply written, easy to read, this book will be invaluable to art historians, students of medieval painting and civilization, and historians of culture. Although it contains few fully developed recipes, it will interest any practicing artist with its discussion of methods of brightening colors and assuring permanence. "A rich feast," The Times (London). "Enables the connoisseur, artist, and collector to obtain the distilled essence of Thompson's researches in an easily read and simple form," Nature (London). "A mine of technical information for the artist," Saturday Review of Literature.

Easy-to-follow instructions and carefully executed illustrations make it possible for anyone to learn the basics of an age-old art form and fashion beautiful, lasting objects. Author discusses tools and techniques, use of gems and enamels, wire inlay, casting, and other topics. 72 line illustrations and diagrams.