Télécharger How to identifie prints : A complete guide to manual and mechanical processes from woodcut to inkjet, by Bamber Gascoigne
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How to identifie prints : A complete guide to manual and mechanical processes from woodcut to inkjet, by Bamber Gascoigne
Télécharger How to identifie prints : A complete guide to manual and mechanical processes from woodcut to inkjet, by Bamber Gascoigne
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Détails sur le produit
Broché: 208 pages
Editeur : Thames & Hudson Ltd; Édition : Second edition (26 avril 2004)
Langue : Anglais
ISBN-10: 9780500284803
ISBN-13: 978-0500284803
ASIN: 0500284806
Dimensions du produit:
22,4 x 2 x 25,1 cm
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I almost said "for the beginning print lover," but even the pros might want occasional reminders about obscure processes.This book displays an incredible number of processes and variations. Even within etching, there is standard intaglio process, relief etching, intaglio so deep it's amost relief, spit-biting or open-biting - well, a very long list. This gives an exacting look at the marks specific to each process, and gives good diagnostic descriptions. A special strength in this book is the differential diagnoses, the questions to ask that help distinguish two very similar kinds of marks. Every point made in the text is illustrated real samples, and that makes for a heck of a lot of illustrations.I have almost no quibbles with this text. There are just a few minor points that Gascoigne could have brought out more clearly. First is that Japanese woodcuts are under-represented. It's a rich tradition with a number of distinguishing features: gradations of ink hand-placed on a block, occasional use of mica for luster, and occasional use of un-inked "blind" impressions to impress texture into the paper. Second is a mark that I think is unique to drypoint: the line is often asymmetric, crisp on one side and blurred on the other, capturing the asymmetry of the drypoint burr. The split drypoint line is more famous but, in my experience, less common. I've seen it only in the most aggressively worked drypoints, such as some by Picasso. Third is a feature of some dust-ground aquatints: that the white marks can sometimes form a connected mesh around the black dots, where a spirit ground always has a black ocean dotted with white islands. I know these are minor points, and I hope you see how few there are.I'm a process nut. It's not the only way I enjoy prints, and not the way everyone enjoys them. For me, though, it really adds something to know how the maker's hand created each mark that I see. This isn't strictly a process book, and only accidentally a book of process history. It's a book about how a print looks, and seeing even more in the finest part of its looks. In the end, that's really the best reason to love a print.//wiredweirdPS: A little while ago, I was given a very nice color print. It was done in mezzotint style, using burnishers to work from dark to light. Instead of a rocker-made ground, though, it had an aquatint ground. Color came from inking au poupee, dabbed on the plate. The giver was quite surprised that I read its story so precisely. Read this book, and you'll know just what I saw.
I've been a professional printer for over thirty years. I've been involved in quality and process engineering for fifteen years. I bought this book to fill in some gaps in my knowledge about the history of printing methods and processes. My interest is in process and system controls in the modern, digital printing workflow. This book provided wonderful scholarship and reliable information on print processes and methods. The author has done his homework. His descriptions of printing processes is accurate and reliable. I recommend this book without reservation for those interested in printing, in the history of printing, and, of course, in learning about how to identify the methods and processes used to produce the print under examination.
First of all, this is an EXCELLENT book...perhaps the best book I've ever read claiming to help with identifying "things." I help my wife with her antiques business, and try to learn as much as I can across a very broad range of subjects. I've read books on furniture, clocks, silversmithing, jewelry, porcelains, etc. etc., so I'm comparing this book to many others I have read. I love prints, hence I purchased this book and find it truly useful to narrow down what a particular print is, and how it was printed. Once read, I now look at some prints with awe at the technical prowess of the artists and their amazing accomplishments. So why did I give this book 4 stars and not 5?It's missing one chapter in my opinion: and this chapter should provide a brief overview of other "drawn" forms of art. Others may disagree, saying this book is about prints, and adding watercolors, pencil drawings, india ink, oils, etc. is out of scope. But a chapter aimed at the novice to help quickly discriminate a true watercolor from a good print of that watercolor would be valuable (to me at least). A case in point...I purchased what I thought was a print (at auction, it was sold as a print), but on closer inspection I "think" it's a watercolor. The overlapping brush stokes and uneven distribution of color seemingly caused by a brush appear to distinguish it from a print. None of the illustrations in the book "look" like this. Having a couple of illustrations showing what to look for in a watercolor would help. I don't know anything about the author, but if there's ever a new edition, including such a chapter would prompt me to purchase the update.This one issue aside, I would totally recommend this book to anyone with any interest in the printed art form. Great book.
this is a great book for self-educating about prints, it's informative and has great visual, shame it's only b/w visuals, but it works for me. I have notes in it already.
I learned a lot from this book. I carry it in the truck of my car when I go to estate sales. It's that good.
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