Collagraph in the Classroom at a Glance Media & Techniques % %
A few weeks ago Open Press-owner Brian Kyle (@bkmms) shared his most recent printmaking experience ...
Here's another art history lesson for kids with a simple and easy printmaking art project based on Paul Klee.
Reduction Printmaking: In relief printing, a reduction print is a multicolor print in which the separate colors are printed from the same block. Usually, the lightest color is printed first and then the block is "reduced" by carving away certain areas to prepare the plate for the next color. The disadvantage of reduction printmaking is that once the print is complete, the process cannot be duplicated. The linocut is a printmaking technique similar to that of the woodcut, the difference bei
Meet The Maker: John Bloor John Bloor is a graphic designer and illustrator who turned his hand to printmaking and in doing so discovered its therapeutic properties and an unexpected ability to still the mind and
Printing techniques up until the Victorian age were mainly based around the use of individual font families arranged in a case & pressed straight to the page. Lithography introduced the proces…
When I tell people I'm a printmaker, it's often followed by the question, "What's that?" My short and sweet answer is that it's playing with big stamps. In truth, it's so much more than that. When you start learning about prints, the jargon, techniques, and terms can be overwhelming—photogravure, pochoir, serigraph, mezzotint, collagraph, linocut. And that's just scratching the surface (pun intended, for all you fellow printers). But when you break it down, all of these fancy names and techniques fall into just a few categories. There are four main categories for traditional printmaking: relief, intaglio, lithography, screenprint. I would say that digital printing is the modern fifth category as well. I'm not sure where this image originated, but I love how concisely it visually represents these four categories. If you would like to learn more about how all of this printmaking business works, MoMA has a super interactive guide that walks you through the basics for each process.
For our next project, we will create a 2-color print from a single piece of linoleum. Artist Andrea Lauren has some great examples of multicolor prints: Project Requirements: 10 prints in a variety…
Ealing based gallery showcasing Gail Brodholt artist prints for sale. For Arts Sake specialise in prints by Gail Brodholt and other artists.
This memory linocut artwork helps students explore line, shape and personal expression. Students love the magic of pulling prints.
The ultimate curriculum platform for K-12 art teachers. FLEX gives art teachers access to a rich library of standards-aligned curriculum materials so they can save time and focus on teaching and student learning.
There are five main intaglio processes: engraving, etching, drypoint, aquatint and mezzotint. Each creates prints with a distinct look and feel. Read more!
Explore malota's 7645 photos on Flickr!
Chris Wormell created a series of illustrations for John Dewar and Sons Scotch Whiskey for their fun series of videos, "Speaking Scotribbean."
Up for sale on British ebay this week is William Giles' print September Moon at the astonishing starting bid of £500 (that's US$790). [NB Gerrie Caspers is quite sure this is a reproduction from Malcolm Salaman's Masters of the Colour Print series. This is why the label is attached as a title. The one you see here is not the one that is for sale]. This was his very first colour woodcut, published in 1901. This was soon after Giles had gained his art master's certificate at University College, Reading, where he had also learned the colour woodcut technique from Frank Morley Fletcher, who was head of the Department of Art. It is also one of the very first of the colour woodcuts produced by a member of the British school. I have already posted some of the very early Cornish prints by Sydney Lee and also Ethel Kirkpatrick and I include Kirkpatrick's The full moon for comparison. I think we can safely assume that the artists knew one another. Kirkaptrick studied enamel work at the Central when Fletcher was teaching the colour woodcut class there and she must also haven been one of his students - stay posted. But Giles owes something in this first print of his to his teacher. The delicacy of colour and line are to be found in Fletcher's own early prints Meadowsweet and The flood gates. But Giles was almost thirty when the print came out and it is fascinating to see that he was already his own man and that many of his real interests are already there, namely his interest in the effects of light and the making of an impression (without being Impressionist). You can see, I think, that Kirkpatrick was always more Japanese than Giles and what is of course important about this work as a first print is that he dispensed with the keyblock. It was experimenting by then and went on to abandon colour woodcut altogether for a while and use zinc plates instead. But at this point, Kirkpatrick and Giles had quite alot in common, including a striking similarity in colour scheme. Both tend use a more a restricted palette than Fletcher and in some ways they were both more strict in their approach to print-making than their teacher was. I suppose I have to include Fletcher's well-known first print Meadowsweet of 1897. This was the first fully independent British colour woodcut and the effectiveness of Fletcher's teaching and personal example are proven in the considerable quality achieved early on by both of his students.
Emily Howard is the head, hands, and heart behind The Diggingest Girl. As a relief printmaker, Emily creates original limited edition fine art prints and other block-printed crafts from hand…
This memory linocut artwork helps students explore line, shape and personal expression. Students love the magic of pulling prints.
Figs Print | Fruit Print | Cottagecore Print | Original Art | Block Print | Hand Carved | Hand Printed | Unframed ———————————— • This is an original print hand-carved and handprinted. • The size is approximately 5x7” • Frame is not included. • Due to each print being original and handprinted, your order may vary slightly from the exact image pictured. ———————————— Block carving is a very unique and fun way to create art, but there are multiple steps in the process! It starts with drawing your design and then transferring your design to the linoleum or rubber. Then you begin carving out your design with special carving tools. Once the carving is complete, you ink your design and then finally press it onto the appropriate sized and textured paper. Finally, your print is ready to be viewed and enjoyed! Due to the process, each print is always original and unique which I think adds to the special quality of block. I hope you enjoy your little print as much as I enjoyed creating it! INSTAGRAM: instagram.com/daniellelee_art ———————————— Note: Make sure your mailing address is correct on your order! Buyer is responsible for any additional fees to have items reshipped! Return Policy: All sales are final. I offer replacement prints for those lost in the mail or damaged upon arrival. I do not allow exchanging of prints after they have been shipped. ———————————— ©Danielle Heilweil Art Images may not be reproduced, redistributed, or used in any way without explicit written consent from Danielle Heilweil
“In the printmaking workshop, it was an electrifying, almost chaotic dance between stations and presses where interaction was natural and necessary".”
Printing with leaves, flowers, and other found objects allows you to create decorative patterns and works of art that capture the beauty of nature. Photo © Adam Mastoon. You can make beautiful stat…
Self-Portrait 1907 oil on canvas 28.5 x 44 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris Alphonse (Alfons) Mucha (1860 – 1939) was a Czech painter and decorative artist born in 1860 born in the town of Ivančice, Moravia. He is best known for his luxurious poster and product designs, which encapsulate the Art Nouveau style. Contemporary interest in his work was revived in 1980 after an exhibition at the Grand Palais in Paris. For biographical notes on Mucha see part 1. For earlier works see parts 1 - 10 also. This is part 11 of a 12-part series on the works of Alphonse Mucha: 1920 Winter Night oil on canvas 300 x 201 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris 1920 Winter Night photographic study © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris 1920 Winter Night study © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris 1920 Winter Night study © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris 1920 Winter Night study oil on cardboard 73 x 60 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris Mucha working on Winter Night © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris 1920 Young Girl In A Moravian Costume oil on canvas 52.6 x 55.2 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris 1921 Poster for Mucha Exhibition, Brooklyn Museum watercolour on paper 116 x 70 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris 1921 Cover for 'Hearst's International' December © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris 1922 Cover for 'Hearst's International' January © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris Photographic Study for 'Hearst's International' January © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris 1921 Cover for 'Hearst's International' April © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris Original 1916 Spring oil on canvas 60.3 x 40.5 © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris Study for 'Spring' © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris 1922 Cover for 'Hearst's International' May © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris 1919 Original ( with design added ) oil on canvas 50 x 40 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris 1910 Spring Night oil on canvas 91.4 x 76.8 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris 1922 Cover for 'Hearst's International' June © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris Photographic study for 'Hearst's International' June © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris 1922 Cover for 'Hearst's International' July © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris Photographic study for 'Hearst's International' July © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris 1922 Original for 'Heart's International' October gouache, crayon and watercolour on paper 40 x 28.5 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris 1922 Design for 'Heart's International' gouache, crayon and watercolour 55 x 38 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris n.d. Design for 'Heart's International' watercolour © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris 1922 Book Cover 'Utok More' 25 x 18 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris c1924-25 Jaroslava Mucha coloured pencils heightened with gouache 51 x 41 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris 1925 Portrait of Jiri oil on canvas 72 x 65 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris 1925 Portrait of Jiri photographic study © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris 1925 Portrait of the Artist's Daughter Jaroslava oil on canvas 72 x 65 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris 1925 Portrait of the Artist's Daughter Jaroslava pencil and gouache on paper © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris 1926 Poster for the '8th Sokol Festival Prague' lithograph 123 x 82.7 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris 1927 'De Forest Phonofilm' Poster © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris 1927 'De Forest Phonofilm' photographic study © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris 1927 Cover of 'JAS' ( Artwork from 1918 ) © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris c1930 Portrait of Jaroslava oil on canvas 82 x 65 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris c1930 Portrait of Jaroslava photograhic study © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris c1930 Portrait of Jaroslava Mucha in Czech National Costume pencil and white paint on paper © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris 1931 Stained glass window design in Prague’s Gothic St. Vitus cathedral: 1931 Design for a stained-glass window in St. Vitus Cathedral pen and watercolour on paper 116 x 70 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris 1931 Design for a stained-glass window in St. Vitus Cathedral 1931 Design for a stained-glass window in St. Vitus Cathedral detail 1931 Design for a stained-glass window in St. Vitus Cathedral detail 1933 Woman with a Burning Candle oil on canvas 78 x 79 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris 1935 Cover of 'La Vie Bordelaise 1936-38 Triptych In 1936 Mucha embarked on yet another mammoth project involving a triptych, 'The Age of Wisdom', 'The Age of Love' and 'The Age of Reason'. They were never completely finished: 1936-38 The Age of Love pencil, watercolour and gouache 30.5 x 35.5 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris 1936-38 The Age of Reason pencil and watercolour 30.5 x 35.5 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris 1936-38 The Age of Wisdom pencil and watercolour 35 x 32 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris A Study of a Girl pastel 65 x 39 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris The following is a small selection of Mucha's works that I couldn't fine dates for, so won't be in chronological order: Chansons d'Aïeules ( Grandmother's Songs ) © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris Contemplation © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris Envisage crayon 36 x 51.5 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris Four Seasons study © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris Four Seasons © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris Head of a Girl © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris Packaging for 'Biscuits' lithograph 30.5 x 22.9 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris Portrait of Sarah Bernhardt oil on canvas 146 x 80 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris Solitude oil on canvas 61.5 x 35 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris The Enchantress oil on canvas 65.4 x 49.6 cm © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris Untitled watercolour © Alphonse Mucha Estate/Artists Rights Society (ARS), New York/ADAGP, Paris
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