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…
Hand carved Pismo Beach Print using rubber stamp. Each print is made by hand with black ink on white paper and cut to 5x7 inches. The stamp itself measures 4x6 inches. Each handmade print is unique and there are natural variations in how the ink looks on each piece. Inspired by the dunes of California this piece uses sharp contrast to lay out a sunrise scene on a solitary dune.
This is a small linocut print that is part of my every growing obsession with maritime art, CWB
“Día del gato. #xilografia #DiaInternacionalDelGato #DiaDelGato #grabado #hierbamaestra #oaxaca”
A poster-sized stamp of a hedcut of Greta Garbo. Found on the 3rd floor of the Scandinavian House on Park Avenue in Murray Hill, with 25% off all their holiday food.
What are the critical principles underpinning great art? Like all broad generalisations there will always be exceptions, but if I were to reduce all the factors that come together in the most memorable artworks then three principles are essential: projection (to arrest a viewer’s attention and to invite the viewer to look at the featured subject); visual dialogue (to express meaning by comparison of the centre of interest with another pictorial element); and, alluding to subject material outside of the field of view (to conceptually expand the range of projected meanings beyond the featured subject material). In the following discussion I will address each of these principles and explain how Hendrick Goltzius and Giovanni Battista Piranesi have applied them. My choice to use Hendrick Goltzius’ Apostle Simon (shown below) as an example of the first principle—projection—is simple; I love the print. Moreover, I find myself drawn to keep looking at it. For me, the attraction has nothing to do with the physical beauty of the subject as I am sure that there are few viewers who would see Saint Simon as eye candy. I am, nevertheless, attracted by the finely engraved lines rendering the image (see details further below) but this is only a small part of the reason I love the print. The primary attraction lies with Saint Simon’s hands. This is especially true with regard to the saint’s left hand and more specifically with his third finger so emphatically pressing on the ground as if the saint is making a ideological point. This arrangement of the forward projected finger is the element that both arrests my eye and draws me into the image. After this pictorial “introduction” into the image my eye then follows a gently spiralling course. First stop is the saint’s left hand. Next, my eye moves to traverse across the book (bible?) the saint is holding to arrive at his right hand. After pondering the odd way that Saint Simon holds the book—mindful that the saint’s hands is undoubtedly modelled on Goltziius’ own deformed right hand (see drawing in Teylers Museum Haarlem)—my eye is then lead along his right arm to finally “rest” on his face (see diagram of the rhythm below) before making visual forays to examine other pictorial features like the saw of his martyrdom. Hendrick Goltzius (1558–1617) Apostle Simon, 1589 From the suite Christ, The Twelve Apostles and St. Paul 15 x 10.3 cm (plate) with margins on fine laid paper with watermark “Crowned Arms” Marvellous lifetime impression of lll (of Vl). From collection R.S. (not at Lugt) Bartsch 53; Hollstein, Hirschmann 44 lll (of VI) Condition: perfect I am selling this print for $560 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any queries or click the “Buy Now” button below. This print has been sold (Detail) Apostle Simon, 1589 (Detail) Apostle Simon, 1589 (Detail) Apostle Simon, 1589 Diagram of inward rhythm, Apostle Simon, 1589 Although the middle-finger of Saint Simon’s left hand is the point of introduction into the image, there are other elements in the print contributing to an invitation to look. For example the spine of the open book also draws attention inward as do the converging lines of the saint’s arms. To make the point of this discussion clearer in terms of how the eye is invited to engage with the act of looking and thinking, compare the difference in how the eye is not so welcomed by the arrangement of hands and arms in Golzius’ Apostle Bartholomew. This is true even though there are many other pictorial devices inviting the viewer’s eye to gaze into the print’s pictorial depth, such as the flaying knife of the saint’s martyrdom and the saint’s backward tilt of his head. Hendrick Goltzius (1558–1617) Apostle Bartholomew, 1589 From the suite Christ, The Twelve Apostles and St. Paul 14.4 x 10.4 cm (plate) right and left with small margins, cut on the platemark at the top, cut slightly inside the platemark at the bottom, on fine laid paper with watermark “Double Eagle” Marvellous lifetime impression of lll (of Vl) Bartsch 49; Hirschmann 40 lll (of VI) Condition: traces of use, otherwise in good condition I am selling this print for $360 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any queries or click the “Buy Now” button below. This print has been sold (Detail) Apostle Bartholomew, 1589 (Detail) Apostle Bartholomew, 1589 Regarding the second principle—visual dialogue—I will return to Goltizius’ Apostle Simon as this print is so cleverly composed and rich in subtle use of visual devices. To begin at a very fundamental level, even the most cursory look at the image will show a connection between the saint and his book. This relationship between the centre-of-interest—the saint’s head—and the book he is examining is a fine example of visual dialogue. On a more reflective examination of the image, however, there is more to this visual dialogue than just the saint reading his book. He is also responding to what he is reading and this is signified by the gesture of the middle-finger of his left hand. This hand gesture that I proposed earlier as Saint Simon making an “ideological point” (i.e. a body-language gesture of clear emphatic certainty) does more than depict Saint Simon fully engaged in his reading. This gesture is the punctum point (discussed in an earlier post focused on Dujardin and Dietricy) of the whole image. In short, this single finger is the pivotal feature in the composition that shows the intensity of the saint’s reading of the book. Even more subtle than the triangulation between the saint’s head, book and finger is the visual dialogue between the saint’s central lock of hair and the tuff or grass in the centre foreground (see diagram below). To my eyes, this visual connection created by the similarity of form between the hair and grass is important to the expression of a decisive moment in the saint’s reading. From my viewpoint, I see the link as establishing a line of separation between the related dual gestures of the saint’s hands. Diagram of visual dialogue, Apostle Simon, 1589 For the final principle—alluding to a subject outside of the field of view— Piranesi’s etching, The Tomb of the Plautii near Ponte Lucano (shown below) is an excellent example. Here the shadow cast by an unseen structure lying beyond what can be viewed in the image creates a theatrical dimension of an unknown presence. This shadow not only hints at the form of the structure casting it but the shadow’s shape—especially the “extension” of the shadow’s shape into the cloud pattern—creates a window-like effect by framing the far distance. This principle is a very useful device for giving an artwork pictorial breadth). To illustrate what the print would be like without the shadow, compare the original etching with a view of the same tomb without a shadow (see the digitally manipulated image below). Beyond the use of shadows, another way to connote subject material beyond what is visible is the simple device of cropping the portrayed subject at the framing edge of the artwork. Again, Piranesi’s print is a good example of this approach as the portrayed tomb is not a panoramic view where the whole building can be seen but is cropped by the left and top edges of the format. This cropping ensures that a viewer understands that the image is only a section of a much broader view and this projects the notion and feeling of breadth. Giovanni Battista Piranesi (1720–78) Tomb of the Plautii near Ponte Lucano, 1761 From the Vedute di Roma [Views of Rome] series Etching, 46.6 x 63.2 cm Hind 83 IV (of IV) with the number 801 at upper right; Focillon 783; Wilton-Ely 216. Cartouche with the Italian inscription “Veduta degl’ avanzi del sepolcro della famiglia Plauzia sulla via Tiburtina vicino al ponte Lugano due miglia lontano da Tivoli”. With fecit note “Cavalier Piranesi F. (ecit)” Condition: excellent impression on wove paper without watermark, with margin around the platemark, minimal traces of use, browned and foxed with the blind stamp of the Calcografia di Roma I am selling this print for $960 AUD including postage and handling to anywhere in the world. Please contact me using the email link at the top of the page if you have any queries or click the “Buy Now” button below. Altered image of Tomb of the Plautii near Ponte Lucano, 1761
Linocut Kaiju series by Brian Reedy (via Xombiedirge)
El linóleo, también llamado linograbado, es una técnica de estampación en relieve, esto es, quedarán impresas las zonas altas de la matriz y las trabajadas con la gubia serán blancas. Recibe su nombre porque el material utilizado es un compuesto de aceite de linaza fuertemente oxidado (linoxina) , corcho, yute y pigmentos sobre una arpillera, dando cierta consistencia de caucho. En origen el linóleo fue, y es, un material que se utiliza para el revestimiento de suelos. Lo patentó el británico Frederick Walton en 1860. Posteriormente por su bajo coste y características –es un material blando y resistente- se comenzó a utilizar para trabajos gráficos, siendo el de mejor calidad el de color marrón o gris. Se talla con todo tipo de gubias, en u o v, cuchillas e instrumental de corte. También se puede recortar. Por su ausencia de textura produce tintas planas, por lo que para conseguir los distintos grises habrá que emplear un dibujo tramado de cualquier índole y grafismo. Hay que tener cuidado ya que debido a su blandura las líneas muy finas no resistirán la presión del tórculo, perdiendo calidad por sobreentintado a la segunda o tercera estampación. Aquí tienes diferentes ejemplos: Aquí teneis un enlace a un video donde explica el proceso
There are a large variety of different lino cutting tools with different shapes and sizes. The most common lino tools are V Tools and U Tools. U Tools carve softer lines with a curved end point and an even width but it can be harder to get control over the placement of your edges. V …
Erwin Lang, Bildnis eines jungen Wiener Architekten, 1923
A brand-new art technique on Bleaq today: woodcuttings! When I came across these lovely works by Bryn Perrott (also known as deerjerk) I was immediately intrigued. Her pieces look solid and strong, are filled with symbolism and the compact compositions would make great tattoos. It wasn’t a surprise to learn Bryn has worked in a […]
David John Payne (1880 -1959)
Existen varias técnicas de grabado y cada una tiene un procedimiento específico, no obstante, todas ellas consisten en la realización de una matriz a partir de la cual, una vez entintada, se imprimen las estampas. La presión (ya sea con prensa, tórculo o manual)cumple la función de transferir la tinta depositada en las incisiones (grabado en hueco) o en la superficie de la matriz (grabado en relieve y planografía) al papel, reproduciendo la imagen en forma invertida o espejada. Una estampa es una obra original, numerada y firmada por el artista. Es el resultado impreso en papel (o en otro soporte) luego de haber realizado ciertos procedimientos sobre la matriz, que según la técnica puede ser de metal, madera, piedra o plástico. Todas las técnicas de impresión (exceptuando el monotipo) permiten realizar una edición, es decir, un conjunto de estampas impresas a partir de una matriz. Algunas técnicas a través de las cuales se expresa el grabado son: xilografía, aguafuerte, aguatinta, punta seca, litografía, serigrafía, collagraph, etc. GRABADO EN RELIEVE *Xilografía *Linografía GRABADO EN HUECO O INTAGLIO También conocido como calcografía en esta clase de grabado la tinta se deposita en las incisiones o depresiones de la matriz producidas en forma mecánica o química. Técnicas directas: *Punta seca *Buril Técnicas indirectas: *Aguafuerte *Aguatinta TÉCNICAS PLANOGRÁFICAS *Litografía (en piedra, sobre poliéster, alugrafía, waterless o litografía sin agua)
Behind the scenes with Tugboat Printshop! Follow the making of our original woodblock prints from start to finish & other interesting projects, too!
An illustration can be defined as a mode of conveying information through graphical content or flyers or any mode of visual representation to deliver the
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
Portland-based artist Kelli MacConnell carefully explores landscapes, then translates her natural surroundings into richly detailed prints. For her, printmaking serves as a key vehicle in fostering a relationship between humans and the natural world. She is currently working on an ongoing series of prints called Prints for Preservation. She talks about this project – and […]
• Custom Text Note Card displays artwork on front• Artist Narrative on back. • Includes envelope.• Your personalized text on inside of cards.• 5 Business Days to Manufacture.• See Custom Note Cards for more information.
Irving Herrera es un joven pintor mejicano, licenciado en Artes plásticas y visuales por la Escuela de Bellas Artes de Oaxaca cuyas obras ...
El Petit Palais de París acoge una ambiciosa retrospectiva dedicada al gran maestro «impresionista» sueco compuesta por más de 150 obras que ofrecen un amplio recorrido por todas sus facetas artísticas: acuarelista, retratista, grabador y escultor. Hasta el 17 de diciembre Tras la exposición dedicada en 2014 a Carl Larsson, el Petit Palais vuelve a abrir […]
Aaron Von Freter es un diseñador gráfico e ilustrador de Columbus, EE.UU. Ha trabajado en varios estudios de diseño en...
The Nymph. (Linoleum Cut). She is beautiful. She shall take your heart, your soul. Leave you empty, perhaps happier, than you have ever have been before. She sings and dances, to win the love of all within ear shot. You can find her playing on the mountain tops, and groves, all over nature if you please. So if you ever go hiking, keep your eyes and ears alert. You may just find yourselves, coming into contact, with the ultimate flirt. Steve.D.Hammond.
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…
