Wood-Block Printing

Wood-Block Printing
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Описание книги

"Wood-Block Printing" by F. Morley Fletcher. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.

Оглавление

F. Morley Fletcher. Wood-Block Printing

Wood-Block Printing

Table of Contents

ILLUSTRATIONS

COLLOTYPE PLATES

APPENDIX

ERRATA

WOOD-BLOCK PRINTING

BY THE. JAPANESE METHOD

CHAPTER I

INTRODUCTORY

Introduction and Description of the Origins of Wood-block Printing; its uses for personal artistic expression, for reproduction of decorative designs, and as a fundamental training for students of printed decoration

Plate II.—Key-block of the print shown on the frontispiece (The portion of wood lying outside the points of the mass of foliage is left standing to support the paper, but is not inked in printing.)

CHAPTER II

General Description of the Operation of Printing from a Set of Blocks

Fig. 1.—Plan of work-table

Plate III. The Baren, or printing pad (The pad is actually 5 inches in diameter.)

CHAPTER III

Description of the Materials and Tools required for Block-cutting

Fig. 2.—Block mounted with cross ends to prevent warping

1. THE KNIFE

Fig. 3.—Drawing of the knife

2. CHISELS

Fig. 4.—Sizes of chisels

3. MALLET

Fig. 5.—Short chisel in split handle

Fig. 6.—Mallet

CHAPTER IV

Block Cutting and the Planning of Blocks

CUTTING

Plate V. Impression (nearly actual size) of a portion of a Japanese wood block showing great variety in the character of the lines and spots suggesting form

Fig. 7.—Position of the hands in using the knife

Fig. 8.—Another position of the hands in using the knife

Plate VI. Reproduction of an impression (reduced) of the key-block of a Japanese print showing admirable variety in the means used to suggest form

Fig. 11.—Method of holding gouge

Fig. 12.—Clearing of wood between knife cuts

Fig. 13.—Position of register marks

Fig. 15.—Register marks (section of)

Fig. 16.—Section of colour-block. A. Colour mass. B. Depression. C. Surface of Plank

ERRORS OF REGISTER

CHAPTER V

Preparation of Paper, Ink, Colour, and Paste for Printing. PAPER

Plate VII. Impression of a portion of detail from a Japanese woodblock (very nearly actual size)

Fig. 17.—Drawing of sizing of paper

INK

COLOUR

PASTE

CHAPTER VI

Detailed Method of Printing

THE BAREN OR PRINTING PAD

TO RE-COVER A WORN BAREN WITH BAMBOO SHEATH

Fig. 19.—Method of re-covering baren

BRUSHES

Fig. 20.—Drawing of brushes

PRINTING

Fig. 21.—Manner of holding the paper

Fig. 22.—Manner of using the baren

PRINTING FROM COLOUR-BLOCKS

PRINTING OF GRADATIONS

OFFSETTING

DRYING OF PRINTS

CHAPTER VII

Principles and Main Considerations in designing Wood-block Prints—Their Application to Modern Colour Printing

CHAPTER VIII

Co-operative Printing

APPENDIX

Plate VIII.—An original Print designed and cut by the Author, printed by hand on Japanese paper

Plate IX.—First printing. Key block. Black

Plate X.—Second printing. Dull Red. Printed lightly at the top

Plate XI.—Third printing. Deep Blue. Strong at the bottom, paler at the top

Plate XII.—Fifth printing. Bright Orange (The fourth printing, not shown, is a similar small block, printing a faint tone over the road in the foreground.)

Plate XIII.—Sixth printing. Indian Red. Gradation

Plate XIV.—Seventh printing. Green. Printed flat

Plate XV.—Eighth printing. Bluish green. Gradation

Plate XVI.—Reproduction of a colour print by Hiroshigé

Plate XVII.—Reproduction of a portion of the print shown on the preceding page, actual size, showing the treatment of the foliage and the expressive drawing of the tree trunk and stems

Plate XVIII.—Reproduction of another portion of the print shown on page 111 (actual size), showing the expressive use of line in the drawing of the distant forms

Plate XIX.—Reproduction of a colour print by Hiroshigé

Plate XX.—Reproduction of a portion (actual size) of the print on the preceding page, showing treatment of tree forms and distance

Plate XXI.—Reproduction of a colour print by Hiroshigé

Plate XXII.—Reproduction of a portion (actual size) of the print on the preceding page, showing treatment of tree and blossom

Plate XXIII.—The Tiger. Reproduction of a colour print by J. D. Batten

BOOKS OF REFERENCE

INDEX

ARTISTS INTERESTED IN THE :: :: PERMANENCE OF :: :: THEIR WOOD BLOCK PRINTS

now use the CAMBRIDGE COLOURS only, because

SOLE MAKERS. MADDERTON & CO., LTD., Loughton, Essex ENGLAND

(ESTABLISHED 1891) TELEGRAMS TELEPHONE "MADDERTON, LOUGHTON," ESSEX 63 LOUGHTON. All Tools and Materials for. JAPANESE WOODBLOCK. CUTTING AND PRINTING

as described in this book are stocked by. PENROSE'S

including several new forms of Tools and Brushes. approved by F. Morley Fletcher, Esq. LIST FREE ON APPLICATION

A. W. PENROSE & CO., LTD. 109 Farringdon Road, London, E.C.1

Отрывок из книги

F. Morley Fletcher

A Description of the Craft of Woodcutting and Colour Printing Based on the Japanese Practice

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CHAPTER V

CHAPTER VI

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