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Contemporary Illumination for the Calligrapher and Artist: Traditional Techniques Reinterpreted [Kõva köide]

  • Formaat: Hardback, 176 pages, kõrgus x laius x paksus: 260x215x17 mm, kaal: 891 g, 382 Illustrations
  • Ilmumisaeg: 05-Nov-2024
  • Kirjastus: The Crowood Press Ltd
  • ISBN-10: 0719844282
  • ISBN-13: 9780719844287
Teised raamatud teemal:
Contemporary Illumination for the Calligrapher and Artist: Traditional Techniques ReinterpretedSuurem pilt
  • Formaat: Hardback, 176 pages, kõrgus x laius x paksus: 260x215x17 mm, kaal: 891 g, 382 Illustrations
  • Ilmumisaeg: 05-Nov-2024
  • Kirjastus: The Crowood Press Ltd
  • ISBN-10: 0719844282
  • ISBN-13: 9780719844287
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9780719844287.html
Märksõnad:
Contemporary Illumination gives detailed instruction for artists wishing to add gold leaf to their work. It explains the techniques used in medieval manuscripts but shows how these same techniques can be used to stunning effect to enhance lettering and paintings in contemporary styles. Alongside step-by-step instruction, it also gives practical advice on how to fix common problems. For both the novice and the more experienced, this handsome book unlocks illuminated secrets from the fifteenth century and shows how they can be applied just as beautifully to art of today. With fully illustrated step-by-step instructions for gilding and painting using readily available off-the-shelf products. For those with more experience, there are detailed instructions on the making and use of both manuscript gesso and shell gold, with examples of how they might be used both to enhance a calligraphic text as well as a painting or drawing. There are also suggestions of how to paint on gold, and how to combine flat and raised gilding in new and innovative ways. This book is a visual treat and an invaluable guide for everyone who wants to appreciate the art of illumination and to learn how to use traditional techniques in contemporary applications.

SHOWS easy methods of sticking gold leaf to paper using modern, readily-available gilding sizes

EXPLAINS how to make and use traditional manuscript gesso and shell gold

COVERS the use of sgraffito and tooling to mark your gold leaf, adding texture or removing gold to reveal a design

USES other metal leaf (other than gold) and explains how to prevent tarnishing

FEATURES examples of writing with and on gold

Arvustused

If you are already a practitioner in the field and want to take your work to the very highest level, this is a book that will occupy you for a long time. The illustrations are copious, well-chosen and excellently reproduced on top quality paper. The binding is hardback and the pages are sewn rather than glued so that the book lies flat when open, meaning that you can refer to it while you are working. A premium worker will always buy the best tools, regardless of cost, but the cover price doesnt seem that great in context. -- Henry Malt, artbookreview.net * artbookreview.net * Toni's book is a delight to read and a useful aid. I treasure my copy and have it constantly to hand in my studio. It's akin to having Toni on Speed dial. This is a complete manual, a technical book showing what you can and cannot do with each gilding size and what you can and cannot fix when things go wrong. It's exciting and substantial in its content. It's informative, unique in its comprehensive nature and beautifully presented. -- Tessie Cooling, The Edge * The Edge, (The Calligraphy and Lettering Arts Society Magazine) *

TONI WATTS is an internationally-recognised illuminator, and one of the few artists still using traditional manuscript gilding skills. She creates new work using age-old techniques and hand-prepared, natural materials. These include mineral and earth pigments, plant pigments from her garden, traditional handcrafted inks, vellum, 24-carat gold leaf and gemstones such as sapphires and emeralds. She specialises in manuscript illumination, but also draws with metalpoint and paints in egg tempera. Toni has had a diverse career she worked for over twenty years as a doctor while pursuing a career as an award-winning wildlife artist. She then gained a masters degree in art history, which sparked an interest in medieval manuscripts and the trade in pigments. This led to a year (2015-16) as artist-in-residence at Lincoln Cathedral, where she had the opportunity both to study its collection of manuscripts and create a new body of work. She now runs national and international workshops on manuscript illumination.