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The print before photography : an introduction to European printmaking, 1550-1820
Gutenberg's invention of moveable type made it possible to print letters. But images could only be printed using two other technologies that were developed alongside letterpress. One depended on wooden blocks which were cut and printed in relief, the other on copper plates into which lines were cut by engraving or etching and were printed on a rolling press. Copper-plate printmaking developed into a huge business employing thousands of people, and dominated image production for nearly four centuries across the whole of Europe. Its processes remained very stable, and a man of 1500 could have walked into a printing shop of 1800 and understood what was going on. During the nineteenth century this world was displaced by new technologies, of which photography was by far the most important.
Book
Perspectives on contemporary printmaking
This anthology, the first of its kind, presents thirty-two texts on contemporary prints and printmaking written from the mid-1980s to the present by authors from across the world. The texts range from history and criticism to creative writing. More than a general survey, they provide a critical topography of artistic printmaking during the period. The book is directed at an audience of international stakeholders in the field of contemporary print, printmaking and printmedia, including art students, practising artists, museum curators, critics, educationalists, print publishers and print scholars. It expands debate in the field and will act as a starting point for further research.
eBook
Interactive and Sculptural Printmaking in the Renaissance
The story of a hands-on genre of prints: how innovative paper engineering redefined the relationship of early modern viewers to art, humanism, and science.
eBook
Sustainable Fingerprint Powder: Upcycling Prosopis Juliflora for Forensic Application
Fingerprints are unique, permanent patterns on the human fingers, crucial in criminal investigations for linking individuals to crime scenes. Addressing the growing need for sustainable solutions in forensic science, this study examines the upcycling of Prosopis Juliflora, an invasive species, to develop fingerprint powder. The process involves converting Prosopis Juliflora biomass into activated charcoal through pyrolysis and chemical activation, which is then processed into a fine powder suitable for latent fingerprint detection. This method offers an eco-friendly and cost-effective alternative to traditional fingerprint powders. The upcycled powder, prepared in both standard and magnetic forms, was characterized using Scanning Electron Microscopy (SEM) to analyze surface morphology and particle distribution, which influence fingerprint adhesion. The powder was tested on various porous and non-porous surfaces like glass, plastic, wood, metal, and paper, to assess its effectiveness in latent fingerprint development. The results demonstrated clear and effective latent print development and successful print lifting from various surfaces, including uneven ones. This study underscores the potential of integrating sustainable development into forensic science, providing a solution to both environmental and forensic challenges.
Journal Article
Sharing images : Renaissance prints into maiolica and bronze
\"It is well known that the advent of the printed image in the Renaissance transformed the content, appearance, and function of art in the following centuries. As rapidly producible multiples, prints could broadcast visual motifs, compositions, subjects, and styles with unprecedented speed and to an ever-expanding audience. The print, more than any other medium, created an artistic canon that went beyond geographic and medial boundaries. The two art forms most directly and dramatically influenced by prints in the Renaissance were ceramics and bronze plaquettes. Brightly painted maiolica and minutely crafted bronze reliefs are among the most beautiful and intriguing objects produced in the period. Sharing Images: Renaissance Prints into Maiolica and Bronze documents the National Gallery of Art exhibition that brings prints, istoriato maiolica, and plaquettes into the same space, addressing the impact prints had on the decorative arts but also the modalities of their reception, highlighting the remarkably creative engagement artists and craftsmen had with their models.\"--Provided by publisher.
Book
Photomechanical crossroads - Comparing 19th-Century Chromocupography and Charles Eckstein’s method from a Printmaker’s Perspective
Chromocupography is a photo-etching technique developed in 19th-century Portugal under the supervision of chemist José Júlio Rodrigues (1843-1923). Very scarce literature is associated with the process, and it doesn’t seem to have been widely used after being made public. At the time, the technique was presented as a variant of Charles Eckstein’s (1840-1913) method, working in Hague, Holland. Eckstein’s technique consisted of hatching the lithograph stone with very fine delicate multiple-point needles to produce tone variations. Chromocupography substitutes the stone for a copper plate and the needles for a special coating with resin, thus creating a granular reservation protecting the metal from the etching bath. With this paper, we aim to present how the technical entanglements which are felt from a practical experience of the contemporary printmaker. We will be showing the various results we obtained conducting research following the descriptions found in literature around the subject of Portuguese process chromocupography, at the Faculty of Fine Arts of the University of Porto within the project of Pure Print Archaeology (i2ADS/FBAUP).
Journal Article
The Renaissance Engravers
This ambitious work allows the reader to discover the art of engraving in Europe from the 15th to the 16th century. The engravings of the Renaissance masters are considered models of artistic perfection, often studied and frequently copied.
eBook