This book explores a method of silkscreen printing which involves applying thick dye paints or print paste directly on to the back of the screen, allowing it to dry, and then printing off with more dye paint or print paste. In this way the print medium is gradually dissolving the dried on dye on the screen, breaking it down to print an evolving array of colours, marks and textures, and producing interesting distressed, organic and disintegrating effects.

An architecture portfolio designed by Alex Hogrefe describing 4 original projects with a focus on unique representational techniques and styles.

"Printing your own fabric opens up an entire new world of design, especially for quilters, sewists, and other textile artists. Until now, the process of printing with dyes could seem difficult to learn and even harder to implement. But Carol Soderlund and Melanie Testa have taken all the stumbling blocks out of the way of would-be fabric dyers and printers. With step by step advice, instruction, and photographs, this book is a master class in using dyes and low-tech equipment to print your own fabric, and it begins at the beginning. If you've never handled dyes before, never designed your own print motifs, aren't even sure what supplies or space you might need, everything you want to know is here. More advanced students will value the in-depth presentation of techniques, tools, and insights into approaching fabric printing as an art and taking your work to the next level. The opportunities for fun creative expression and producing your most original and exciting fabric work ever are unlimited with Carol and Melanie's friendly help. It's time to try playful fabric printing!" -- Provided by publisher

The first edition of the Printing Ink Manual was published by the Society of British Printing Ink Manufacturers in 1961 to fill the need for an authorative textbook on printing technology, which would serve both as a training manual and a reliable reference book for everyday use. The book soon became established as a standard source of information on printing inks and reached its fourth edition by 1988. This, the fifth edition, is being published only five years later, so rapid has been the development in technology. The objective of the Printing Ink Manual remains unchanged. It is a practical handbook designed for use by everyone engaged in the printing ink industry and the associated industries. It provides all the information required by the ink technical for the day-to-day formulation of printing inks. It supplies the factory manager with details of the latest equipment and manufacturing methods, including large-scale production, and gives guidance on achieving quality assessment and total quality management specifications. Care has been taken to maintain the value of the Manual for training both technical personnel and others who requiresome kn- ledge of inks. Readers with little scientific knowledge will not find dif- culty in using the Manual, but sufficient chemistry and physics have been included to provide an explanation of the underlying principles and theories governing the behaviour of inks for use by the advanced te- nologist. Suppliers of raw materials, substrate manufacturers, printers and print users will find the book a valuable source of information.

A guide that examines the history and current state of 2.5D printing and explores the relationship between two and three dimensions 2.5D Printing: Bridging the Gap Between 2D and 3D Applications examines the relationship between two- and three-dimensional printing and explores the current ideas, methods, and applications. It provides insights about the diversity of our material culture and heritage and how this knowledge can be used to design and develop new methods for texture printing. The authors review the evolving research and interest in working towards developing methods to: capture, measure and model the surface qualities of 3D and 2D objects, represent the appearance of surface, material and textural qualities, and print or reproduce the material and textural qualities. The text reflects information on the topic from a broad range of fields including science, technology, art, design, conservation, perception, and computer modelling. 2.5D Printing: Bridging the Gap Between 2D and 3D Applications provides a survey of traditional methods of capturing 2.5D through painting and sculpture, and how the human perception is able to judge and compare differences. This important text: Bridges the gap between the technical and perceptual domains of 2D and 3D printing Discusses perceptual texture, color, illusion, and visual impact to offer a unique perspective Explores how to print a convincing rendering of texture that integrates the synthesis of texture in fine art paintings, with digital deposition printing Describes contemporary methods for capturing surface qualities and methods for modelling and measuring, and ways that it is currently being used Considers the impact of 2.5D for future technologies 2.5D Printing is a hands-on guide that provides visual inspiration, comparisons between traditional and digital technologies, case studies, and a wealth of references to the world of texture printing. Please visit the companion website at: www.wiley.com/go/bridging2d3d

The introduction of digital manufacturing techniques, such as 3D printing applied to concrete material, opens up new perspectives on the way in which buildings are designed. Research on this theme is thriving and there is a high rate of innovation related to concrete. At the same time, the first life-size constructions made from printed concrete are emerging from the ground. This book presents state-of-the-art knowledge on the different printing processes as well as on the concrete material that must adapt to these new manufacturing techniques, such as new hardware and new printers for concrete. The possibilities in terms of architectural design are discussed as well as the pathways that remain to be uncovered. The book also explores the challenges that researchers and companies expect to overcome as they get closer to democratizing this potential revolution that is the digital manufacturing of concrete.