This is a reproduction of the original artefact. Generally these books are created from careful scans of the original. This allows us to preserve the book accurately and present it in the way the author intended. Since the original versions are generally quite old, there may occasionally be certain imperfections within these reproductions. We're happy to make these classics available again for future generations to enjoy!

Catalog of an exhibition held at the Metropolitan Museum of Art, New York, October 1, 2013-January 5, 2014.

First published in 1999, Chambers explores English etching changed that radically during the nineteenth century. This book looks into the freedom and directness of the etching process became a key plank in a sustained attempt to raise the status of etching in Britain spearheaded by artists such as Francis Seymour Haden and James McNeill Whistler and members of the Etching Club. An Indolent and Blundering Art? Opens with a description of the use of language and art criticism to redefine etching

Photo etching in the form of electronic equipment printed circuit boards will be familiar to all modellers. Less familiar is the application by model engineers of those same techniques to precision production of metal parts for all aspects of model making ranging from finely detailed grill work and artillery details to locomotive and traction engine emblems and nameplates. Authors Brian King and Azien Watkin have developed photo etching techniques to a high degree of sophistication to enable Brian to build his Gold Medal winning marine models. The design of items and the production of the high-quality graphics necessary are fully covered, as are both home and industry routes to producing the finished items in a variety of metals.

Etching can seem mysterious and inaccessible, but this practical book guides you through the process to reveal the potential of this distinctive means of creating artists' prints. With clear instructions and visual guides, it explains the many ways that marks are first made on a metal plate before ink is applied and the image transferred onto a sheet of paper. The book goes on to introduce a broad menu of techniques, allowing the visual artist to develop a uniquely personal approach. Explanations are given for photo-etching, aquatint, as well as related intaglio processes such as drypoint and photopolymer. This new book encourages artists to experiment and try combining techniques to explore their potential, and includes interviews with leading artists explaining their approaches.

Easy-to-use guide with complete instructions for etching on any glass — panes, panels, bottles, stained glass, more — using acid cream and sandblasting techniques. Includes 46 full-size patterns of birds, butterflies, animals, florals, geometrics, and Art-Nouveau-Style abstracts. Instructions. 46 patterns. 27 illustrations.

In this book, Mark Graver puts the case for non-toxic printmaking and then discusses the various technical factors (both materials and equipment) to consider when etching with acrylic resists, making aquatints, etching in general, using drypoint, engraving, making mezzotints and collagraphs and using photopolymers as well as combining various printmaking techniques. There is also information on various inks and health and safety measures in the printing workshop. All in all, this book contains everything you need to know to clean up your printmaking practice.

Features essays by Michael Cole, Larry Silver, Susan Dackerman, Graham Larkin, and exhibit co-curator Madeleine Viljoen. This book accompanies an exhibition that opened in April 2006 at the University of Pennsylvania.