Categories
InProcess

Koichi Yamamoto

Inspiration for my printmaking

I find Yamamoto’s large abstract monochrome monoprint landscapes extremely evocative. Inspired by a Zen minimalist aesthetic, with a focus on tone and markmaking, they have a dreamy and ethereal feel – full of suggestion of light and dark, huge towering buildings or seething underlying masses in the deep. Yet cannot be completely grasped or understood.

Yamamoto Printmaking Official website

Monoprints

Google images of Yamamoto monoprints

Koichi Yamamoto is an artist who merges the traditional and contemporary by creating unique and innovative approaches to the language of printmaking.Koichi’s prints explore issues of the sublime, memory, and atmosphere.
Koichi has worked with meticulous copper engravings to large-scale monotypes.
He completed BFA at the Pacific Northwest College of Art in Portland, Oregon then move to Krakow, Poland for producing works and to study copper engravings in Bratislava Academy of Fine Arts in Slovakia Republic.
He studied in Academy of Fine Arts in Poznan, Poland and then completed MFA at University of Alberta, Canada. He also worked as a textile designer in Fredericia, Denmark.
He has exhibited internationally. He has taught at Utah State University and University of Delaware and currently an Associate Professor at University of Tennessee in Knoxville.
Video of his working process

[wpdevart_youtube]51MP7MLLt8A[/wpdevart_youtube]

Sources of inspiration in water surfaces

[wpdevart_youtube]gJpf-zuEcbM[/wpdevart_youtube]

Metal engraving

[wpdevart_youtube]l7kbmU1U-z4[/wpdevart_youtube]

Copperplate etching Kite design

[wpdevart_youtube]hRsLbfUXl_M[/wpdevart_youtube]

Categories
InProcess

Woodcut

Categories
Monoprint

Gelliplate

Categories
InProcess

Photolithography

Using drawings and tusche on mylar as the plate

Preparing photographs

All digital images or photographs need to be converted to greyscale and printed in black ink only onto transparent film using an inkjet or laser printer. If an image contains greys it is better to darken them as they are likely to overexpose and not show up in the print.

  • Image sizes:Image resolution: 300ppi.
  • Plate sizes: A3 37x45cms allow 6cms border so height 39cms and constrain proportions. A4: 38×25.3cms

Use CMYK? 8bit. Convert to bitmap. Output 700dpi. Method Halftone screen OK. Frequency 47 lines/inch, angle 30 degrees, Shape round.

Categories
InProcess

Expressionist woodcuts

Moma Exhibiton

[wpdevart_youtube]fsyqEX-DlaA[/wpdevart_youtube]

Max Pechstein

[wpdevart_youtube]8xNXiW0W0po[/wpdevart_youtube]

The earliest print technique, woodcut first appeared in China in the ninth century. Arriving in Europe around 1400, it was originally used for stamping designs onto fabrics, textiles, or playing cards. By the 16th century it had achieved the status of an important art form in the work of Albrecht Dürer and other Northern European artists.

During the first decade of the twentieth century German Expressionists sought to recover a German tradition and to register a thread of continuity with their late Gothic and Renaissance artistic heritage – taking inspiration from late Gothic artists like Durer, Baldung, Cranach, Altdorfer and Grunewald. It was in part a reaction against Impressionism’s emphasis on atmospherics and surface appearances, and against the rigidity of academic painting, stressing instead the emotional state of the artist, subject and also viewer. In addition to the Germanic tradition they were also inspired by Van Gogh, Munch, Gauguin, Cezanne and African and Oceanic art.

The use of the term Expressionism seems to date from around 1911, although the De Brucke movement had been established in 1905 and was holding exhibitions till 1913. Another movement: der Blaue Reiter was formed in 1911 as a loose collection of artists interested in abstraction. Other groups included the Berlin and Munich Secessions, the Red Group, the November Group and the New Artist’s Association. Among the publications were Der Sturm and Die Aktion. Many of these groups and publications had socialist of communist ideals.

They adopted woodcut as a primary artistic vehicle. Their starkly simplified woodcuts capitalized on the medium’s potential for bold, flat patterns and rough hewn effects. At the same time the flexibility of woodcut as a medium encouraged individual approaches and novel techniques from the Brücke’s vigorous cutting to the Blaue Reiter’s abstracted forms. They exploited the medium’s capacity to convey and disseminate innovative ideas, depicting wide ranging themes in a diversity of formats,  catering to different audiences.

A change occurred with World War I. The horror of the war and the chaotic years of the Weimar Republic (1919-33) led to introduction of a sharply satirical tone in the work of many of the artists. Many of the artists went on to join new movements like Dada and Neue Sachlichkeit and continued to work until well after World War II.

Sources:

Shane Weller ‘German Expressionist Woodcuts’ Dover Publications New York, 1994

MOMA Expressionist exhibition website

See also Wikipedia article on Expressionism

 

Categories
InProcess

Dutch landscapes

View over a Flat Landscape: Jan Josefsz van Goyen (oil on panel 1642) a moody painting of a completely flat landscape with cows, where the top two thirds of the frame is occupied by the grey clouds, but with subtle sunlight breaking through on the horizon line in the far distance.
Landscape with a River Bank : Jan Josefsz van Goyen (oil on panel 1635-1640) a very muted colour painting of the far back of the river with a church – very much like the view over the Cam to Fen Ditton
Flat Landscape with a Broad River: Philips Koninck (oil on canvas c 1648) again very muted colours, dominated by the sky. The sky is now looming overhead with nearer clouds larger and again subtle lighting on the horizon and the river.
Polder Landscape: Paul Joseph Constantin Gabriël (watercolour 1828-1903) simple monochrome image of two barges. Here the focus is on the water and some birds in the foreground. The horizon to a featureless sky is in the middle of the frame.
Landscape: Adriaen van Ostade (oil on panel 1639) a summer image with a very dramatic stormy sky with bright patches of light on the ground from breaks in the cloud. The horizon line is again low just above the bottom third of the frame.
Snowy Landscape with fences in the foreground: Charles Donker etching 1988 a misty simple monochrome print with large featureless sky, a row of skeletal trees of different types silhouetted against it and fences lines through the snow.

Van Ruysdale



Van Goyen

Categories
InProcess

Cyanotype

Cyanotype is a photographic printing process that produces a cyan-blue print. The process was discovered in 1842 by English scientist and astronomer. Engineers used the process well into the 20th century as a simple and low-cost process to produce copies of drawings, referred to as blueprints.

Cyanotype Google images

Process

Prints can be made from large format negatives and lithography film, Digital negative (transparency) or everyday objects can be used to make photograms.

The process uses two chemicals:ferric ammonium citrate andpotassium ferricyanide.

In a typical procedure, equal volumes of an 8.1% solution of potassium ferricyanide and a 20% solution of ferric ammonium citrate are mixed. The overall contrast of the sensitizer solution can be increased with the addition of approximately 6 drops of 1% solution potassium dichromate for every 2ml of sensitiser solution.

This mildly photosensitive solution is then applied to a receptive surface (such as paper or cloth) and allowed to dry in a dark place. Cyanotypes can be printed on any surface capable of soaking up the iron solution. Although watercolour paper is a preferred medium, cotton, wool and even gelatin sizing on nonporous surfaces have been used. Care should be taken to avoid alkaline-buffered papers, which degrade the image over time.

A positive image can be produced by exposing it to a source of ultraviolet light (such as sunlight) as contact print through the negative (traditionally, semitransparent paper) or objects. The combination of UV light and the citrate reduces the iron(III) to iron(II). This is followed by a complex reaction of the iron(II) complex with ferricyanide. The result is an insoluble, blue dye (ferric ferrocyanide) known as Prussian blue. The extent of colour change depends on the amount of UV light, but acceptable results are usually obtained after 10–20 minute exposures on a dark, gloomy day.

After exposure, developing of the picture involves the yellow unreacted iron solution being rinsed off with running water. Although the blue colour darkens upon drying, the effect can be accelerated by soaking the print in a 6% (v/v) solution of 3% (household).The water-soluble iron(III) salts are washed away, while the non-water-soluble Prussian blue remains in the paper. The highlight values should appear overexposed, as the water wash reduces the final print values.

Toning

In a cyanotype, a blue is usually the desired color; however, there are a variety of effects that can be achieved. These fall into three categories: reducing, intensifying, and toning:

  • Reducing is the process of reducing or decreasing the intensity of the blue. Sodium carbonate, ammonia, Clorox, TSP, borax, Dektol and other chemicals can be used to do this. A good easily obtained reducer is bleach. How much and how long to bleach depends on the image content, emulsion thickness and what kind of toning is being used. When using a reducer it is important to pull the cyanotype out of the weak solution and put the cyanotype into a water bath to arrest the bleaching process.
  • Intensifying is the strengthening of the blue effect. These chemicals can also be used to expedite the oxidation process the cyanotype undergoes. These chemicals are hydrogen peroxide, citric acid, lemon juice, and vinegar.
  • Toning is the process used to change the colour of the iron in the print cyanotype. The colour change varies with the reagent used. There are a variety of elements that can be used, including tannic acid, oolong tea, wine, cat urine, and pyrogallic acid

Long-term preservation

In contrast to most historical and present-day processes, cyanotype prints do not react well to basic environments. As a result, it is not advised to store or present the print in chemically buffered museum board, as this makes the image fade.

Another unusual characteristic of the cyanotype is its regenerative behavior: prints that have faded due to prolonged exposure to light can often be significantly restored to their original tone by simply temporarily storing them in a dark environment.

Cyanotypes on cloth are permanent but must be washed by hand with non-phosphate soapso as to not turn the cyan to yellow.

Artists

Artists using the process include:

  • Anna Atkins who created a series of cyanotype limited-edition books that documented ferns and other plant life from her extensive seaweed collection, placing specimens directly onto coated paper and allowing the action of light to create a silhouette effect. By using this photogram process, Anna Atkins is sometimes considered the first female photographer.

Contemporary artists who employ the cyanotype process in their art include:

Cyanotype postcard, Racine, Wis., c. 1910

Tutorials

https://www.amateurphotographer.co.uk/technique/make-cyanotypes-top-tips-121398
https://theimageflow.com/photography-classes/cyanotype-printing/
Categories
InProcess

Etching: solarplate

http://robmills-online.co.uk/found-series.html

Categories
InProcess

Photoscreen

!! To be fully written up with my photos of the process and inspiration, and more of the challenges, linked to Printmaking blog.

What is screenprinting? Types and technique

Screen printing is a printing technique whereby a mesh is used to transfer ink onto a substrate, except in areas made impermeable to the ink by a blocking stencil.

There are various terms used for what is essentially the same technique. But they all have the following in common:

  • Use of a frame (generally wood or aluminium) on which a mesh  is mounted under tension. The mesh can be of different types: eg silk, polyester, nylon or metal and of varying degrees of fineness depending on the type of surface to be printed.
  • A stencil is formed on the mesh by blocking off parts of the screen in the negative image of the design to be printed; that is, the open spaces are where the ink will appear on the substrate. The stencil can be made through different techniques: direct stencils made with photoscreen techniques or using masking solutions and indirect stencils used as masks.
  • Mesh/frame preparation: The surface to be printed (commonly referred to as a pallet) is coated with a wide ‘pallet tape’ to protect the ‘pallet’ from any unwanted ink leaking through the screen and potentially staining the ‘pallet’ or transferring unwanted ink onto the next substrate. Next, the screen and frame are lined with a tape. The type of tape used in for this purpose often depends upon the ink that is to be printed onto the substrate. These aggressive tapes are generally used for UV and water-based inks due to the inks’ lower viscosities. The last process in the ‘pre-press’ is blocking out any unwanted ‘pin-holes’ in the emulsion. If these holes are left in the emulsion, the ink will continue through and leave unwanted marks. To block out these holes, materials such as tapes, speciality emulsions and ‘block-out pens’ may be used effectively.
  • A blade or squeegee is moved across the screen to fill or ‘flood’ the open mesh apertures with ink, and a reverse stroke then prints the image as the screen touches the substrate momentarily along a line of contact. This causes the ink to wet the substrate and be pulled out of the mesh apertures as the screen springs back after the blade has passed.
  • One colour is printed at a time, so several screens are layered to produce a multicoloured image or design. Hinge clamps keep the screen in place for easy registration

I had started to use stencil screenprinting in Printmaking 2 as a supporting technique in:

See also tutorials etc on my Printmaking blog: https://print.zemniimages.info/screenprinting/

Photoscreen: Preparing photographic positives

To prepare photographic positives for photoscreen and photolithography all digital images or photographs need to be converted to greyscale and printed in black ink only onto transparent film using an inkjet or laser printer. If an image contains greys it is better to darken them as they are likely to overexpose and not show up in the print.

  • Image sizes:Image resolution: 300ppi.
  • Plate sizes: A3 37x45cms allow 6cms border so height 39cms and constrain proportions. A4: 38×25.3cms

Use CMYK? 8bit. Convert to bitmap. Output 700dpi. Method Halftone screen OK. Frequency 47 lines/inch, angle 30 degrees, Shape round.

Bibliography

Adam, R. & Robertson, C., (2003) Screenprinting: the complete water-based system, London: Thames & Hudson.

Barker, D., Traditional Techniques in Contemporary Chinese Printmaking, London: A & C Black.

D’arcy Hughes, A. & Vernon-Morris, H., (2008) The Printmaking Bible: the complete guide to materials and techniques, San Francisco: Chronicle Books.

Grabowski, B. & Flick, B., (2009) Printmaking: A Complete Guide to Materials and processes, London: Lawrence King Publishing.

Griffiths, A., (1980) Prints and Printmaking: An introduction to the history and techniques, London: British Museum Press.

Martin, J., (1993) The Encyclopedia of Printmaking Techniques,London: Quarto Publishing.

Pogue, D., (2012) Printmaking Revolution : new advancements in technology, safety and sustainability, New York: watson-guptill publications.

Stobart, J., (2001) Printmaking for Beginners, London: A&C Black.

Stromquist, A., (2004) Simple Screenprinting: basic techniques and creative projects, New York: Lark Books.

Williamson, C., (2011) Reinventing Screenprinting, London: A&C Black.

Woods, L., (2011) The Printmaking Handbook: Simple techniques and step-be-step projects, London: Search Press.

Categories
Sources

References and Bibliography

Ackley, C. S., (2008) British Prints from the Machine Age: Rhythms of Modern Life, London: Thames & Hudson Ltd.

Adam, R. & Robertson, C., (2003) Screenprinting: the complete water-based system, London: Thames & Hudson.

Adler, K., (2006) Mary Cassatt: Prints, London: National Gallery.

Albers, J., (1963) Interactions of Colour, New Haven and London: Yale University Press.

Anfam, D. (ed.) (2017) Abstract Expressionism, London: Royal Academy of the Arts.

Antiff, M. & Green, V. (eds.) (2010) The Vorticists, London: Tate Publishing.

Ayres, J., (2001) Monotype: mediums and methods for painterly printmaking, New York: Watson-Guptill Publications.

Ball-Teshuva, J., (2017) Mark Rothko 1903-1970: Pictures as Drama, Koln: Taschen.

Barker, D., Traditional Techniques in Contemporary Chinese Printmaking, London: A & C Black.

Barnett, V. E. (ed.) (2017) Alexei Jawlensky, Munich, London, New York: Prestel.

Barringer, T., Devaney, E., Drabble, M., Gayford, M., Livingstone, M. & Salomon, X. F., (2013) David Hockney: A Bigger Picture, London: Royal Academy of Arts.

Bikker, J. & Weber, G. J. M., (2015) Rembrandt: The Late Works, London: National Gallery.

Blazwick, I. E., (2015) Adventures of the Black Square: Abstract Art and Society 1915-2015, Munich, London, New York: Prestel and Whitechapel Gallery.

Borchardt-Hume, A. & Ireson, N. (eds.) (2018) Picasso 1932: The EY Exhibition, London: Tate Publishing.

Brighton, A., (1966) Francis Bacon, London: Tate Gallery Publishing.

Brown, N., Tracey Emin, London: Tate Publishing.

Cate, P. D. & Grivel, M., (1992) From Pissaro to Picasso: color etching in France, Paris: Flammarion.

Clark, H. (ed.) (1993) Picasso: In His Words, San Francisco: Collins.

Clark, T. (ed.) (2017) Hokusai: Beyond the Great Wave, London: Thames & Hudson and British Museum.

Cocker, M., Dunmore, H., Hare, B., Jacobson, H., Mabey, R., Marsden, P., Mooney, B., Packer, W., Taylor, J. R., Smit, T. & Tooby, M., (2010) Kurt Jackson: A New Genre of Landscape Painting, Farnham, Surrey: Lund Humphries.

Cohen, J. (ed.) (1995) Picasso: Inside the Image, London: Thames & Hudson.

Coldwell, P., (2010) Printmaking: A Contemporary Perspective, London: Balck Dog Publishing.

Connaissance Des Arts, (2017) Andre Derain: 1904-1914 La Decennie Radicale, Paris: Connaissance des Arts.

Coppel, S., (1998) Picasso and Printmaking in Paris, London: South BGank Publishing.

Cowling, E., Cox, N., Fraquelli, S., Galassi, S. G., Rigpelle, C. & Robbins, A., (2009) Picasso: Challenging the Past, London: National Gallery Publications.

Crippa, E. (ed.) (2018) All Too Human: Bacon, Freud and a Century of Painting Life, London: Tate Publishing.

Cumming, L., (2009) A Face to the World: on self-portraits, London: Harper Press.

D’Arcy Hughes, A. & Vernon-Morris, H., (2008) The Printmaking Bible: the complete guide to materials and techniques, San Francisco: Chronicle Books.

De Sausmarez, J., (2008) Basic colour: a practical handbook, London A&C Black.

Derain, A., (2017) Andre Derain, London and Paris: FAGE.

Dernie, D., (2018) Heat, Cambridge: David Dernie.

Dow, A. W., (1997) Composition: A series of exercises in art structure for the use of students and teachers, California, USa: University of California Press.

Dumas, M., (2014) The Image as Burden, London: Tate Publishing.

Eik Kahng, Charles Palermo, Harry Cooper, Annie Bourneuf, Christine Poggi, Claire Barry & J.C.Devolder, B., (2011) Picasso and Braque: The Cubist Experiment 1910-1912, Santa Barbara: Santa Barbara Museum of Art.

Elderfield, J., (2017) Cezanne Portraits, London: National Portrait Gallery Publications.

Elger, D., (2008) Abstract Art, Hong Kong, Koln, London, Los Angeles, Madrid, Paris, Tokyo: Taschen.

Feisner, E. A., Colour: How to use colour in art and design, London: Lawrence King Publishing.

Freud, L., (2008) On Paper, London: Jonathan Cape.

Freud, L., (2012) Painting People, London: National Portrait Gallery.

Gage, J., (1999) Colour and Meaning: Art, Science and Symbolism, London: Thames & Hudson.

Gale, M. & Stephens, C.(2008) Francis Bacon. London: Tate Publishing.

Godfrey, M. & Serota, N., (2011) Gerhard Richter: Panorama, London: Tate Publishing
.
Grabowski, B. & Flick, B., (2009) Printmaking: A Complete Guide to Materials and processes, London: Lawrence King Publishing.

Graver, M., (2011) Non-toxic printmaking, London: A&C Black.

Gray, J., Nochlin, L., Sylvester, D. & Schama, S., (2005?) Jenny Saville, New York: Rizzoli.

Griffiths, A., (1980) Prints and Printmaking: An introduction to the history and techniques, London: British Museum Press.

Guse, E.-G. & Morat, F. A., (2008) Georgio Morandi: paintings, watercolours, drawings, etchings, Munich, Berlin, London, New York: Prestel.

Hambling, M., (1993) Towards Laughter, Sunderland, UK: Northern Centre for Contemporary Art.

Hambling, M., (1998) maggi & henrietta, London: Bloomsbury.

Hambling, M., (2006) Maggi Hambling the Works and Conversations with Andrew Lambirth, London: Unicorn Press Ltd.

Hambling, M., (2009) The Sea, Salford Quays: The Lowry Press.

Hambling, M., (2010) The Aldeburgh Scallop, Suffolk Full Circle Editions.

Hambling, M., (2015) War, Requiem and Aftermath, London: Unicorn Press Ltd.

Harrison, C., Frascina, F. & Perry, G., (1993) Primitivism, Cubism, Abstraction: The Early Twentieth Century, New Haven and London: Yale University Press and The Open University.

Hartill, B. & Clarke, R., (2005) Collagraphs and mixed media printmaking, London: A&C Black.

Hauptman, J., (2016) Degas: A Strange New Beauty, New York: MoMA.

Hayter, C. E., (2007) The Monotype: The History of a Pictorial Art, Milan: Milton Avery.

Heugten, S. V., (2005) Van Gogh draughtsman: the masterpieces, Amsterdam: Van Gogh Museum.

Hockney, D., (2004) Hockney’s Pictures, London: Thames & Hudson.

Hoerschelmann, A., (2016) Anselm Kiefer: The Woodcuts, Ostfildern, Germany: Hatje Cantz Verlag.

Hornung, D., (2005) Colour: A workshop for artists and designers, London: Lawrence King Publishing.

Hoskins, S., (2004) Inks, London: A&C Black.

Humphreys, R., (2004) Wyndham Lewis, London: Tate Publishing.

Itten, J., (1961) The Elements of Color, New York, Chichester, Weinheim, Brisbane, Singapore, Toronto: John Wiley and Sons.

Jennings, S., (2003) Artist’s Colour Manual, East Sussex: Harper Collins Publishers.

Jover, M., (2007) Caravaggio, Paris: Editions Terrail/Edigroup.

Kallir, J., (2003) Egon Schiele: Drawings and Watercolours, London: Thames & Hudson.

Kandinsky, W., (1977) Concerning the Spiritual in Art, New York: Dover Publications.

Kossoff, L., (2014) London Landscapes, London, Paris, New York, Los Angeles: Annely Juda Fine Art, Galerie Lelong, Mitchell-Innes & Nash, L.a.Louvre.

Lambert, G., (2007) Caravaggio, Koln: Taschen.

Langmuir, E., (2018) A Closer Look at Landscape, London: National Gallery.

Leopold, R., (2004) Egon Schiele Landscapes, Munich, Berlin, London, New York: Prestel.

Livingstone, A. & Kackson, K., (2012) Kurt Jackson Sketchbooks, Farnham Surrey: Lund Humphries.

Lloyd, R., (2014) Hockney Printmaker, London: Acala Arts & Heritage Publishers Ltd.

Logan, A.-M., (1988) Dutch and Flemish Drawings and Watercolours, New York: Hudson Hills Press.

Luckhardt, U. & Melia, P., (1995) Hockney: A Drawing Retrospective, London: Royal Academy of Arts and Thames & Hudson.

Major-George, K., (2011) Collagraph: a journey through texture, UK: Major Impact.

Malbert, R., (2016) Louise Bourgeois: Autobiographical prints, London: Hayward Publishing.

Marquis, A., (2018) Marcellin Desboutin, Cambridge: Fitzwilliam Museum.

Martin, J., (1993) The Encyclopedia of Printmaking Techniques, London: Quarto Publishing.

Merck, M. & Townsend, C. (eds.) (2002) The Art of Tracey Emin, London: Thames & Hudson.

Meyrick, R., (2013) Sydney Lee Prints: A Catalogue Raisonnee, London: Royal Academy of the Arts.

Moorhouse, P., (2013) A Guide to Twentieth Century Portraits, London: Ntional Portrait Gallery.

Moszynska, A., (1990 reprinted 2004) Abstract Art, London: Thames and Hudson.

Muller, J. E., (1967) Fauvism, London: Thames and Hudson.

Muller-Westermann, I. (ed.) (2015) Louise Bourgeois: I Have Been to Hell and Back, Ostfildern, Germany: Hatje Cantz Verlag.

Newell, J. & Whittington, D., (2004) Monoprinting, London: A&C Black.

Nickas, B., (2009) Painting Abstraction: New Elements in Abstract Painting, London and New York: Phaidon Press Ltd.

Picasso, (1980) Picasso: Lithographs, Toronto: Dover Publications.

Picasso, (1981) Picasso: Line Drawings and Prints, Toronto: Dover Publications.

Pipes, A., (2008) Foundations of Art and Design, London, UK: Laurence King Publishing.

Pogue, D., (2012) Printmaking Revolution : new advancements in technology, safety and sustainability, New York: watson-guptill publications.

Pollard, C. & Watanabe, M. I., (2014) Hiroshige: Landscape, cityscape, Oxford: Ashmolean Museum.

Poore, H. R., (1967) Pictorial Composition, An Introduction, New York: Dover Publications Inc.

Porzio, D. (ed.) (1982) Lithography: 200 years of art, history & technique, London: Bracken Books.

Ramkalawon, J., (2016) Maggi Hambling Touch: works on paper, London: Lund Humphries and British Museum.

Roberts, I., (2007) Mastering composition: techniques and principles to dramatically improve your painting, Cincinnati, Ohio: Northlight Books.

Rothko, C. & Bishop, J., (2017) Rothko: The Color Field Paintings, New Haven: Yale University Press.

Royalton-Kisch, M., (2006) Rembrandt as Printmaker, London: Hayward Gallery Touring.

Russell, J., (1979) Francis Bacon, London: Thames & Hudson.

Salamon, F., (1972) The History of Prints and Printmaking from Durer to Picasso: A guide to collecting, New York, Sat Louis, San Francisco: American Heritage Press.

Sanchez, L. G., (2004) Frida Kahlo, Mexico: Banco de Mexico.

Schroer, A. (ed.) (2005) Hiroshige, Berlin, Munich, London, New York: Prestel.

Schroer, A., (2005) Hokusai, Berlin, Munich, London, New York: Prestel.

Serres, K. & Wright, B., (2017) Soutine’s Portraits: Cooks, Waiters & Bellboys, London: The Courtauld Gallery.

Smee, S., (2007) Lucian Freud, Koln: Taschen.

Stechow, W., (1966) Dutch Landscape Painting of the Seventeenth Century, New York: Phaidon Publishers.

Stevens, C. & Wilson, A. (eds.) (2017) David Hockney, London: Tate Publishing.

Stobart, J., (2001) Printmaking for Beginners, London: A&C Black.

Storr, R., (2009) Gerhard Richter: The Cage Paintings, London: Tate Publishing.

Stromquist, A., (2004) Simple Screenprinting: basic techniques and creative projects, New York: Lark Books.

T.J.Clark, (2013) Picasso and Truth: from Cubism to Guernica, Princeton and Oxford: Princeton University Press.

Treves, L., (2016) Beyond Caravaggio, London: National Gallery.

Vann, P., (2004) Face to Face: British self-portraits in the twentieth century, Bristol: Samson & Company Ltd.

Weller, S. (ed.) (1994) German Expressionist Woodcuts, New York: Dover Publications Ic.

Wilcox, M., (1987) Blue and Yellow don’t make Green, NA: School of Colour Publications.

Wildenstein, D., (2017) Monet or the Triumph of Impressionism, Koln: Taschen.

Williamson, C., (2011) Reinventing Screenprinting, London: A&C Black.

Woods, L., (2011) The Printmaking Handbook: Simple techniques and step-be-step projects, London: Search Press.

Wye, D., (2017) Louise Bourgeois: An Unfolding Portrait, New York: MoMA.

Yeates, S., (2011) Learning Linocut: A comprehensive guide to the art of relief printing through linocut, Gamlingay, UK: Bright Pen.

Zelanski, P. & Fisher, M. P., (1999) Colour, London: Herbert Press.

Zigrosser, C., (1951) Prints and Drawings of Kathhe Kollwitz, New York: Dover Publications.