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What Is a Print?

What Is a Print?
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Kaleidosketch Making Colour | Exhibitions and displays From lapis lazuli to cobalt blue, to dazzling gold and silver – travel through the story of colour with the National Gallery. ‘Making Colour’, the first exhibition of its kind in the UK, invites you on an artistic and scientific voyage of discovery. From sparkling minerals to crushed insects, learn about the surprising materials used to create pigments and the incredible journeys made by artists in their pursuit of new hues. Span hundreds of years from the early Renaissance to the Impressionist movement as you take in displays of paintings, mineral specimens, textiles, ceramics and glass. Journey from lapis lazuli to cobalt blue, ancient vermilion to bright cadmium red, through yellow, orange, purple and verdigris to deep green viridian – in a series of colour-themed rooms. ‘Making Colour’ is complemented by an interactive display that introduces a new world of contemporary scientific thought on colour. ‘Making Colour' is part of the 'National Gallery Inspires' programme of exhibitions.

TOUTES LES TECHNIQUES DE GRAVURE La gravure La gravure est la plus ancienne manifestation de la pensée humaine expimée d'une manière durable sans l'usage de la parole. Elle remonte aux temps les plus reculés, elle traduisit par les dessins sur bois, exécutés par les premiers graveurs qui méritèrent ce nom. : Wogelmuth (1431-1519), Schauffein (1490-1539) Albert Dürer (1471-1528), Peulinger (1465-1547), qui le premier tenta d'imprimer en couleurs des gravures sur bois, et sous la direction duquel fut exécutée la Marche triomphale de l'Empereur Maximilien. Ce travail formidable qui occupa pendant trois années 17 graveurs fut dessiné et gravé avec la participation de Dürer et Burgmaïr. Gravé sur des planches de poirier, conservées à la Bibliothèque Impériale de Vienne, il ne compte pas moins de 135 tableaux d'une longueur totale de 54m sur 0,37m de hauteur. La gravure à l'eau forte La gravure sur cuivre en relief

Rene Magritte - paintings, biography, quotes of Rene Magritte The Alphabet of Art The Robert J. McKnight Memorial Web Site Welcome to the Alphabet of Art. This site explains, in simple terms, the elements of visual design. Once you understand the Alphabet, you'll be able to "read" pictures and other works of visual art and understand why they work the way they do. The Alphabet of Art was developed by the late Robert J. McKnight derived many of the ideas in the Alphabet from Maitland Graves and his book, The Art of Color and Design (McGraw-Hill, 1951). The Alphabet of Art is a service of Guidance Communications, Inc. The Alphabet of Art — A Notation System for Visual Design The visual notation system known as the Alphabet of Art is made up of Elements and Attributes. The seven Elements are the things that the artist or designer works with: Line, Line Direction, Shape, Size, Texture, Value, and Color. The Attributes are defined as the qualities that the art or design conveys to the observer. In any notation system there must be a method of making comparisons.

A Building That Resembles What It Stores: Salt for New York City’s Roads Photo Imagine a coarse chunk of gray salt 69 feet high. The $20 million Spring Street Salt Shed, nearing completion on the Manhattan waterfront, has drawn curious stares from drivers along West Street and from pedestrians and bicyclists in Hudson River Park. Folded, creased, dimpled and chamfered, its windowless, enigmatic facade is like a monumental work of origami. But once you know what it is — a concrete shed where 5,000 tons of de-icing salt for the roads of Lower Manhattan will be stored this winter — you’ll have a hard time getting the image of a giant salt grain out of your mind. “In some ways, it’s the simplest building I’ve ever designed and in some ways, it’s the most complicated,” said Richard Dattner, 78, who founded Dattner Architects 51 years ago. The complexities begin with politics, because the shed is associated with the enormous — and enormously unpopular — Department of Sanitation garage across Spring Street, which Mr. Mr. Ms. Mr. “They will wonder,” Mr. Photo Mr. Ms. ACIDE Voir MORSURE ACIDE ( lavis à l'- ) Voir LAVIS ACIER ( gravure sur - ) Cette technique de gravure apparaît au XVIIIe siècle, bien que divers essais aient été faits sur plaques de fer avant cette époque, notamment par Dürer. ACIÉRAGE Opération de dépose, par le procédé galvanique, d'une très mince pellicule de fer sur une plaque de cuivre, destinée à renforcer la résistance de ce métal lors du tirage. AFFÛTAGE Opération consistant à rendre plus aiguë ou plus tranchante la pointe ou la lame d'un outil de gravure. ALUMINIUM Ce métal est parfois utilisé avec les méthodes lithographiques ou dans le procédé au Carborundum*. À PLAT ( impression - ) On nomme aussi planographie, la technique dont l'élément d'impression ne possède ni relief ( comme la gravure sur bois* ), ni creux ( comme la gravure en taille-douce* ). AQUATINTE Procédé de gravure en creux sur métal qui fait partie de la technique à l'eau-forte*. ARRACHAGE Accident d'impression. BARRÉE ( épreuve - ) Voir ÉPREUVE.

Using Toys and Forced Perspective to Get Professional, Low-Budget Visual Effects While working on a feature film called The Grind, filmmaker Vashi Nedomansky had to come up with a way to shoot a flashback scene, complete with Humvee, in the desert of Iraq. The only problem? He had neither Iraq, nor a Humvee to work with. Fortunately, he did have the sand dunes outside of Los Angeles and a 1:18 scale model of a Humvee purchased at Walmart for $23. As Nedomansky explains on his blog, “In filmmaking, sometimes the simplest solution will be the cheapest, most realistic and easiest. That’s the situation he found himself in with this Humvee scene. As you can see in the clip at the top, it turned out pretty well. Normally, a professional miniatures shot like this would take some serious time to set up, but as Nedomansky explains, you don’t always have that luxury. To find out more about the setup for this scene, and hear about the experience from the man himself, be sure to head over to his website by clicking here. (via Imaging Resource)

Los Angeles County Museum of Art Be More Creative: 7 Things to Learn From Leonardo da Vinci I'm going to go out on a limb here and say that since his death, the world has never really had another Leonardo da Vinci. While his name might conjure up images of famous works of art such as the Mona Lisa, The Last Supper, or The Vitruvian Man, he was much more than an artist. In fact, he was an architect, musician, mathematician, engineer, inventor, expert in anatomy, geologist, mapmaker, and botanist. In short, he was a genius. Genius and creativity are closely linked. Michael Gelb--someone who makes his living teaching companies how to innovate--has written 13 books on creativity and innovation. Gelb says the fodder for his book came from studying Leonardo's notebooks. Here's what Gelb learned from the Italian master about what you need to be most creative. Curiosity Children are curious by nature, but as we grow up much of our inquisitiveness ebbs. "Almost all children in their natural state ask lots of questions. Independent Thinking Sharpen Your Senses Embrace Uncertainty Other Tips

Printing press by Emily Lynch on Prezi Museo Nacional del Prado Art History Today MoMA : la gravure dans tous ses états - Gone Fishing Qu'est-ce qu'une gravure ? Le MoMA propose un petit tutoriel interactif en anglais, simple et bien fait, des quatre principales techniques utilisées. Pour comprendre ce qui différencie gravure sur bois, gravure à l'eau-forte, lithographie et sérigraphie. Les anglicistes peuvent utiliser directement le tutoriel en cliquant sur l'image ci-dessous. La gravure est une œuvre d'art créée à partir d'un processus de tranfert indirect de l'encre sur le papier. Gravure sur bois / Woodcut Cette technique, la plus ancienne, apparue en Chine au IXe siècle, arrive en Europe au début du XVe ; elle est alors utilisée pour imprimer les tissus, textiles et cartes à jouer. 1. 2. 3. 4. 1. 2. 3. 4. 5. 6. 7. 8. Lithographie / Lithography Inventée en 1798 par l'Allemand Aloys Senefelder, la lithographie (du grec lithos, pierre, et graphein, écrire) ou impression à plat connaît son véritable essor au XIXe, avec Bonnard et Toulouse-Lautrec parmi d'autres. 1. 2. 3. 4. 5. 6. 7. 1. 2. 3. 4.