bibliography and resources references
references including publications, art galleries, public collections, materials suppliers and a selection of visual arts websites
'Time spent in reconnaissance is time seldom wasted.'
_ date unknown
Publications having some references to artworks in public collections and artists and writers names.
At the time of publication these are as 'rough guide' suggestions to explore and cross reference names, processes and artworks. Some publications listed might not be in stock at a 'local library. In Great Britain it is sometimes possible via The Public Library Service to obtain much for those with special interests from The British Library. Public Libraries usually have a quantity of 'art books' as a current collection and one may find scope for 'Inter Library Loans' by asking for 'search' by subject or author for any number of items about print, artists' prints and printmaking. Also paper technology and paper making together with commercial printing and printing technology for wider reaching clues to ways and means.
If it happens that there is an arts institution, college of art, academy, artists group studios or print makers' studio group in one's locality, then there may be a chance to see current and back numbers of such as 'Jackdaw', 'Artists Newsletter', 'Printmaking Today' and other specialist publications.
From Public Libraries, possibly by special request, seek such as the following:-
_____'Creative Print Making', author Peter Green, 1964, published by Batsford Ltd._______ see illustrations on pages 109 to 113 and text on page 103 _____
' This section also includes some monotypes. This is a direct transfer method of working in which the drawing is made onto an inked-up slab and transferred to paper while still wet. For each print the slab on which the drawing is being done must be replenished with ink, so it is not practicable to obtain two or more identical prints. However it has many possibilities as a direct quick method and whenever a slab of ink has been used one should always be encouraged to experiment with monotypes on it before cleaning away.'______
'The Dream of Icarus, Art and Society in the Twentieth Century' author Kenneth Coutts-Smith, 1970, published by Hutchinson and Co.(Publishers) Ltd. ISBN 09 0997790 5 __ see illustration between pages 84 and 85__ '... expand and attenuate the visual sense ...' __ Light Projection experiment at Hornsey College 'Sound Light' workshop _ Clive Latimer, photo Mike Leonana reference to page 122 ___ ( circa early to mid 1960's toward 'Pink Floyd' band's light-shows and later works in castings and impressions from that to be found by 'random' selection of places )______also pages 173, 183, 184, 185 and illustration on facing page 212 for references to artworks by Denis Bowen ( 1923-2006 ) multi-media paintings and monotypes, originals in public collections Huddersfield Art Gallery, painting in Smithsonian Museum Washington DC USA, paintings and monotypes at Tate Modern London and archives drawing and screen-print in British Museum Print Collection London.
___ See also Nicolas Schoeffer ( of kinetic light-show installation, Musee d'Art Moderne, Paris, expo 1965 ) and other 'Group Madi' associates page 201 and illustration on facing page 212 with associated reference links continued from Bowen illustration through to Schreib illustration on facing page 213, ___ for various sorts of 'abstract' artworks
New Ways in Gravure, author Stanley W. Hayter. London, Routledge and Kegan Paul Ltd. 1949. ____ refrences _ 'multi viscosity inking'
Frontiers of Printmaking, Aspects of Relief Printing author Michael Rothenstein. London, Studio Vista Ltd.; New York, Reinhold Publishing Corporation, 1966.
____ refrences _ ply-wood print blocks
Etching, Modern Methods of Intaglio Printing, author Julian Trevelyan. London, 1963.
____ references _ inks and papers
'A New Method of assisting the Invention in Drawing Original Compositions of Landscape', author Alexander Cozens ( 1717-86 ) published 1785, republished by Paddington Press Ltd. 1977 __ ISBN 0 448 22120 9 ____ for method of making original compositions by way of 'abstract' marks and blots on paper as developed into fully formed finished artworks together with quote in Eighteenth Century English language translation of remarks by Leonardo da Vinci (b.1452 - d.1519) concerning invention and imagination ____ ( from 5 page and continued on page 6 )
"Among the things I shall not scruple to deliver a new method of assisting the invention, which, though trifling in appearance, may yet be of considerable service in opening the mind, and putting it upon the scent of new thoughts; and it is this. If you look upon an old wall covered with dirt, or the odd appearance of some streaked stones, you may discover several things like landscapes, battles, clouds, uncommon attitudes, humorous faces, draperies, etc. Out of this confused mass of objects, the mind will be furnished with abundance of designs and subjects perfectly new."
___ and Alexander Cozen's inventive ideas, page 6 and continued, with following illustrations.
" I presume to think, that my method is an improvement upon the above hint of Leonardo da Vinci, as the rule forms offered by this scheme are made at will; and should it happen, that a blot is so rude or unfit, that no good composition can be made from it, a remedy is always at hand, by substituting another. But according to Leonardo, the rude forms must be sought for in old walls, etc. which seldom occur; consequently, the end of the composer may sometimes be defeated. An artificial blot is a production of chance, with a small degree of design; for in making it, the attention of the performer must be employed on the whole, or a general form of the composition, and upon this only; whilst the subordinate parts are left to the casual motion of the hand and brush."
'Oxford Companion to Art', edited by Harold Osborne, 1970, published by Oxford University Press _ see Giovanni Benedetto Castiglione ( c.1610-65 ) small monotypes oils on paper at Royal Library Windsor, descriptions and cross references 'Monotype'.
page 736 _ Monotype Prints _ see Giovanni Benedetto Castiglione monotypes off copper plate, William Blake monotypes off cardboard and Edgar Degas monotypes for some mirror image paintings compositions and incidentally 'light-show' small sculpture on turn table with back light and projection screen silhouette kinetic imaging.
__ see also 'Frotage', 'Abstract Expressionism', 'Tapie and Tachisme ', 'Tao Chi', 'Tintoretto' and 'Prints'
'The Artist's Handbook of materials and techniques' author Ralph Mayer published by Faber and Faber __ ISBN 0 571 04722 X for technical knowledge and recipes _____for 'Monotype'__ pages 596 - 597 and 'plasticity' page 455
'The plasticity of a substance is its resistance to deformation of flow when a certain initial finite force (the controlled stroke of the brush, the graver, the palette knife, the chisel) is necessary to overcome the internal friction and cause the material to flow. When a material is in the plastic state, it will retain its shape after deformation. Some paints have greater plasticity than others, when their brush strokes "stay put" instead of flowing out.'
see also 'wall scraper' illustration and text on page 112 and text on page 547 about ' Spatulas or paint knives.
'... implements which are intended to assist the painter ...'
Periodic Table of Chemical Elements
© E.N.Ramsden,1985 PERIODIC TABLE from page 751 , A-Level Chemistry by E.N Ramsden, published by Stanley Thornes(publishers)Ltd,1985, ISBN: 0-85950-154-x ST(P) ISBN: 0-85950-512-x ISE This
__ original schema by Dmitri Mendeleev in 1869, with reference to his proposed notion that
'the properties of the elements are periodic functions of the atomic weights'
___ further to a schema by Newlands in 1863/64, termed as 'the octaves law'
showing that when the elements are arranged in order of increasing atomic weights, the first relates as being similar to the eighth, the second to the ninth, the third to the tenth and so on.
see __ design as for tea-cloth-educational-graphics
with 'chemistry' webpages listing
'Screen Process Printing' author Kosloff
____ refrences _ for adaptable and adoptable recipes and ingenious devices.
Available at one time from Sericol Ltd an via some public libraries. Possibly by request where twelve or more requests occur for an item, it may be that this may warrant a purchase of the item for public use.
From 'The Classicists to the Impressionists: Art and Architecture in the Nineteenth Century, Volume III,
A Documentary History of Art' Selected and Edited by Elizabeth Gilmore Holt, 1966, published by Anchor Books Doubleday and Co., Inc. _ Library of Congress Catalogue Card Number 63--20056___ Excerpts from 'Three Fragments, Reality and Art' __ from the posthumous papers of Conrad Fiedler, translated by Thornton Sinclair and Victor Hammer, Lexington. Kentucky, USA, 1951__ for source context of following quotation from pages 453 - 454 _ index item 'creative' pages 449 - 468__
Creative process, Conrad Fiedler
"....whatever deserves the name of artistic imagination can rise only from a creative process.
The hand does not execute something which the mind could have formed previously, but rather the process in which the hand engages is a further stage of a single indivisible process."
__ Conrad Fiedler (b.1841-d.1895)
__ references well worth seeing in context of this as entire and related texts
'Block Printing' author John Ward, for concise reference notes leaflet simply about simple block print techniques
__ send S.A.E. to John Ward, Ashbrooke House, 22 Wesley Street, KIRTON IN LINDSEY, North Lincolnshire, DN21 4PE
'New World New Art', author Margaret Garlake _ published by Paul Mellon Center for Studies _ a significantly well historically researched and scholarly critical perspective about contexts and aspects of post 1945 visual arts in Great Britain
‘Inspiration to Paint Landscapes’ ISBN-2-88046-419-6 and ‘Inspiration to Paint Watercolours’ ISBN-2-88046-659-4.
, edited by Betsy Hosegood, with a chapter by Stephen Court about gouache painting techniques,
published by RotoVision
'The Code Book', Simon Singh, 1999, first published by Fourth Estate Ltd. 1999,
ISBN 1-85702-879-1, a brief history of symbols, ciphers, abstract compositions and 'colour keys'.
'Websafe Colors' _ COLOR TABLE by Microsoft.
'amazing coincidences ellipsis' line drawings sprites series 2008 by Stephen Court
'Multimedia Web Programming', Adrian Moore 2005, first published by Palgrave Macmillan 2005, ISBN -133: 978-1-4039-0457-7 and ISBN-10: 1-4039-0457-X
C:\Program Files\Microsoft Visual Studio\Common\IDE\IDE98\MSE\1033\HTMLREF.CHM"
Help Files about DHTML possibilities _
© 1999 Microsoft Corporation.
and example illustration such as __
IBM/MicroSoft Works handbook for _IBM-PS1 computer software Microsoft Works Version 2.00_1987-1989 ___ for formulas such as RAN,
random numbers software
for illustration see quotes _ top right _ LUCKY NUMBERS
as from _RAND45_.WKS Spreadsheet format for generating 5 x 9 grid sets of 5 columns of numbers 1 to 9. _ also random colour series and tone values. Sutable for two, three and four dimensions applications.
Rather interesting graphic effects when numbers sets are transcribed via Microsoft Office software as RADAR charts. May be transposed or employed in association with newer versions of Microsoft and others software/hardware.
'Getting More Visitors to Your Website', Martin Bailey, 2006, first published by Management Books 2000 Ltd, ISBN 1-852-XXX-X, for web-pages design and construction with regards to Browser and Search Engines facillities and functions.
click here for resources references
artists, art galleries, public collections, materials suppliers and a selection of visual arts web-sites)
List of some 'instant' www links
World Wide Web 'picture library' references
Materials, tools, sundries and supplies
Your usual suppliers of various merchandise
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