# bib

id: 29928
author: Kainen, Jacob
title: Why Bewick Succeeded: A Note in the History of Wood Engraving
extension: .txt
mime: text/plain
words: 8128
sentence: 401
flesch: 64
cache: cache/29928.txt
txt: txt/29928.txt
summary:
  He was no Holbein, no Botticelli--it is absurd to think of him in such terms--but he did develop a fresh method of handling wood engraving. The pupils were competent but not gifted, yet they could turn out wood engravings not inferior to Bewick's own.


id: 20195
author: Fletcher, F. Morley (Frank Morley)
extension: .txt
mime: text/plain
words: 17396
sentence: 814
flesch: 73
cache: cache/20195.txt
txt: txt/20195.txt
title:
  Wood-Block Printing A Description of the Craft of Woodcutting and Colour Printing Based on the Japanese Practice

summary:
  Moreover, the craft is under the disadvantage that all the stages of the work, from making the first design to taking the final impressions, must be done by the artist himself--work which includes the delicate cutting of line and planning of colour blocks, and the preparation of colour and paper. INDEX Alum, 50 Andreani, Andrea, xi Baldung, Hans, x Bamboo-sheath, 62 Baren, 11, 61, 62 Baren, manner of using, 72 Baren, to re-cover, 63, 64 Baren, to re-cover (diagram), 64 Batches, size of, 89 Batten, J. D., 2 Block cutting, materials, 17 Blocks, cutting of, 17, 23 Blocks, mounting of, 18 Blocks, planning of, 23 Books of reference, 129 Bowie, Henry P., 86 British Museum Print Room, 43 Brushes, 65 Brushes, drawing of, 66 Carborundum stone, 21 Cherry wood, 17 Chiaroscuro, x Chinese ink, 55 Chisel, grip of, 34, 35 Chisels, 20 Clearing of spaces, 33 Clearing of wood between knife cuts, 35 Colour, 56 Colour block, diagram of section, 42 Colour blocks, plan of, 39 Colour blocks, planning, 40, 41 Colour blocks, printing from, 73 Colour design, 87 Commercial development, 5 Conventions of design, 82 Co-operative printing, 89 Craft in Japan, 61 Craftsmen, training of, 24 Cranach, Lucas, x Crane, Walter, ix Creasote, 56 Cutting, 25 Da Carpo, Ugo, x Damping, 14 Damping sheets, 51 Design, 27 Design, conventions in, 82 Designing, 81 Designing wood-block prints, principles of, 81 Design of key-block, 26 Diagram of knife cuts, 33 Drying of colour, 77 Drying of prints, 79 Errors of register, 43 Eve and the Serpent, print of, 2 Flat treatment, 26, 27 Foliage, 85 Gelatine, 48 Giles, William, 65 Glue solution with colour, 58, 75 Gouge, method of holding, 35 Gradations, printing of, 75 Grip of chisel, 34, 35 Hands, position of, in cutting, 30, 31 Herkomer, ix Hiroshigé, 84 Impressions, possible number of, 92 Ink, 54 Inking of block, 69 Ink, preservative for, 56 Italian woodcuts, ix Jackson, T. B., xii Japan, craft in, 4, 23 Japanese blocks, 43 Japanese craftsmen, 61 Japanese drawing, 27 Japanese key-block, 33 Japanese Painting, The Laws of, 86 Japanese paper, 54 Japanese printers, 52, 80 Japanese prints, 83 Key-block, 25, 27, 84, 85 Key-block impressions, 5, 26, 33 Knife, 19 Knife, drawing of, 19 Knife, use of, 24 Knife cuts, diagram of, 33 Laws of Japanese Painting, 86 Light and shade, 85 Line block, cutting of, 32 Line, development of, 32 Line of key-block, 26 Mallet, 21 Mallet, drawing of, 21 Mantegna, xi Millboards for drying, 79 Modern prints, 83 Mordant, alum as, 50 Mould, 79 Mulberry fibre, 47 Museums, sets of blocks at, 43 Number of impressions, 92 Offsetting, 71, 77 Oilstones, 21 Orlik, Prof. Emil, 7 Outamaro, 24 Pad, 61 Paper, 47 Paper, damping of, 51 Paper, manner of holding, 70 Paper, mould in, 79 Paper, need of white, 54 Paper, sizing of, 48 Paper, sizing of (drawing), 49 Paste, 58 Paste, amount used in printing, 74 Paste, preparation of, 59 Plank, preparation of, 18 Planning of blocks, 24 Position of hands, 30, 31 Posters, 86, 87 Printing, 67 Printing, co-operative, 89 Printing, detailed method of, 61 Printing from colour blocks, 73 Printing, general description of, 9 Printing of gradations, 75, 76, 77 Printing pad, 62 Prints, designing, 81 Prints, drying of, 79 Register, 71, 78 Register, errors of, 41, 43 Register marks, 36, 37, 42 Register marks, position of, 37 Register marks, section of, 38 Rice flour, 59 Rice paste, 58 Rubber, glass, 65 Rubber, printing, 61 Shadows, treatment of, 85 Shallow cuts, 34 Shrinking of paper, 41 Siberian bear hair brushes, 66 Size, amount of, in paper, 75 Size, excess of, 75 Sizing of paper, 48, 49 Smithsonian Institution pamphlet, 2 South Kensington Museum, 43 Spots in paper, 79 Table, plan of, 11 Tokuno, T., 2 Tools for block-cutting, 19 Training of designers, 86 Treatment of form, 93 Tree-forms, 85, 93 Variety of line, 82, 83 Washita oilstone, 22 Wood, 17 Woodcuts, Italian, ix. Work-table, plan of, 11 * *


id: 40589
author: Cundall, Joseph
title: A Brief History of Wood-engraving from Its Invention
extension: .txt
mime: text/plain
words: 29078
sentence: 1164
flesch: 67
cache: cache/40589.txt
txt: txt/40589.txt
summary:
  Many other block books exist in the British Museum, the Bodleian Library, Oxford, the Spencer Library, Manchester, and in the large libraries on the Continent besides those we have mentioned. Although at this time Germany took the lead of all European countries so far as the illustrations of printed books are concerned, the transition from German to Italian art is like the change from the strong bleak winds of the North to the balmy air and sunny skies of the South.


id: 27268
author: Ruskin, John
title: Ariadne Florentina: Six Lectures on Wood and Metal Engraving
extension: .txt
mime: text/plain
words: 60696
sentence: 2457
flesch: 70
cache: cache/27268.txt
txt: txt/27268.txt
summary:
  Although, however, I do not now press further my cavils at the triumph of modern line engraving, I must assign to you, in few words, the reason of its recent decline. But is this necessarily a disadvantage? _Absolutely_, an immense disadvantage,--a woodcut never can be so beautiful or good a thing as a painting, or line engraving.


# ent

id: 40589
sid: 12
eid: 17
type: PERSON
entity:
  --samuel williams--w. t. green--o. jewitt--c. gray--s. slader--j. greenaway--w. j. palmer--german engravers


