26 of 27 people found the following review helpful:
5.0 out of 5 stars
A practical handbook and valuable reference work, December 14, 2005
This review is from: The Woodcut Artist's Handbook: Techniques and Tools for Relief Printmaking (Woodcut Artist's Handbook: Techniques & Tools for Relief Printmaking) (Paperback)
A thoroughly engaging and accessible work, beautifully illustrated with many outstanding examples of woodcuts and wood engravings. Most readers will be itching to try their hand at this craft well before they've finished the book, and George Walker provides plenty of information to help you do just that. The writing is clear and readable, with a good balance of background information, practical tips and instructions, and resources for further reading. Although Walker makes no bones about the difficulty of mastering this craft, he encourages beginners to play and experiment, and gives many pointers to help you avoid the pitfalls. Obviously, his years of teaching experience have given him some insight into what people find trickiest about making printing blocks. He not only provides encouragement, he even gives instructions for repairing any mistakes you might make!
Other sections deal with how to select and care for tools (including how to keep them good and sharp); the pros and cons of different materials for blocks (various kinds of wood, linoleum, other synthetics) and different types of ink; choosing paper; ideas for arranging your workspace; how to make prints by hand or with a press (including instructions for making your own printing press!); and health and safety issues. He also suggests some interesting ways of using your finished prints, in addition to giving tips for mounting and storing them. The illustrations Walker has selected are both interesting and useful: he gives many details about the different artists represented, and the tools, techniques, inks, and papers they use to make their prints. With examples of so many different styles and techniques, you get some idea of the wide range of possibilities to be explored.
The book is rounded out by a glossary, short bios of the artists whose work appears in the book, and a list of sources for info and materials, as well as a bibliography and an index, making it a valuable and inspiring reference for all levels of printmakers and anyone else with an interest in this art. At the same time, it is a well-organized, easy-to-follow manual that can help anyone get started making their own relief prints. Even people who don't yet know that they're interested in woodcuts or wood engravings will be won over by this beautiful and comprehensive book. Highly recommended.
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19 of 19 people found the following review helpful:
5.0 out of 5 stars
Woodcut and wood engraving updated, July 22, 2006
This review is from: The Woodcut Artist's Handbook: Techniques and Tools for Relief Printmaking (Woodcut Artist's Handbook: Techniques & Tools for Relief Printmaking) (Paperback)
Walker has taken woodcut, arguably the oldest of printing techniques, and brought it into the twenty-first century. Albrecht Durer would certainly recognize everything that goes on in a woodcut artist's shop. It's the tools, inks, papers, and especially subject matter that have changed. This book steps clearly through every step, combining very readable text, illustration, and samples of original prints.
The book starts with the block itself. That can be something as homely as a cut slab of potato for a child's effort. It can also be linoleum, a wood plank, or a piece of plywood for regular woodcut. Wood engraving, which differs mainly in the fineness of the cut marks, requires fine, hard surfaces: end-grain boxwood, maple, or cherry in traditional technique, or man-made materials that may be lest costly and more predictable. The rest of the book continues in equally exacting detail: tools and especially their sharpening, cutting with hand or power tools, papers, classic and modern inks, taking the impression with simple or complex presses, and deciding on the edition. Although specimens appear thoughout the book, the last chapter is a gallery that shows the variety of people, techniques, and subjects in contemporary woodcut. Back matter is very helpful: glossary, artists' biographies, bibliography, access to resources, and a helpful index. The resource list may age quickly, as art suppliers come and go, but everything else has lasting value.
There are a few oddities. For example, Walker uses the term "monoprint" to describe images from uniquely inked cut blocks. I can't argue that usage, even though the term is more widely understood to describe prints from inked but uncut surfaces. And, despite otherwise complete coverage of multi-block printing, he omitted the idea of the counterproof. That technique inks the key block and prints it on paper, then uses the paper to transfer wet ink to the blocks to be used for other colors. Although traditional, the technique may lack the precision needed for wood engraving, and may have been overtaken by photocopying and other modern techniques.
I recommend this to anyone who appreciates woodcut, as an observer or as an active printmaker. It's beautifully printed and bound, and, despite the antiquity of the technique, completely up to date.
//wiredweird
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18 of 18 people found the following review helpful:
5.0 out of 5 stars
NOT Missing in Action, August 2, 2008
This review is from: The Woodcut Artist's Handbook: Techniques and Tools for Relief Printmaking (Woodcut Artist's Handbook: Techniques & Tools for Relief Printmaking) (Paperback)
This is in response to the Jeffery C. Chase review in which he incorrectly states that the work of Antonio Frasconi and Leonard Baskin were not mentioned in the Woodcut Artist's Handbook. They were mentioned and their work would have been reproduced in the book as well if the publisher had been granted reproduction rights. Frasconi's work is referred to on page 20 and The Complete Prints of Leonard Baskin by Alan Fern and Judith O'Sullivan (1984) is suggested reading on page 150. We tried to include as many artists as possible but because of copyright restrictions and limited resources we could not include everyone. Thank you for your comments.
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