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A print that copies another work of art, especially a painting, is known as a "reproductive print". Multiple impressions printed from the same matrix form an edition . Since the late 19th century, artists have generally signed individual impressions from an edition and often number the impressions to form a limited edition; the matrix is then ...
In page layout, illustration and sculpture, white space is often referred to as negative space.It is the portion of a page left unmarked: margins, gutters, and space between columns, lines of type, graphics, figures, or objects drawn or depicted, and is not necessarily actually white if the background is of a different colour.
A proof of an etching by Hubert von Herkomer, without text, which would appear in the empty rectangular portion of the page above the artist's signature.. The term "proof" is generally, but not consistently, applied only to prints from the late eighteenth-century onwards, beginning with the English mezzotinters, who began the practice of issuing small editions of proofs for collectors, often ...
The paper is removed, and the ink has been transferred from the plate to the paper. Micro-topography of an ordinary French post stamp (detail) showing the thickness of ink obtained by intaglio. The words la Poste appeared in white on red background and hence corresponds to areas with a lack of ink.
The Four Horsemen c. 1496–98 by Albrecht Dürer, depicting the Four Horsemen of the Apocalypse. Woodcut is a relief printing technique in printmaking.An artist carves an image into the surface of a block of wood—typically with gouges—leaving the printing parts level with the surface while removing the non-printing parts.
An important and often confused distinction is that between editions of original prints, produced in the same medium as the artist worked (e.g., etching, or lithography), and reproduction prints (or paintings), which are photographic reproductions of the original work, essentially in the same category as a picture in a book or magazine, though better printed and on better paper.
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Some commentators, such as Donn Zaretsky of The Art Law Blog critique the notion of "the public trust" and argue that deaccessioning rules should probably be thrown out altogether. [15] Others, such as Susan Taylor, director of the New Orleans Museum of Art and the AAMD's current president, believes that proceeds from the sale or funds from the ...