By N. Krishna Reddy
Here's a undemanding, finished reference at the artwork of colour printmaking created by way of Krishna Reddy, one of many world's maximum and such a lot leading edge printmakers. This booklet does not anticipate the reader to understand much, yet whilst, it does not overlook any technical aspect. there are entire formulation, lists of fabrics and gear, and step by step directions documented through images.
An amazing innovator and experimenter, Krishna Reddy sees the plate as a sculpted floor, and intaglio printing as a 3-dimensional technique. Reddy creates a philosophy for operating the picture. via various ink viscosity and curler density, he has completed shades of amazing complexity at the plate. Reddy's discovery of the primary of colour viscosity has drastically simplified technical methods whereas whilst expanding the expressiveness and depth of the picture. This e-book demonstrates the intimate connection of the artist together with his fabrics.
Krishna Reddy's inventive genius introduced him common acclaim: fifty one-man exhibitions were fastened not just within the U.S. and Europe, but additionally in Montreal, Bombay, Melbourne, New Delhi, Buenos Aires, Tokyo, and Beijing. He serves on a number of award juries, starting from the Society of yank image Artists to the Lalit Kala Akademi of India.
But it isn't his inventive prowess by myself that uniquely certified Krishna Reddy to jot down a e-book on printmaking. he's additionally a consummate instructor: "He can begin humans to a wholly diverse box of expression," observes a collaborator at Paris' famed Atelier 17, which Reddy directed for greater than 10 years. this day he directs the pics software at long island collage.
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Extra resources for Intaglio Simultaneous Color Printmaking: Significance of Materials and Processes
Materials are a vast range of possibilities, not a limited collection of objects. Accordingly, as he par- Page 16 ticipates more and more with materials, the artist searches for unity in their endless variety. In a developing image he senses formation and transformation of matter. Materials then become more pliable and meaningful in expressing his state of mind through the image. As the artist's concepts, ideas and ideologies take over, everything else (including materials) passes him by. He uses the surface of a canvas or a plate to work out his ideas, without knowing much about his material.
I especially wanted to single out my students who have contributed to my work and generously helped me at every stage of the book: Susan Fateh, Martha Korduba, Jan Petersen, Marianne Sollosy, Andrea Zinn. In particular, my warm thanks go to Eric Edelman who aided me greatly in the preparation of the manuscript, and Prof. Paul Owen, Gerry Katzban and Michel Smith who helped me with the illustrations. I would like to thank David Ecker, Director of Doctoral Program, Department of Art and Art Education, New York University; Gabor Peterdi, former Professor, Yale University; Una Johnson, Curator Emeritus, The Brooklyn Museum; Janet Siskind, Professor of Anthropology, Rutgers University; Percival Goodman, Professor Emeritus, Columbia University; Dale McConathy, Chairman, Department of Art and Art Education, New York University, for reading and commenting on the manuscript and for their generous advice; and I thank especially the late Stanley William Hayter, Founder-Director of Atelier 17, Paris, who guided me towards a more meaningful effort at every stage of the book.
Page 1 PREFACE Printmaking, like painting and sculpture, is a languagea language of forms, of lines, textures and reliefsin which the artist expresses himself. It is one of the most inspiring means of expression, with its powerful graphic gestures and essential simplicity. The wealth of materials and processes, and their wide range of effects, make printmaking unique in the field of art. As new images inspire the artist to discover fresh ways and means for expressing them, the field is in a constant state of renewal, full of experiment and innovation.