Printmaking by Gabor Peterdi, Simple Printmaking with Children and Exploring Print-making for Young-People by Harvey Daniels, Silvie Turner (review)

Books 375 There has been no book oncomputer artpublished hitherto that illustrates the mathematical-aesthetic principles of computer-generated graphics as well as this one. The task was defined by the team members themselves, namely, to investigate the possibilities of visual expression of 21 mathematical principles, including superposition of curves, moirC, random paths, grids composed of elements and pseudoperspective effects. Of special interest are ‘Stochastic Lines with Constraints’ and ‘Cube Representations’ by Wolk, ‘Rotations in Constant Steps’ and ‘Rotation Surfaces’ by Bottger, ‘Bundles of Circles’ by Warszawski, and ‘Random Superposition and Explosion of Lines’ and ‘Connection of Points by a Sequence of Circular Arcs’ by Roubaud and Weiss. Several examples are shown of each ordering principle and a short description of each geometrical structure is given. The result is an impressive demonstration of mathematical principles that is not only interesting in itself for pedagogical reasons but that also provides food for thought on the relationship between mathematics and aesthetics. Furthermore, this book leaves no room for doubt but that computer graphics put effects of Op art in the shade. The collaboration of mathematicians, computer operators and artists has led to a remarkable document showing the artistic possibilities of advanced technology. Printmaking. Gabor Peterdi. Collier-Macmillan, London, 1971. 342 pp., illus. E7.50. Simple Printmaking with Children and Exploring Printmaking for Young-People. Harvey Daniels and Silvie Turner. Van Nostrand-Reinhold, 1972. Each 95 pp,, illus. E2.50. Reviewed by: Ruth Faeber” The first book is a revised edition of Peterdi’s book by the same title, published eleven years ago. However, awareness of significant recent technological advances in the graphic arts and practical discussion of them is not the only factor that motivated the artist to update his material. Equally important is the necessity, he feels, to critically examine from an aesthetic viewpoint, and with some hind-sight, the use and validity of new directions. His searching approach is worthy of serious consideration for the professional, teacher, collector and amateur, alike. The text embraces a comprehensive study of methods, anticipated problems and solutions (quoting ‘case histories’ of his own prints), equipment, materials and their availability, in some cases made from the artist’s own formulas. Covering all fields of printmaking except lithography, the major subject is work on metal (intaglio printing). Etching , in particular, and the various methods of engraving , aquatint and dry point are discussed in detail, with illustrated instructions on workshop procedures . Woodcuts, lino and rubber cuts and other relief printing are treated individually and in combination with intaglio printing, as is work with plastics and silk screen in relation to mixed colour printing. A chapter covering the planning and equipping of a workshop gives instructions for motorizing an etching press and every phase fromthe traditional to the most experimental print is examined. This includesthe contemporaneous preoccupation with the sculptural image and the use of photography and photomechanical processes ; the latter he does not hesitate to challenge where it may be used to negate the essence of the ‘original print’. A final section deals briefly but engagingly with simple printmaking methods for children. An extensive glossary of terms and techniques, a list of suppliers and an index are included, as well as beautifully reproduced plates in colour and black and white of early to contemporary prints. The co-authors of the latter two books, who are also artists and teachers, have produced them to provide an imaginative and experimental classroom approach to printmaking, with and without the use of a press. The fact that the first book is suggested for an age group of 3to 11 year olds and the second for children 11 to 18 does not preclude their usefulness for professional artists. The first volume, in particular, has much to offer. The methods are simple as are the materials. Block, stamp, transfer, rubbings, silk screen, stencil and relief methods are all concisely explained and illustrated (in colour and black and white) by reproductions of prints and of photographs of children making them. The second volume describes methods involving various types of press work. Lithograph, intaglio, relief and silk screen prints of surprisingly advanced and often complex character show the possibilities from such a stimulating approach to...