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    Making Woodcuts and Wood Engravings: Lessons by a Modern Master
    Making Woodcuts and Wood Engravings: Lessons by a Modern Master
    Making Woodcuts and Wood Engravings: Lessons by a Modern Master
    Ebook93 pages34 minutes

    Making Woodcuts and Wood Engravings: Lessons by a Modern Master

    By Hans Alexander Mueller

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    About this ebook

    An indispensable guide to creating woodcut masterpieces, this volume offers instructions ranging from using the simplest strokes to making intricate multicolor print blocks. Detailed, easy-to-follow instructions are complemented by ninety-eight illustrations, most of them in color.
    "I love the woodcut as a form of artistic expression because it requires the simplest materials and comparative muscular strength," observes author Hans Alexander Mueller. "I love to exploit the full use of my five senses when wood, paper, and color come within my grasp." An accomplished artist whose work has illustrated numerous great literary works, Mueller explains his philosophy and techniques for creating art from the simplest materials. Readers learn about the tools of the trade, how to make plank woodcut and end-grain engravings, and how to use the medium to express themselves artistically.
    LanguageEnglish
    PublisherDover Publications
    Release dateAug 15, 2012
    ISBN9780486139937
    Making Woodcuts and Wood Engravings: Lessons by a Modern Master

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      Book preview

      Making Woodcuts and Wood Engravings - Hans Alexander Mueller

      Bibliographical Note

      This Dover edition, first published in 2006, is an unabridged republication of How I Make Woodcuts & Wood Engravings, published by American Artists Group, Inc., New York, 1945. For this edition, the color art on pages 59 through 88 has been reproduced in color; all other color art has been reprinted in black-and-white.

      Library of Congress Cataloging-in-Publication Data

      Müller, Hans Alexander, 1888-

      [How I make woodcuts and wood engravings]

      Making woodcuts and wood engravings : lessons by a modern master / Hans Alexander Mueller.

      p. cm.

      Originally published: How I make woodcuts & wood engravings. New York : American Artists Group, 1945.

      9780486139937

      1. Wood-engraving—Technique. I. Title.

      NE1225.M8 2006

      761’.2—dc22

      2005057867

      Manufactured in the United States of America

      Dover Publications, Inc., 31 East 2nd Street, Mineola, N.Y 11501

      I love the woodcut as a form of artistic expression because it requires the simplest materials and comparative muscular strength. I love to exploit the full use of my five senses when wood, paper and color come within my grasp.

      H. A. M.

      Table of Contents

      Title Page

      Copyright Page

      CHAPTER I - The Woodcut and Wood Engraving and its place in the Graphic Arts

      CHAPTER II - Foundation of the Technique

      CHAPTER III - The Woodcut-Long Grain

      CHAPTER IV - The Wood Engraving · End Grain

      CHAPTER V - The Colored Woodcut & Wood Engraving

      ACKNOWLEDGMENT

      A CATALOG OF SELECTED DOVER BOOKS IN ALL FIELDS OF INTEREST

      CHAPTER I

      The Woodcut and Wood Engraving and its place in the Graphic Arts

      TO ALMOST EVERY ARTIST there comes a time when he feels the urge to make a woodcut. The result is often exciting, although not necessarily a woodcut in the sense of manifesting a true mastery of the craft.

      There is a keen, fresh pleasure in cutting into a block of wood with knife or graver to bring forth a composition of different levels, of heights and depths; and, in the ensuing printing, in rolling the black ink over the surface and pulling the first proof. The process is as unpredictable as the result. There is breathless suspense in awaiting the outcome, which always has an element of surprise. For the past few hours I have been cutting, graving, boring, gouging, scraping and scratching, and the result of my work appears suddenly before me as a whole the instant I lift the paper from the inked block. The contrast between the darkened surface of the block and the lighter shade of the natural wood which shows in the cutting is much less than the bold contrast of black ink on white paper.

      The visual experience is, therefore, entirely different from that in painting or sketching, where the visible result keeps pace with the progress of the work. No wonder, then, that the first proof makes a profound impression and immediately captivates the creator’s eye. Whether or not anything artistically worthwhile has been accomplished can be decided only after the first intoxication has passed.

      Always there is the danger of bluffing, or of glossing over imperfections. This danger, incidentally, has subtly insinuated itself into the whole field of the graphic arts, and concerns not only the woodcut. It is most obvious in etching, where the untalented artist achieves the easiest result. Etchings are the most popular form of print in the art shops. The very name elicits from the layman a degree of respect, and gives him a mystic thrill which affects him so deeply that he has no urge to examine its source. Seldom does he have any idea of the technical process involved. All he wants of art is a thrill—perhaps the rudimentary thrill of possession. The word etching has a greater appeal to his romantic imagination than the more homely word woodcut.

      In the technique of etching the chief danger lies in possible accident or

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