Print/trykning og reproduktionsteknikker

2019 begann Stefan Marx mit seiner Serie von Monotypien. In Zusammenarbeit mit dem Berliner Siebdrucker Björn Wiede entwickelte er seine eigene Arbeitsweise: In drei Arbeitsgängen entstehen drei Einzelbilder - ein positives, ein negatives und ein »Geisterbild«, der ghost. An diesem neuen Ansatz faszinierten ihn zunächst der fette Farbauftrag und die Intensität der Pigmente. Beim Farbauftrag wird die Bildoberfläche selbst nicht berührt - die Bildfindungen ergeben sich über die Bearbeitung des Drucksiebs. Ein großer Teil dieser Monotypien sind Schriftbilder, doch es gibt ebenso figürliche Bildmotive, darunter Tierzeichnungen und andere Zeichen aus dem Motivinventar von Stefan Marx.Dieses Buch schließt an den Band Schriftbilder an: Auch Monotypien hat Stefan Marx als Künstlerbuch entwickelt und arbeitet mit einer faszinierenden Verschränkung zwischen den Abbildungen der Werke und den Entwurfskizzen aus seinen Notizbüchern.STEFAN MARX (*1979 Schwalmstadt, Hessen) ist Zeichner, Skateboarder und Kulturphilosoph. Seine unverwechselbare Handschrift findet sich auf Papier, Leinwand, Porzellan und Textilien. Er entwirft für verschiedene Labels, veröffentlicht im Eigenverlag Zines, zeigt seine Arbeiten bei zahlreichen internationalen Ausstellungen, Art Book Fairs und in Galerien. Marx lebt und arbeitet in Berlin.

The master of screen-printing guards the secrets surrounding his recipes and processes like the tinkerers and inventors of old. The Swiss Lorenz Boegli developed this printing technique in a quality that is unattainable for other printing processes. Together with the manufacturer, he developed the technique of RGB printing with pearlescent pigments to a mastery that is used by the crème de la crème of fashion, watch and jewelry brands for their packaging and printed matter. In cultural projects, the printer continues to develop his processes and astounds with emotional results that are only remotely reminiscent of traditional screen printing. Boegli's products achieve their maximum effect in this publication in combination and juxtaposition with offset printing in equally high quality - on exquisite paper and in careful variation. Exquisite examples of printing of the various printing processes offer an incomparable and stunning visual pleasure.Text contributions in letterpress enhance the haptic sensation of the book. Experts from various disciplines shed light on the metaphor of alchemy in relation to Boegli's mastery and its significance for commercial use as well as for the advancement of the printing industry.The publication was produced in close cooperation between Lorenz Boegli, the quality printing house Grafiche Antiga in Treviso and the traditional Italian paper manufacturer Fedrigoni, supported by Merck KgaA, Darmstadt.

'A fascinating journey into our relationship with the physical book...I lost count of the times I exclaimed with delight when I read a nugget of information I hadn't encountered before' Val McDermid, The TimesMost of what we say about books is really about the words inside them: the rosy nostalgic glow for childhood reading, the lifetime companionship of a much-loved novel. But books are things as well as words, objects in our lives as well as worlds in our heads. And just as we crack their spines, loosen their leaves and write in their margins, so they disrupt and disorder us in turn. All books are, as Stephen King put it, 'a uniquely portable magic'. Here, Emma Smith shows us why.Portable Magic unfurls an exciting and iconoclastic new story of the book in human hands, exploring when, why and how it acquired its particular hold over us. Gathering together a millennium's worth of pivotal encounters with volumes big and small, Smith reveals that, as much as their contents, it is books' physical form - their 'bookhood' - that lends them their distinctive and sometimes dangerous magic. From the Diamond Sutra to Jilly Cooper's Riders, to a book made of wrapped slices of cheese, this composite artisanal object has, for centuries, embodied and extended relationships between readers, nations, ideologies and cultures, in significant and unpredictable ways. Exploring the unexpected and unseen consequences of our love affair with books, Portable Magic hails the rise of the mass-market paperback, and dismantles the myth that print began with Gutenberg; it reveals how our reading habits have been shaped by American soldiers, and proposes new definitions of a 'classic'-and even of the book itself. Ultimately, it illuminates the ways in which our relationship with the written word is more reciprocal - and more turbulent - than we tend to imagine.