Digital Image Transfer Creating Art with Your Photography Ellen G Horovitz 8580001076560 Books
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Digital Image Transfer Creating Art with Your Photography Ellen G Horovitz 8580001076560 Books
I stop short of giving Horovitz's book five full stars for a couple of reasons that I will detail below--but they are issues easy to overcome by most readers. Above all, this is a creative, inspirational text filled with usable techniques that you will want to try immediately!In general Image Transfer provides a series of hands-on,step-by-step projects that allow artists to push digital imagery into off-screen compositions. Horovitz covers more methods for transferring inkjet images than most of the other books I've read on the subject and includes methods for applying images to wood, glass, metal and paper using a variety of solvents and materials. Though not is precision-oriented as some step-by-step texts, she provides enough working photographs for the artist to proceed.
The entire first chapter is devoted to a rather basic guide to creating digital imagery which I felt would be better served if she expanded it into a second book on the production of digital imaging through computer programs. As it stands, it was not useful to me (I already know how to do it--or else I wouldn't be buying the text to begin with) and it may not be detailed enough for someone who has never done it before. However, it took up little space in the book so is not really an issue.
Throughout the text, she encourages readers to be innovative, experimental and to embrace all manner of texture and surface, which is wonderful. She shows readers how to use ghost images, save transfer leftovers to be recycled into new pieces and even how to incorporate shrink plastic images into more traditional work. Her receptiveness to experimentation is what makes this a strong enough title to purchase, especially since many related books are more conservative in their approach.
Some of the chapters focus on materials that must be bought by a particular manufacturer (like Lazertran or Sheer Heaven). Others discuss home studio ways of making transfers using common art materials (gel medium, turpentine).
Because the book is practical, supportive of experimentation and allows for a lot of creative adaptation, I highly recommend it--especially to artists already familiar with digital imaging and image transfer.
I wish she would acknowledge the fact that what she is really doing is a form of printmaking--but she does little to bridge the gap in discussion between photography and printmaking. Just a really minor pet peeve of mine.
The downside:
Horovitz does not address studio safety often or well enough in the book. In some cases, she does not mention safety at all. As with any new process, do research on your own to determine the safety of a solvent or product. Look up MSDS sheets if you need to. Some of the materials she advocates are QUITE toxic, but can be safely used with proper measures.
For example, acetone and turpentine are associated with a number of confirmed toxic conditions. She does not mention the necessity to use exceptional ventilation, gloves and a respirator (if possible) with acetone. At least the use of gloves and good air circulation! Turpentine is the same way and many people experience shock reactions to the toxic fumes.
She never mentions the use of gloves, dust masks, GOOD ventilation (not just your large living room with the windows closed) and the possibility of respirators or fume masks (in extreme cases). The only reference to safety that I found was when she mentioned (as a photo caption) that you should make sure the area is well ventilated when you bake tape transfer onto plexiglass. She also briefly reminds the reader not to re-use measuring spoons you've dipped in turpentine.
Not trying to scare anyone away, because again, I do recommend this book for its solid, instructional and creative material. This is just a reminder that when you try ANY new technique, even if the book does not mention studio safety, take a peek in other books or at the web to learn ways to stay safe. I have seen a lot of instructional books on encaustic painting, for example, which completely ignore the toxicity of many of the pigments and fumes!
You can look up the studio safety information yourself, as a companion to this (and all!) books.
Edited to add:
I found one other occasion in the text where she mentions safety (briefly), in a section on CitraSolv. It only mentions having good ventilation, but does not stress the dangers of any other products, what good ventilation means, or the necessity of using gloves.
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Digital Image Transfer Creating Art with Your Photography Ellen G Horovitz 8580001076560 Books Reviews
As an Artist I LOVE thos book, Excellent..
This book explains many ways to do image transfer on many types of surfaces. Easy to understand. Wish it had more step by step pictures.
I was interested in only image transfer. The first chapter + was about creating images in various pieces of software. If you need the whole package from creation of an image to incredible ways to transfer digital images, GET THIS BOOK. For me, half was a waste. I wanted the non-standard methods of image transfer. The book is still worth it to me, because of the innovative ways Ellen accomplishes image transfer.
I'm trying to figure out how to take nice images and turn into art. This book is a great reference for this. The challenge is that I don't use the same software, but the concepts are the same. The differences may yield some interesting results.
The instructions are very clear and there are plenty of techniques to try. You are bound to find something that works for you. Didn't care for the paper the pages are printed on. It left the images looking a little flat and that's a shame because I think there is some good work in this book..
I wish this book had been around years ago. it would have saved me countless dollars in products I didn't need or that failed. I totally agree with Lani Gerity Glanville's review!! Horovitz illustrates how to use everything from sophisticated software to household products to achieve professional results with photographic images. To boot, I have learned how to make wearable art from photographs that I never dreamed possible. I love my new dress that I made using Citra Solv, one of the products mentioned in this book. Thank you for this ground breaking book!!!
The strength of the book is the well spaced text and images and well-organized chapters and techniques. I was able to breeze through the entire book in less than 3 hours, maybe even two hours. In that short period of time gave me lots of ideas and possibilities for the transfer I would like to do. However, I was disappointed that there was not a chapter on transfer to canvas and painted-canvas, as it seems to me that transferring images for mixed-media work is the most significant thing one can do with this medium, either as an artist or art therapist. Moreover, I did not find much of the art work very compelling and in this regards the author was a little self-involved in terms of her high-regard for her own work. However, this later point is a minor flaw, one that should not stop you from purchasing this excellent book.
I stop short of giving Horovitz's book five full stars for a couple of reasons that I will detail below--but they are issues easy to overcome by most readers. Above all, this is a creative, inspirational text filled with usable techniques that you will want to try immediately!
In general Image Transfer provides a series of hands-on,step-by-step projects that allow artists to push digital imagery into off-screen compositions. Horovitz covers more methods for transferring inkjet images than most of the other books I've read on the subject and includes methods for applying images to wood, glass, metal and paper using a variety of solvents and materials. Though not is precision-oriented as some step-by-step texts, she provides enough working photographs for the artist to proceed.
The entire first chapter is devoted to a rather basic guide to creating digital imagery which I felt would be better served if she expanded it into a second book on the production of digital imaging through computer programs. As it stands, it was not useful to me (I already know how to do it--or else I wouldn't be buying the text to begin with) and it may not be detailed enough for someone who has never done it before. However, it took up little space in the book so is not really an issue.
Throughout the text, she encourages readers to be innovative, experimental and to embrace all manner of texture and surface, which is wonderful. She shows readers how to use ghost images, save transfer leftovers to be recycled into new pieces and even how to incorporate shrink plastic images into more traditional work. Her receptiveness to experimentation is what makes this a strong enough title to purchase, especially since many related books are more conservative in their approach.
Some of the chapters focus on materials that must be bought by a particular manufacturer (like Lazertran or Sheer Heaven). Others discuss home studio ways of making transfers using common art materials (gel medium, turpentine).
Because the book is practical, supportive of experimentation and allows for a lot of creative adaptation, I highly recommend it--especially to artists already familiar with digital imaging and image transfer.
I wish she would acknowledge the fact that what she is really doing is a form of printmaking--but she does little to bridge the gap in discussion between photography and printmaking. Just a really minor pet peeve of mine.
The downside
Horovitz does not address studio safety often or well enough in the book. In some cases, she does not mention safety at all. As with any new process, do research on your own to determine the safety of a solvent or product. Look up MSDS sheets if you need to. Some of the materials she advocates are QUITE toxic, but can be safely used with proper measures.
For example, acetone and turpentine are associated with a number of confirmed toxic conditions. She does not mention the necessity to use exceptional ventilation, gloves and a respirator (if possible) with acetone. At least the use of gloves and good air circulation! Turpentine is the same way and many people experience shock reactions to the toxic fumes.
She never mentions the use of gloves, dust masks, GOOD ventilation (not just your large living room with the windows closed) and the possibility of respirators or fume masks (in extreme cases). The only reference to safety that I found was when she mentioned (as a photo caption) that you should make sure the area is well ventilated when you bake tape transfer onto plexiglass. She also briefly reminds the reader not to re-use measuring spoons you've dipped in turpentine.
Not trying to scare anyone away, because again, I do recommend this book for its solid, instructional and creative material. This is just a reminder that when you try ANY new technique, even if the book does not mention studio safety, take a peek in other books or at the web to learn ways to stay safe. I have seen a lot of instructional books on encaustic painting, for example, which completely ignore the toxicity of many of the pigments and fumes!
You can look up the studio safety information yourself, as a companion to this (and all!) books.
Edited to add
I found one other occasion in the text where she mentions safety (briefly), in a section on CitraSolv. It only mentions having good ventilation, but does not stress the dangers of any other products, what good ventilation means, or the necessity of using gloves.
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