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A monotype is a one-of-a-kind print made by transferring a painted image to paper. The book starts out with an introduction to materials including plates, mediums, solvents, panting tools and paper as well as hand and press transfer equipment. It also covers studio safety and finding workshop facilities.
Techniques are next including working into a light or dark field and both hand and press transfer.
These include step-by-step instructions accompanied by demonstration photos. Working in specific mediums including watercolor, acrylics, water-soluble writing instruments, monoprint paints (Createx), oil paints, water-based oils and alkyds follows. A section discussing special oil-based printing inks for lithography, etching, printing and serigraphy is also here. There is even a chapter on special techniques including using masks & stencils, embossing and creating collages.
The final chapter gives an overview of monoprints, which combine monotype with other print making processes, and mixed-media monotypes. This includes intaglio, drypoint and engraving, as well as linocut and collagraphic monoprints.
There is a nice list of suppliers as well as interesting biographical notes on the artists featured in the back. This is a great book that displays the great diversity in mediums and results available with monotype.
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True to this Cambridge series, the concerto is put into its historical context. Did you know that the clarinet used in the late 1700s was toned differently than today's? Did you know there is no cadenza?
The chapter on design and structure is arguably the best set of program notes on the piece. The descriptions are nearly bar-by-bar, so you will need to have a score handy. For example, the development section of the first movement (Allegro) changes tonality from E major to F# minor to D major to B minor to F# minor in about 20 bars. Where the book does justice is to show parrallels both within movements as well as between movements.
Indeed, there are even references to other Mozart works, especially to the esteeemd Clarinet Quintet and even clarinet portrayls in Don Giovanni and Cosi Fan Tutte. Ideally, this book would have been more accessible through an interactive CD-ROM with links to those themes. This then is the reason to get the book--the rich context, both musically and historically, in which this piece is put. In other words, a careful reading of Chapter 6, with a recording and the score, and my finger on the pause button, have given me increased insight into not only this piece, but several other Mozart conerti and arias.
Please note that the book is scholarly and I have onl described a single chapter. For most other books, I would not consider the purchase of a book for a single chapter a good value. Hoewver, bearing in mind that Mozart's Clarinet Conerto is THE definitive clarinet concerto and a piece no Mozart lover should be without, it is a worthwhile investment. To the first time listener, the last movement, with its rapid changes in tessitura, rich textures, and addictive melodies will offer the listener bubbling satisfaction. By reading the book, it will offer increased insight into this masterpeice of this genius.
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This is the only Mathematica book I have seen with enough examples and depth to really show what Mathematica can do. The examples and quizzes are very clever and are a great reference to the subtle kind of tricks you can do to make your programs faster, cleaner, and smaller.
A selection of the diverse examples in the book: Chernoff Faces, Monte Carlo Simulations, Cryptography, 3D molecular-structure renderings, an Eliza program, and a discussion and comparison of functional, rule-based, and procedural programming styles.