Manning On Decoupage

Clear explanations of every step of every procedure by man who probably knows more about craft than anyone. 91 drawings, over 100 photographs. Index.

Over 550 florals, animals, letters, shells, period costumes, frames, and much more. Printed on one side of page. 8 color plates. Instructions.

The name Audubon has long been synonymous with extraordinarily beautiful and scrupulously accurate illustrations of birds and other wildlife. The 37 full-color illustrations of native American birds in this volume have been reproduced from authentic Audubon lithographs. Printed on one side only, these superb renderings are ideal for decoupage (instructions included) or for framing.

This new and revised edition provides 14 chapters introducing new modes of 'hybrid' criticism which have emerged in the twenty-first century.

An introduction to the art of creative decoupage, illustrated in full color.

“Cultural Graphology” could be the name of a new human science: this was Derrida’s speculation when, in the late 1960s, he imagined a discipline that combined psychoanalysis, deconstruction, and a commitment to the topic of writing. He never undertook the project himself but did leave two brief sketches of how he thought cultural graphology might proceed. In this book, Juliet Fleming picks up where Derrida left off. Using both his early and later thought, and the psychoanalytic texts to which it is addressed, to examine the print culture of early modern England, she drastically unsettles some key assumptions of book history. Fleming shows that the single most important lesson to survive from Derrida’s early work is that we do not know what writing is. Channeling Derrida’s thought into places it has not been seen before, she examines printed errors, spaces, and ornaments (topics that have hitherto been marginal to our accounts of print culture) and excavates the long-forgotten reading practice of cutting printed books. Proposing radical deformations to the meanings of fundamental and apparently simple terms such as “error,” “letter,” “surface,” and “cut,” Fleming opens up exciting new pathways into our understanding of writing all told.