ALLIX, Susan, illustrator]. ALBERTI, Leon Battista. On Painting . London: Susan Allix 1999.
ALLIX, Susan, illustrator]. ALBERTI, Leon Battista. On Painting . London: Susan Allix 1999. 4 o. Illustrated by Susan Allix using a variety of etching techniques including aquatint, drypoint, mezzotint and corborundum, together with watercolor and pencil. Bound by Susan Allix in brown goatskin, covers with applied abstract elements of dyed goatskin, uncut. LIMITED EDITION, number 17 of 22 copies signed by Allix. Five or six years in the making, Allix's book encorporates a variety of her techniques, according to Hugh Worthy's profile in the Rare Book Review . "Here she has retranslated Alberti's text from the Tuscan as well as making every element of the book. She refers me to an illustration that looks to me like a simple perspective study. This, she tells me, was created using the notoriously complex rules of perspective described by Alberti. 'While I was making it I kept on throwing it away. It wasn't right. Then suddenly it all resolved itself very quickly,' she says. "The subject of perspective brings her onto the peculiarities of the book format. 'What is extraordinary about the book,' she begins, 'is how it can capture and describe space and time.'"
ALLIX, Susan, illustrator]. ALBERTI, Leon Battista. On Painting . London: Susan Allix 1999.
ALLIX, Susan, illustrator]. ALBERTI, Leon Battista. On Painting . London: Susan Allix 1999. 4 o. Illustrated by Susan Allix using a variety of etching techniques including aquatint, drypoint, mezzotint and corborundum, together with watercolor and pencil. Bound by Susan Allix in brown goatskin, covers with applied abstract elements of dyed goatskin, uncut. LIMITED EDITION, number 17 of 22 copies signed by Allix. Five or six years in the making, Allix's book encorporates a variety of her techniques, according to Hugh Worthy's profile in the Rare Book Review . "Here she has retranslated Alberti's text from the Tuscan as well as making every element of the book. She refers me to an illustration that looks to me like a simple perspective study. This, she tells me, was created using the notoriously complex rules of perspective described by Alberti. 'While I was making it I kept on throwing it away. It wasn't right. Then suddenly it all resolved itself very quickly,' she says. "The subject of perspective brings her onto the peculiarities of the book format. 'What is extraordinary about the book,' she begins, 'is how it can capture and describe space and time.'"
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