Printmaking Revolution: New Advancements in Technology, Safety, and Sustainability

IF you have OR have access to a big-time printing studio, as does the author, then this book would be relevant and interesting to you. But most of us out here are working on our own, in a normally equipped and basic printmaking studio. I work in etching, and have done so at a university, but I have never seen or known a facility like the one the author uses. The equipment, the helpers, the supplies and the space are totally inaccessible to most of us, so why write this book if only a few paragraphs can be useful to us? The methods described are VERY far advanced from basic etching because of the equipment used. I'm extremely disappointed that very little of this high quality book will be useful to me. It is more like a coffee table book of how the author created his own etching kingdom. If you are a regular, knowledgeable printmaker like me this book is 95% useless.

I got the digital version of this book and found some real gems of information in it. It focuses more on lithography than it does etching. You will have to read the lithography portion to see how it can be applied to etching if you are interested. Even with that inconvenience I was so well pleased with the new technique that it is a small price to pay. I hope they rewrite the etching section in future publications, and maybe throw in some affordable hacks for getting excellent quality transparencies without having to mortgage the house to do it. The book is based on a college course and some of the equipment they use would be prohibitively expensive for an individual artist. Having said that, the photosensitive resist is a step up from laminates or pre-laminated plates, and a step in the right direction in the non-toxic movement.

I bought the Kindle edition and returned it. I'll never buy another Kindle edition of technical or art books again. They're easy to read, which is great, but not easy to navigate for reference purposes.Nevertheless, this is an outstanding text even though he is marketing his own products in the process. I intend to purchase some and try them out, as they appear to solve so many issues inherent in more traditional methods. I am buying this in the hardback version; absolutely fantastic!

I bought this book both in hard copy and Kindle format so it would be with me everywhere I make any kind of a print. The information is well organized and explanations for methods are clear and well illustrated. Some forms of printmaking you do need a bit of background in printmaking to fully understand (litho). I had absolutely no trouble finding the "green" supplies and substituting in my multi-media studio and feel better having done so. The lithography and etching sections were especially helpful as I have plates and stones that have been calling my name for years.All in all if anyone wants to make prints with traditional methods at home and are safety and health conscious, this is THE book to get.

After reading this book and investigating other leads about "green " printmaking practices I have been totally pumped about pursuing my favorite form of making art. Since my printing days in grad school in the 80's I've avoided etching because of all the toxic substances. With this new info. I am back into it heavily. Thanks Mr. Pogue.

Interesting.

Excellent product, in nice condition. I really appreciate a lot your services. Arrived in good condition and very quickly. The most important for me was , I received USB number for checked . Thanks a lot.

great product .excellent condition and very cheap as a new book.

There are three aspects of this book to be assessed: firstly the book as an object; secondly its advocacy of non-toxic printmaking; and thirdly its general exposition. As a book qua book it is a handsome object, of considerable quality and profusely illustrated. Visually, all that mars it is the unfortunate choice of font for headings and sub-headings which offends notions of legibility. Understanding the actual text, however, presents no problems: Pogue's writing style is straightforward, if somewhat conversational so that, at times, one feels one is reading a personal letter. Work illustrated is largely that of the author and his teaching colleagues; the work of their students is decidedly under-represented and one may wonder why.The cause of environmentally-friendly, non-toxic printmaking is vigorously championed by numerous printmakers and printmaking workshops worldwide. It is a movement that can be traced back about 35 years and which continues to find more and more ways to originate prints without damage either to the artist or the environment. This book is a further contribution to a quest that no longer needs advocacy, since its credentials are well-established. So, in answer to the question "how great a contribution does this book make?" one has to say that it is somewhat limited.In the first place it concentrates only on developments in the fields of lithography, intaglio and serigraphy, the result of work done by Pogue and others at Smith College in Massachusetts. It is not, therefore, "the definitive guide to the latest advances in printmaking" as claimed by the publisher since it ignores so many other forms of printmaking and, even in its chosen areas, highlights only those advances explored at Smith. The purpose of the printmaking workshop there is to propel these three specialisms towards ever safer practice, by finding further ways to avoid the toxicity and environmental dangers that attend earlier methods. However, there are others at work in this field whose contributions would have been included in a less partisan publication. (References are almost non-existent; nor is there a proper bibliography.) The techniques that Pogue propounds will doubtless interest experienced printmakers but will mean little to the relatively inexperienced. And the experienced will be frustrated by a lack of ancillary technical detail while being irritated by the inclusion of much in the way of banal minutiae. Extraordinarily, the topic of ink is touched upon only tangentially! Anyone outside the USA wishing to follow Pogue's example may well be frustrated by the apparent unavailability, at present at least, of the bio-solutions and coatings evolved at Smith and upon which his advocated procedures depend.So, having anticipated so much absorption and enjoyment from this handsome volume, this reviewer is left wondering why it was written. Academic pressure? Commercial advantage, given that the author appears also to have interests in two graphic supply companies? Its kernel could well have been extracted and republished simply as fact sheets backed by greater and internationally-appropriate detail.

Filled with some interesting and stimulating suggestions, good accompanying colour photos and sufficient accompanying text.

Saved time because I didn't have to search retail stores. I've been exploring printmaking alternative because I am moving away from chemical based materials and solvents because my studio space doesn't have adequate ventilation to support traditional methods. This is a good basic overview of possibilities.

It is a wonderfull book. I learn a lot of new things in printmaking.

Muy bueno, y espero que la próxima edición tenga muchas más técnicas nuevas para poder aplicarlas y seguir disfrutando del printmaking.