In this book, Mark Graver puts the case for non-toxic printmaking and then discusses the various technical factors (both materials and equipment) to consider when etching with acrylic resists, making aquatints, etching in general, using drypoint, engraving, making mezzotints and collagraphs and using photopolymers as well as combining various printmaking techniques. There is also information on various inks and health and safety measures in the printing workshop. All in all, this book contains everything you need to know to clean up your printmaking practice.

In this book, Mark Graver puts the case for non-toxic printmaking and then discusses the various technical factors (both materials and equipment) to consider when etching with acrylic resists, making aquatints, etching in general, using drypoint, engraving, making mezzotints and collagraphs and using photopolymers as well as combining various printmaking techniques. There is also information on various inks and health and safety measures in the printing workshop. All in all, this book contains everything you need to know to clean up your printmaking practice.

Comprehensive handbook covers materials and equipment, tools, printing papers, presses, and other essentials. Detailed instructions for etching, engraving, drypoint, collagraphs, tuilegraphs, and the Blake transfer method.

Polymer Photogravure: A Step-by-Step Manual Highlighting Artists and Their Creative Practice is a three-part book on the non-toxic process of making ink-on-paper intaglio prints from continuous-tone photographs using water-etched photopolymer plates. Author Clay Harmon provides clear and easy to understand instructions that will enable anyone to successfully make a photogravure print. By quantifying the sensitometric behavior of polymer plates, Harmon has developed a methodical approach which will enable a new printmaker to produce plates in their own studio with a minimum of time and wasted materials. Section One provides a straightforward guide to setting up the polymer photogravure studio. Section Two covers a step-by-step method of making the print from start to finish. Section Three showcases contemporary artists’ works, illustrating the variety and artistic breadth of contemporary polymer intaglio printmaking. The works in these pages range from monochrome to full color, and represent a variety of genres, including still lifes, portraits, nudes, landscapes, urban-scapes and more. Featuring over 30 artists and 200 full-color images, Polymer Photogravure is a most comprehensive overview of this printmaking process in print. Key topics covered include: Studio safety Equipment and supplies, evaluated from both a cost and utility point of view A brief discussion of the types of ink-based printing Aquatint screen considerations Image preparation and positive printing on inkjet printers Paper preparation A simple and efficient polymer plate calibration process that minimizes wasted time and materials A straightforward inking, wiping and printing method Advanced printing techniques such as chine collé, à la poupée, and printing on wood Troubleshooting guide to platemaking and printing problems Tips on editioning and portfolios A visual survey of the range of artistic expression practiced by contemporary artists Sources for supplies and recommended reading Polymer photogravure plates enable an artist to use an almost-infinite range of image color and papers to make a print. The finished prints are extremely archival, consisting of only ink and paper. With Harmon’s instructions, continuous tone intaglio prints are within the reach of all.

This is an instruction manual about photogravure using TOYOBO photopolymer plates. The manual guides you step by step through the entire process, from your first idea of making a photogravure to the final print.

This manual presents a comprehensive and detailed approach to making etchings safely. It is based on the methods employed and taught by New Grounds. We are grateful for all the wonderful successes and mistakes New Grounds artists have produced in the course of almost two decades that have greatly contributed to the knowledge base of this book. With detailed lists, step-by-step instructions and troubleshooting sections, this book offers valuable information for etchers on all levels. It is invaluable for those wishing to make the transition from toxic to non-toxic etching, and it is suited as a textbook for a college level etching class.

Learn how to transform foraged wild plants, plants, garden produce and recycled food into dyes and inks with Botanical Inks. The book shows you how to extract environmentally sustainable colour from the landscape and use it to create natural dyes for textiles, clothing, paper and other materials. Botanical Inks covers dyeing and surface application techniques, including bundle dyeing, Shibori tie-dyeing, hapazome, indigo sugar vat dyeing, wood-block printing, screen printing and more. And it also shows you how to turn your new inks, dyes and technique knowledge into wonderful projects, from a simple bundle-dyed a scarf to a block-printed tote bag. The process of turning plants into print can help you reconnect with nature, find a creative outlet and develop a mindful sense of presence. It also promotes an awareness of sustainable practices and how to reduce our impact on the planet.