Intaglio: The Complete Safety-First System for Creative Printmaking

I'm very happy with this beautiful book. printing and quality of the illustrations is very good. has 200 color illustrations and other black and white. also contained a wealth of information about each technique, explained well, especially the technique of collagraphy, a book modern and contemporary. I recommend it highly.

A good reference for the serious printmaker. Clarity sometimes falls victim to awkward writing style, but there is valuable information about working safely, with effective alternatives to traditional toxic materials. Not written as clearly as The Complete Printmaker, which is the must-have book in the field.

Collography This is by far one of the best resource books on the subject of intaglio/collagraphy that I have seen so far. Seems that both books that I have recently bought from you are of UK PUBLISHERS, the Intaglio book is now published in the US, but this does not quite mean we over here in the good ole' USA are catchin g up.

This is an excellent resource for anyone interested in replacing traditional toxic printmaking techniques with safer alternatives. Nothing lost but the dangers. It discusses the hazards of traditional printmaking and introduces non-toxic alternatives from de-greasing intaglio plates to non-toxic resists and etching solutions, water based inks, photo processes and numerous adjuncts etc. Plenty of supplier lists and suggestions for setting up a new studio. This is an impressive and comprehensive book with lots of photos.

This is a beautifully made and illustrated book with sewn pages and thick paper. It includes and excellent synopsis of the history of printmaking. Effort is made to cover many of the "safe" contemporary techniques, but one cannot escape the feeling that it is a marketing tool for Lascaux products (though various dry film resists, and products by Golden, Graphic Chemical, and others are not excluded). Oddly, while the techniques will be of great benefit to someone new to safe printmaking, discussion of setting up the studio is aimed toward a commercial fine art printmaking operation, not the lone printmaker. Take what you need and leave the rest. Techniques are clear, often illustrated, and easy to follow. It is an excellent reference for safe handling procedures and a variety of techniques. The book is a good value.