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InPrint Article
Read this article, or see other newsletter articles. February, 2008 Editor's Note: The Scandinavians may not have cornered the market on printmaking techniques, but they definitely are introducing some really good presentations on those techniques. While neither book recently received is profound or even cutting edge, both offer excellent treatment of their respective areas. So, here are the information and the reviews:
The book is divided into a range of areas covering the classic approaches to printmaking, but using less environmentally stressful materials. He also has added appendices that address alternative methods and materials for those who wish to maintain some aspects of their older methods. Acrylics and polymers are used extensively; copper is preferred over zinc, due to the fact that it does not require a nitric acid etching process. The text proceeds logically through the steps necessary to develop and print an intaglio image. In the case of application of acrylics, instructions are provided for construction of a drying booth to allow more efficient production of plates. Careful step-by-step instructions are summarized and highlighted for ease of implementation. A large number of examples are included for illustration. Significantly, where brand names are mentioned, alternatives are often mentioned as well. Instructions are also included for making "home-made" materials such as soft ground. Many of the techniques reviewed include those that are similar to instructions found in other texts. Stress is also placed on use of solvents such as cooking oil as a solvent for use during cleanup of some materials. This is also one of the cheapest solvents available, so it has multiple advantages. There is a lengthy discussion of the use of photopolymer film for developing images. This is used in conjunction with Photoshop software. A discussion of application of some of the aspects of the program is included, along with an explanation of why specific suggestions have been applied. While there are numerous self-help manuals on Adobe Photoshop, the explanations included here are most helpful since they go straight to the specific application called for. And the explanation is appropriate since it addresses (in the reviewer's opinion) the obvious "next question" posed by a new user. In short, this is a fine addition to the library of someone initially getting into non-toxic intaglio printmaking or for expanding one's options in manipulating images for use with the newer, digital printmaking materials. There's not a great deal of "new" information here, but the assembly is good, and it's a handy and organized arrangement, with appendices that address very specific issues. The information covers many of the newer methods of intaglio printmaking as designed for a safer facility, in a nicely presented package, with effective illustrations. One shortcoming: the text could benefit from a more careful editing; there are occasional spelling mistakes to be found in the text. However, this reviewer did not find any significant errors in the actual information that would hinder the effective use of the book. Photogravure: An Archeological Research, by Jan Pettersson. Published by Kunsthøgskolen i Bergen (the Bergen National Academy of The Arts), Strømgaten 1, 5015, Bergen, Norway [ISBN 82-8013-059-4]. The book deals with the essential definition of what the "real photogravure" is. The question of what the "real photograph" is in relation to photogravure is also a topic that is addressed. One of the goals of this book is to think analytically on different levels about problems within this medium. Historical aspects of the medium, as well as the contemporary context, are discussed; examples are put forward to pinpoint and analyze differences. Traditional technical aspects are examined and new technical developments that are grounded in the research are presented. Together with the book there is a DVD instruction video that shows the technical aspects of the process from start to finish. This is an excellent treatment of photogravure, especially since it is accompanied by a DVD to illustrate the actual steps as well as the results of the painstaking process of producing superior quality photogravure images. There is little with which to disagree on the approach or techniques. Unfortunately, since this reviewer does not have access to the equipment required for the process, she was unable to verify how readily the techniques can be applied by anyone interested in the approach. The book is well-illustrated with images of successful applications. There is an excellent series of background illustrations to explain the steps of the process as well as the rationale for performing each of the steps—an important factor when dealing with potential users who may wish to forego some of those steps! The book begins with historical approaches and proceeds to describe how newer, digital methods can expand the process applications for the user. A compilation of methods that can be adapted, based on preferences of the artist, is included. So-called hybrid methods are discussed as well. Each step is carefully explained, along with the description of the expected results. This again is important for the uninitiated. The accompanying DVD addresses the same information, but may not stress how very important minor changes in an approach can be in determining the success or failure of a project. If viewed carefully, both the book and the DVD do, indeed, mention the importance of strict adherence to method protocols. For example, there is a caution of the importance of humidity control to the quality of the pigment paper: A warning is noted that "strange things will happen" if the humidity drops below 60%!!! Each step has adequate illustrations, for comparison to the user's own setup, along with warnings as appropriate. There is also a discussion of problems that can be anticipated and solutions that can be applied. Even corrections of problems partway through the process have been addressed. A discussion of four-color separations takes a chapter of the book, discussing the methods and recommendations for equipment and supplies. Again, explanations of the "why" of the approach is included for those who might consider short-circuiting a method. In each case, variables are discussed and options are explained well. Again, both the DVD and the text stress the importance of meticulous conformance with designated protocols, as well as the pitfalls that may arise for failure to comply. Even if you haven't had extensive experience with this medium, you cannot fail to appreciate the level of care required to complete a successful edition! In short, the book is an excellent source for someone designing, planning, or modifying a printmaking facility for producing photogravure images. For the veteran, there may not be significant additional information if one has had experience in this area, unless one wishes to pursue a new variation (e.g., use of digital approaches). But the DVD is a definite asset for someone new to this demanding area of printmaking. |
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