Polymetaal

A new, safe, versatile printmaking technique for artists and students."This book represents a real breakthrough in texts for art teachers and art learning. Written by a practising artist and teacher, the book outlines a printmaking technique which is both simple and safe for practitioners of all ages and experience."

Published in 1998, Dianne Longley,

Dimensions: 16cm x 24cm x 1cm.

112 pages.

In Spanish
Sinopsis
La motivación principal para el desarrollo de las técnicas y los métodos de trabajo que describen en este libro ha sido, por supuesto, la amenaza a la salud y al medio ambiente planteada por la tecnología del grabado en hueco convencional. Si las escuelas de arte y los estudios de grabado tuvieran que estar a la altura de las reglas y las regulaciones pertenecientes al entorno de trabajo de la industria gráfica, el coste del equipo necesario para la seguridad y ventilación sería demasiado para que una escuela a un estudio insividual le hiciera frente e, inevitablemente, habría que cerrar algunos. Además de eso, los químicos que todavia se utilizan estarían presentes en el estudio como factores de riesgos potenciales.
160 pages, 22 x22 cm

Translation of "Dictionnaire technique de l'estampe" by Allen J. Grieco.
A thorough treatise of printmaking terms and techniques. Invaluable to any printmaker.
A masterwork that took André Béguin 18 years to complete. Until 2002 he had a shop in Paris selling printmaking supplies. (rue Danville). Many artists came to his shop to ask his advice, which he was always willing to give. When there were no clients in his shop he worked passionately on this dictionary or other books. This version has been translated, the original French version was written by hand by André Béguin and distributed in small numbers. The Polymetaal site shows a part of this dictionary on line.
This paperback book with 390 pages deals with most printmaking terms, in alphabetical order. Recent developments "non-toxic", acrylic etching grounds, etc. do not figure in this book. This book is the result of a very intensive research on printing, intaglio, serigraphy, typography and lithography.
390 pages, black and white, 21 x 30 cm (A4)

El fotograbado (en francés héliogravure) es un proceso para imprimir fotografías, que también se utiliza a veces para el grabado en huecograbado reproductivo. Es un proceso fotomecánico mediante el cual se granula una placa de cobre y luego se recubre con un tejido de gelatina sensible a la luz que se ha expuesto a una película positiva y luego se graba, lo que da como resultado un huecograbado de alta calidad, placa que puede reproducir tonos continuos detallados de una fotografía. El proceso fue importante en la fotografía del siglo XIX, pero en el siglo XX solo lo usaban algunos fotógrafos de bellas artes. A mediados de siglo estaba casi extinto, pero ha visto un renacimiento limitado.

Dictionary of Printaking Terms
This is an essential source for all those interested in printmaking - from teachers and students to gallery staff and museum curators. In it, the author includes:

• invaluable descriptions of all printaking terms and equipment - from acid tints to xylography and book binding to zincography.
• information on the techniques and materials which have arisen from new health and safety regulations.
• foreign terms and chemical formulae
• line drawings that illustrate the text beautifully.

Rosemary Simmons is a well-known printmaker and the retired founder and editor of Printmaking Today. She is an honory member of the Royal Society of Painter-Printmakers and of the Printmaker's Council. She has written widely on printmaking and is the series advisor of the Printmaking Handbooks.
130 pages, 16 x 23 cm

This book is a basic guide to a wide range of printmaking techniques. It covers the processes of monotype, relief, intaglio, collagraph, screenprinting and lithography, explaining basic methods and recommending tools, types of paper, equipment and materials necessary for each, as well as highlighted safe and sensible working practices. In this new, expanded edition, recent techniques such as printing with carborundum are also included.

This is a practical book, but it is also an inspirational one which should encourage a whole new group of budding printmakers.

Jane Stobart is a well-known printmaker. Her work has been exhibited internationally and appears in several prestigious collections. She teaches at Goldsmiths College.

130 pages, 16 x 23 cm

This book presents an overview of the core printmaking areas: intaglio, lithography, collagraph, monoprinting, relief printing and screenprinting. There are also sections on Health & Safety, Workshop and Studio Space, and Displaying and Storing Prints, as well as a comprehensive glossary and list of suppliers. Separate chapters covering digital printmaking and the use of photography in printmaking ensure that the book is up to date with contemporary practice. Each chapter rounds off with a small gallery section showcasing the work of contemporary printmakers working with the relevant techniques. In each instance, the cheapest and easiest methods for each technique is explained and wherever possible the author covers methods for making prints at home, without the need for expensive equipment and presses. The whole book is filled with step-by-step sequences and clear instructions. The result is an excellent guide for the beginner and useful reference for the intermediate printmaker on all the printmaking techniques and how to use them. Softcover, 160 pages, 28 x 22 cm

Monoprinting is a printmaking process in which a drawing or painting, executed on a flat, unworked printing plate or other surface, is transferred using pressure to a sheet of paper. A spontaneous and exciting process, the medium is also effective, convenient and does not necessarily require a press. Only one strong impression can be taken, hence the term monoprint.
In this book, Jackie Newell and Dee Whittington demonstrate how to push the bounderies of monoprinting with various techniques, showing the unique possibilites available and showcasing work by a variety of printmakers from around the world.
Both Jackie Newell and Dee Whittington are practising artists who met whilst studying for a Master's Degree in Printmaking at Camberwell College of Arts, London.
Jackie Newell is a Fellow of the Royal Society of Painter-Printmakers. She studied art in the UK and New York. Her work has been regularly exhibited in Europe, India and the USA and is a lecturer in colleges of further and higher education.
Dee Whittington studied at major London art colleges including Central St. Martins. She was a founder/director of a visual arts consultancy and established her own studio Design Ink in the 1980's. Her work has been exhibited internationally and is held in many collections. She is currently working as a fine art lecturer in various London art colleges.
130 pages, 16 x 23 cm

Printmakers the directory, is the essential guide to over one hundred of the UK's leading artist-printmakers as well as significant artists from Argentina, Australia, Brazil, Canada, the Czech Republic, Iceland, India, Japan, the Netherlands, Portugal, Russia, Sweden and the USA. All are elected members of the historic Royal Society of Painter-Printmakers (RE); their highly individual work expertly utilize the diverse aesthetic qualities of printmaking to convey a wealth of equally diverse imagery.
Essential reading and reference for artists, art lovers, print collectors and curators alike, its full-colour reproductions of each artist's work will also provide the aspiring art student with a rich demonstration of the power and potential of printmaking today.
Anne Desmet is an established artist-printmaker whose work is represented by Hart Gallery, London. Since 1998 she has also been editor of "Printmaking Today" magazine.
Anthony Dyson has a PhD in printmaking history from the Courtauld Institute and, a master-printer for many years, has produced editions for leading artists and museums.
144 pages, 16 x 23 cm

Collagraphs are prints made from collages, relief sculpture, carved, stripped or layered plates, or mixed media. Material can be added to prints at any stage, which means that this method of working allows for a much more fluid artistic approach than other types of printmaking. In this book, the authors describe a wide range of collagraph techniques, providing the user with practical help on the choice of materials and printing methods to achieve the best results. It is illustrated with images of the work of British and international collagraph artists, making it a practical and inspirational guide for both students and experienced printmakers. A large portion of the book is dedicated to information about a wide range of collagraph artists and their work.

128 pages, 23 x 16 cm

China was one of the first civilisations to engage in printmaking. Ink, paper, printing from cut wooden blocks and moveable type were all invented there. This unique book provides both a helpful introduction to the history and traditions of printmaking in China and a comprehensive guide to traditional and contemporary printmaking techniques, including detailed and illustrated sections on different techniques including single colour, watercolour, poster colour, stencil and ‘dabbed' printing.

128 pages, 23 x 16 cm

Following on from his previous books Printmaking at the Edge and Critical Mass, Richard Noyce ventures once more beyond familiar centres of art production to explore printmaking off the beaten track.
His journey covers the art of a breathtakingly diverse set of regions, from the Middle East, India, Pakistan and Nepal, to the Eastern Mediterranean, south-eastern Europe and the Balkans and more besides. Some of the countries featured have long traditions of using print techniques in their historic and contemporary art but are rarely, if ever, included in international competitions or art journals.
This rich and compelling resource reveals the innovative and exciting approaches of printmakers around the world and gives readers the opportunity to compare art from different places, challenging our understanding of the means and forms of expression in printmaking, and its place in the contemporary visual arts. This book will satisfy curiosity amongst artists, printmakers, students and art lovers about printmaking being done in countries unfamiliar to them.

Hardcover, 176 pages, 28 x 22 cm

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.

Softcover, 128 pages, 23 x 16 cm

Intaglio is the general name used to describe all printmkaing processes where the artist incises or engraves the surface of a plate either directly with tools or indirectly with chemicals in order to pull a print from it. Although the techniques that come under this category are labelled traditional they are also among the most popular and widely used techniques in contemporary printmaking. The direct methods include techniques such as drypoint, engraving and mezzotint and the indirect methods include etching and aquatint. In this book Mychael Barratt introduces the reader to both the direct and indirect techniques and shows examples of an international range of rtists whose work will serve as an inspiration. These artists include Goya, Rembrandt, Dürer, Picasso, John Heagan Eames, Paula Rego and Chris Orr.

Softcover, 128 pages, 23 x 16 cm