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Synopsis
Introduces the tools, materials, equipment, and techniques used in etching, identifies common mistakes, and shows examples of various mediums.
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Customer Reviews
Most Helpful Customer Reviews
1 of 1 people found the following review helpful
Format:Paperback
I have no experience of printmaking of any kind and no knowledge other than that imparted by this book. So this review needs to be seen in that light.
I have mixed feelings about the book. Its arrangement is frustrating for someone as ignorant as me as it starts with loads of technical stuff about tools and materials rather than an introduction to methods. On the other hand, its description of methods and working arrangements is very detailed. The detail is both encoraging and discouraging. It is encouraging in that it seemed like a very very good guide for someone setting out on their own to make an intaglio plate and to print it, anticipating problems and explaining how to avoid them or deal with them. It is discouraging in that it doesn't give much hope of getting into this type of print making without access to lots of expensive equipment, complex and difficult materials and a dedicated workspace where quality and safety would be well supported. Being an impatient sort, I only read the introduction after having read most of the book. There, it is made clear that this is a difficult field of work which defeats many. So perhaps she is right not to gloss over the difficulties.
As a result of reading the book I now understand what a sophisticated, rewarding, expensive and potentially frustrating area this is is likely to be to work in and that my only chance of doing so will be through an introductory course in a well equipped workshop or studio.
The down-sides of the book. I would have given the book 5 stars but is has not been up-dated since publication in 1976, other than in relation to suppliers of materials - in and around New York! Not a lot of use to me in Exeter, UK. Also, it describes working with vinyl asbestos tiles. I'm pretty sure they are no longer available and it makes me wonder how many other materials referred to are no longer in use for health and safety reasons. Finally, it's very USA oriented, as evidenced by the suppliers list. This also affects the terms used. "Varnolene" is white spirit in the UK, I believe. I haven't explored any other technical terms.
I have mixed feelings about the book. Its arrangement is frustrating for someone as ignorant as me as it starts with loads of technical stuff about tools and materials rather than an introduction to methods. On the other hand, its description of methods and working arrangements is very detailed. The detail is both encoraging and discouraging. It is encouraging in that it seemed like a very very good guide for someone setting out on their own to make an intaglio plate and to print it, anticipating problems and explaining how to avoid them or deal with them. It is discouraging in that it doesn't give much hope of getting into this type of print making without access to lots of expensive equipment, complex and difficult materials and a dedicated workspace where quality and safety would be well supported. Being an impatient sort, I only read the introduction after having read most of the book. There, it is made clear that this is a difficult field of work which defeats many. So perhaps she is right not to gloss over the difficulties.
As a result of reading the book I now understand what a sophisticated, rewarding, expensive and potentially frustrating area this is is likely to be to work in and that my only chance of doing so will be through an introductory course in a well equipped workshop or studio.
The down-sides of the book. I would have given the book 5 stars but is has not been up-dated since publication in 1976, other than in relation to suppliers of materials - in and around New York! Not a lot of use to me in Exeter, UK. Also, it describes working with vinyl asbestos tiles. I'm pretty sure they are no longer available and it makes me wonder how many other materials referred to are no longer in use for health and safety reasons. Finally, it's very USA oriented, as evidenced by the suppliers list. This also affects the terms used. "Varnolene" is white spirit in the UK, I believe. I haven't explored any other technical terms.
0 of 1 people found the following review helpful
Format:Paperback|Amazon Verified Purchase
If you are just starting out in etching or are slightly more experienced and want more insight, get this book. It's got a real 80s feel and is so informative you'd be daft to overlook it.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
5 reviews
35 of 36 people found the following review helpful
Big value for little money!
23 Jun 2000
Format:Paperback|Amazon Verified Purchase
This book is stocked as reference in a classroom situation. Lots of detailed information on many techniques in an easy to follow manner along with detailed photographs. Detailed recipes for etching solutions and description of appropriate use. Great for the novice but also valuable as a reference. Lots of valuable information for a small price.
7 of 7 people found the following review helpful
An outstanding text
10 Aug 2007
Format:Paperback|Amazon Verified Purchase
Leaf's text covers a remarkable range of intaglio techniques. The first chapters cover the basics of tools, printing papers, and setting up a workshop. Next, she covers the basics of familiar printmaking techniques, etching (including soft ground), aquatint, and some interesting variations. This section also includes recipes for inks and grounds - not encyclopedic, but a basic set of materials for different techniques. Leaf covers each technique methodically, describing its goals, materials, and process. The end of each chapter offers an especially helpful "what went wrong" section.
Following the basics, Leaf continues with some elaborations, including multiple layers of aquatint and viscosity printing. She also lays out some unusual techniques, including collographs and "tuilegraphs." That's a fascinating variation on linoleum prints, but based on slightly different materials and very distinctive ways of creating the image in the printing surface.
Despite its strengths, this book has a few significant weak spots. Safety standards aren't always what a current reader would hope. For example, discussion of the corrosive etchants talks about flushing eyes with water in case of an acid spash, but doesn't mention goggles. Elsewhere, she mentions protective gloves in the text but omits those gloves from the photos that show the process under discussion. And, when it comes to disposing of spent etchant, I can't agree with pouring "neutralized acid on the ground where you don't expect anything to grow." On the positive side, techniques are profusely illustrated, showing both techniques and finished products.
Those problems just mean that the reader should approach this with a critical eye, not avoid it completely. There's just too much good here to give up.
-- wiredweird
Following the basics, Leaf continues with some elaborations, including multiple layers of aquatint and viscosity printing. She also lays out some unusual techniques, including collographs and "tuilegraphs." That's a fascinating variation on linoleum prints, but based on slightly different materials and very distinctive ways of creating the image in the printing surface.
Despite its strengths, this book has a few significant weak spots. Safety standards aren't always what a current reader would hope. For example, discussion of the corrosive etchants talks about flushing eyes with water in case of an acid spash, but doesn't mention goggles. Elsewhere, she mentions protective gloves in the text but omits those gloves from the photos that show the process under discussion. And, when it comes to disposing of spent etchant, I can't agree with pouring "neutralized acid on the ground where you don't expect anything to grow." On the positive side, techniques are profusely illustrated, showing both techniques and finished products.
Those problems just mean that the reader should approach this with a critical eye, not avoid it completely. There's just too much good here to give up.
-- wiredweird
2 of 2 people found the following review helpful
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16 Mar 2009
Format:Paperback
This book is complicated and difficult to follow. Although the procedure for etching and engraving is not a simple one, I found this to be particularly difficult to follow and unless familiar with this type of printmaking or have someone instructing who can answer questions or fill in the blanks, would not recommnend.
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