Book review

The Complete Guide to Prints & Printmaking Techniques & Materials, edited by John Dawson
Phaidon, London, 1981

Reviewed by Andrew Bogle

This is a good introduction to the technical processes of printmaking, generously illustrated with step by step photographs, photographs of tools and equipment, micro photographs (of paper fibres, etc.), clear isometric designs and reproductions of a number of original prints, both old master and contemporary.

A great deal of information has been skilfully packed into two hundred-odd pages. An excellent bar chart illustrating the chronological development of printmaking from the eighth century to the modern day saves thousands of words in a brief and to the point introduction.

The first chapter covers the layout of typical studios for etching, relief, lithography and screenprinting, with a good section on paper, its making and varieties. Subsequent chapters deal with the different printmaking processes-engraving, etching, drypoint, mezzotint, woodcut, lithography, etc.; the mounting and display of prints; their care and restoration; and finally a good concise glossary.

The book is a compendium of eight well qualified people's expertise: lecturers in printmaking and graphic design, art historians, graphic consultants and such like. This no doubt explains the balance of information in the different chapters: one person rarely has the requisite knowledge in all branches of a subject.

The quality of the printing, especially colour, is exceptionally good. My only real criticism is the occasional selection of rather insipid prints - mainly contemporary-to illustrate different processes (a taste which seems reflected in a rather kitsch selection of mouldings and mats in the section on framing). But if one looks at this book as a technical aid, which is what it is, such detractions are relatively unimportant.

The scope of the information is remarkably broad: from safety advice about handling acids and toxic chemicals, to a range of picture hanging devices, to distinguishing between different types of silk screen weaves; and all this is over and above the essential information on distinguishing different types of original prints and understanding how the artist executes and prints an image.

The text of this book is highly informative without being couched in overly technical jargon, and is quite accessible to the general art enthusiast while being equally suitable for the student, teacher, printmaker and print collector.