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InPrint Article
Read this article, or see other newsletter articles. January, 2009 Tamarind Techniques for Fine Art Lithography Review written by Mary Laur Hardcover, 302 pages with full color images Author: Marjorie Devon, with Bill Lagattuta and Rodney Hamon This book's arrival on my doorstep had me wanting to run straight to my studio to grain a stone. I couldn't resist immediately exploring its 300 handsome, glossy pages. My mental library of fine art lithography processes - which I learned in the local community college's print studio some years ago - has faded a bit, so for me, Tamarind Techniques is a welcome refresher course. My first impression of this colorfully jacketed, hardcover book (with sewn-in book-block binding!) is that it will stand up to a lifetime's handling in the studio. The content is printed on quality paper with plenty of full color, high-resolution photographs of the described processes and examples of the printed results. I was happy to see that the authors have included a significant section of well-laid-out charts covering health and safety guidelines for products and materials commonly used in lithography. The reader will also find, where appropriate throughout the book, symbols to indicate the relevant precautionary safety measures needed in the execution of each described process.  This is the definitive "how to" textbook on fine art lithography, as was its now out of print predecessor, 1971's The Tamarind Book of Lithography.
The lead author (and Tamarind's current director), Marjorie Devon, supplies her reader with concise chapters on: the lithography workshop, health and safety, general equipment, paper, ink, stone and aluminum plate lithography, and photolithography. The last chapters cover specialized classic and contemporary techniques, as well as proofing and editioning (complete with a section on troubleshooting), and topics concerned with quality control and documentation of editions. The book is clearly written with easy to follow instruction, and offers alternate materials and processes when available. Within the last pages of the book the reader will find a current list of US material and equipment suppliers, a thorough glossary, and a list of additional reading.  But first, we experience a forward written by June Wayne, founding director of the Tamarind Lithography Workshop, which opened in 1960 and later transformed into The Tamarind Institute of the University of New Mexico. To quote her words, "The Tamarind Techniques for Fine Art Lithography significantly updates the chemistry, technology, and aesthetics that the Tamarind Book of Lithography offered."
While the book focuses substantially on techniques and materials, readers will also appreciate seeing a touch of institutional Tamarind history, an introduction to its people, work, and publications - and the larger view of fine art lithography as we know it today. The seasoned lithographer will want the Tamarind Techniques in their library, the casual printmaker will find new inspiration within its pages, and the novice would never want to explore lithography without its guidance. The print collector will also find this a valuable reference book, as will anyone who appreciates fine art prints. |
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