Tamarind Techniques for Fine Art Lithography significantly updated the chemistry, technology, and aesthetics that The Tamarind Book of Lithography (1971) offered. I am fortunate to have had the chance to introduce both books.To me, then and now, Tamarind represents an “informed energy,” not a tradition built on rote and recipes. The core problem is still the same: how to differentiate what is merely novel from an aesthetic advance of long-term importance. (From the foreword.)
—June Wayne

Tamarind Techniques for Fine Art Lithography continues the legacy of “informed energy” that June Wayne (founder and director of the Tamarind Institute) and her colleagues, Clinton Adams and Garo Z. Artreasian, discussed when they first published The Tamarind Book of Lithography: Art & Techniques forty years ago. This energy is an active, intense, and inventive dedication for excellence in the art of lithographic printing, which, despite its complex chemical processes, is based on the simple principle that oil and water do not mix. The publication of their book extended Tamarind’s mission to revive the once-dying art form. For the longest time, The Tamarind Book of Lithography: Art & Techniques has existed as the only comprehensive guide devoted to the practice. Often referred to as lithography’s “bible,” it has been a treasured resource in print shops and classrooms around the world. Now with the long-awaited and much-needed arrival of Tamarind Techniques for Fine Art Lithography, this updated version is sure to be the next cherished resource for many years to come.

Tamarind Techniques for Fine Art Lithography is a wide-ranging guide that provides current step-by-step instructions for an expansive number of lithographic techniques practiced today. It provides health and safety information on many materials, full-color plates of Tamarind prints from the last forty years, as well as illustrated diagrams and tables. Considerably trimmed down compared to The Tamarind Book of Lithography: Art & Techniques, this updated volume is less intimidating. Thoughtfully organized and easy to read, the book seems to recognize current readers’ desire for direct and immediate information. The authors have restructured its contents by condensing much of the information from the earlier version and expanding the information concerning recent approaches. Overall, this makes reading the book more straightforward with less need for cross-referencing. It is also beautifully photographed and illustrated, which is a welcome update and makes instructions easier to follow.

The book was written by Marjorie Devon, director of the Tamarind Institute, with Bill Lagattuta, a master printer at Tamarind, and Rodney Hamon, the institute’s director of education. Devon is also the author of two other Tamarind publications, Migrations: New Directions in Native American Art (2006) and Tamarind 40 Years (2000).

The introduction seems to pick up where the prior book left off, bringing readers up to speed on changes over the past forty years. The authors forgo explaining the complex process Aloys Senefelder once called ”chemical printing,” and instead plunge directly forward by laying a foundation to examine lithography in the twenty-first century. The organization of chapters makes the discussion simple to follow. Fundamental information, such as shop and materials, is covered first before advancing to technical processes. In some ways, the book is in reverse order from the original. The first chapter, “The Lithography Workshop,” was the final chapter in the 1971 version. It explains how to appropriately create a lithography print shop, and covers facility needs, materials, and illustrated models. Even general business information is covered. The other chapters presented before a focus on more process-oriented information are “Health and Safety,”“General Equipment and Materials,” “Paper,” and “Ink.”

There are eleven chapters in the book, four less than the original, each consisting of new and old techniques researched at the Tamarind Institute during its fifty-year history. All are completely updated from the original, including some brand new chapters that reflect advancements in the medium. Some of these chapters contain information applicable to other printmaking practices, such as digital imaging, and are therefore a beneficial resource for any print shop.

The “Health and Safety” chapter is one of the most important additions to the recent version. The chapter provides extensive “Material Data Safety Sheets (MSDS)” of current information. This section comprises a considerable amount of space in the book, and would be far too exhausting to read word for word; rather it serves as a reliable resource for the common, and not so common, chemicals, solvents, and materials used. The only drawback of this section is the absence of each item’s general purpose. Readers will need to cross-reference the “General Equipment and Materials” chapter under “Chemicals and Solvents” for this information. The chapter is also a guide on various types of ventilation systems and personal protective equipment, along with information on disposal, labeling, storage, and first aid. It also provides information on governmental regulatory and oversight agencies. Overall, the book makes a clear effort to address the health concerns of its readers by listing Health and Safety symbols at the beginning of each process that requires proper ventilation, goggles, gloves, and/or photo-safe lighting.

Another new chapter, “Alternative Techniques,” introduces several recent approaches not discussed in The Tamarind Book of Lithography: Art & Techniques as well as a number of older, special processes. Appealing both to traditionalist and inventive thinkers alike, the chapter responds to the ever-growing interest of many printmakers to push the boundaries of the medium. Subjects include how to use unconventional drawing materials such as colored pencils and ballpoint pens, processing pronto plates, applying dry powders using metallic inks, and full instructions on gold leafing. Exemplifying the diverse scope of lithography, unique and long-established approaches are covered in this chapter. Manière noire, acid tint, reversal techniques, and line engraving are complex methods; however, the volume makes them appear as simple as following a recipe, with clearly explained instructions and well-photographed images that lead the reader through each in-depth process.

In the seventies, the use of photo-process was limited to commercial color printing. With swift changes in the industry the introduction of more efficient approaches has made nearly all previous methods obsolete. These advancements are comprehensively discussed in the chapter “Photolithography,” which supplies a diverse array of approaches along with current digital and technical applications. This chapter is also a collection of both new and older techniques, and every aspect of the process is presented from start to finish—plate (or stone!) to print. The chapter supplies information for store-bought and hand-coated plates, films, half-tone screens, registration methods, drawing materials, paper, and instructions on exposing, processing, printing, and storing. In the true spirit of vitalizing tradition, this chapter even covers photo-exposure on stone, a process from the 1850s using photosensitized egg albumen. The section on computer-generated films covers all aspects of working with digital images. This includes charted explanations of screen-dot patters, scanning resolutions, and CYMK rotation patterns. Like so many other topics covered in this text, portions of this chapter would be helpful to anyone interested in working with photographic and digital imagery.

The chapter “Proofing and Editioning” is full of helpful charts, diagrams, and images to assist in successful proofing. The process can be unpredictable and difficult. A section on “trouble shooting” attempts to help diagnose the stumbling blocks of common printing errors. This area of the book supplies several tables, listing the names of typical printing problems, probable causes, and possible solutions. Lithography is frequently learned through mistakes and challenging occurrences. For this reason, the section is vital, and readers will want to “tab” this portion of the book.

The final chapter, “Curatorial Concerns,” is a complete guide to handling editioned prints beyond the workshop. These guidelines are given in accordance with Tamarind’s standards of proper print assessment, signing, proof designations, documentation, storage, even packing, shipment, and framing.The tone of this chapter feels more restrictive and uncompromising than previous subjects. However, this is a foreseeable result after one has grown accustomed to the freedom of choosing from several procedures that produce the same result. The tone is a nice contrast to the rest of the book and gives it a valid sense of completion.

New and updated chapters make Tamarind Techniques for Fine Art Lithography a surprisingly fun and educating read; however, it would be short-sighted to say this is the book’s only asset, since is it also beautiful aesthetically. Full-color plates, photographs, and numerous diagrams make it as visually interesting as it is in content. The chapter on stone lithography is illustrated with nice images of a quarry in Solnhofen, Germany, where Bavarian limestone is excavated. Nearly every page has either photographed images to guide readers through processes or examples of lithographic prints from Tamarind’s famous collections by renowned artists. Artists such as Nicola Lopez, Ed Ruscha, Leslie Dill, Jane Quick-To-See-Smith, Roy de Forest, and many others represent a variety of different styles, spanning Tamarind’s long history. Tables and diagrams are larger and more numerous. The etch tables for stone lithography and aluminum ball-grained plates now each comprise an entire page, unlike they did before. The book is clearly designed for visual thinkers, which printmaking artists commonly are; these visual references help ensure that the ambitious methods of the text are correctly approached, and desired results are successfully achieved.

Tamarind Techniques for Fine Art Lithography is sure to achieve the same level of excitement and respect that The Tamarind Book of Lithography: Art & Techniques did years ago. Absolute and explicit, this is a book that will be used time and time again for those in search of both simple and complex methods, answers to problematic questions, and new insights into future directions. Soon to become the new classic for this generation and possibly the next, it is a must have for any printmaker’s library.