This practical and inspirational book is a complete guide to creative intaglio printmaking. With clear step-by-step instructions and hundreds of illustrations, it describes methods that, while employing a strong traditional basis, avoid the use of toxic materials to achieve stunning prints the modern, safety-first way. Covering every stage of the plate-making and printing process, the book opens up creative possibilities for beginners and experienced printmakers alike. From setting up and equipping an intaglio studio, through choosing a printing method, to collating and presenting finished prints, this beautifully illustrated and comprehensive reference book is the only resource any art practitioner, educator, or student will ever need. 229 illustrations, 199 in color.

This book is a comprehensive guide to two important techniques in printmaking: etching and mezzotint engraving. It includes detailed technical descriptions of the processes as well as artistic examples and inspiration. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

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By the second quarter of the nineteenth century both stipple engraving and aquatint, regarded by Fielding as an art 'invented for the torment of man', were no longer widely used by publishers for large-scale reproductive engravings. Line engraving with its 'beautiful but more or less mechanical arrangement of lines' was also losing ground to the freer style attainable through lithography. The manufactured demand for the 'beautiful productions of our best engravers' through literary annuals 'flung with a prodigal hand before the public, at a price for which they should never have been sold, and which only an excessive sale could render profitable', had outpaced both the supply of engravers and the speed with which such fine plates could be executed. It was therefore to an adaptation of the tonal characteristics offered by the eighteenth century mezzotint that artists such as Fielding turned, to offer a speedier means of producing the softer tonal qualities demanded by the lastest taste. Written in the midst of this period of technical experimentation Fielding's manual is particularly important in detailing the engraver's response to new commercial pressures."The first book to have a chapter solely devoted to all aspects of photography" (Quayle). Particular reference is made to J.N. Niepce, who took the first photograph in 1826, but whose achievement was not made public until 1841, and there is also a section on Daguerre. "...contains information on what were then the most up-to-date matters, including lithography and electrography. Fielding quotes Partington extensively, almost verbatim in parts, describing his source as a "celebrated work on engraving", but he commences with a highly critical view of steel engraving and its evils, having very little to say in its favour. [Fieldings book] was used extensively a year or two later by W.L. Maberley, who published The Print Collector in 1844." from Hunnisett p34. see also Dyson, Pictures to Print p.118 for good reference to this work. See also Printmaking and Picture Printing A28 for details on the plates.