Intro -- Title Page -- Copyright Page -- Dedication -- Acknowledgments -- Table of Contents -- Introduction -- PART ONE - General Information -- ONE - Materials and Equipment -- PLATES -- GROUNDS -- ACIDS AND CHEMICALS -- SOLVENTS -- INKS -- OILS -- ROLLERS -- BLANKETS -- PAPER PRODUCTS -- CLEANSERS -- EXPENDABLE INGREDIENTS -- GENERAL EQUIPMENT AND MISCELLANEOUS -- TWO - Tools -- POLISHING STONE -- ETCHING NEEDLES -- DRYPOINT NEEDLE -- BURIN -- SCRAPER -- BURNISHER -- ROULETTES -- HAMMER -- OUTSIDE CALIPERS -- FLEXIBLE SHAFT -- DRAW TOOL -- FILES -- THREE - Printing Papers -- PERMANENCE -- SIZING -- WEIGHT OF PAPER -- HANDMADE, MOLD-MADE, AND MACHINE-MADE PAPER -- DAMPENING PAPER FOR PRINTING -- RAG CONTENT -- FOUR - Presses -- SIZE OF PRESSES -- PRESS WEIGHT -- PRESS ROLLERS -- PRESS BEDS -- DIRECT DRIVE AND GEAR-DRIVEN PRESSES -- TYPES OF DRIVES -- MOTORIZED PRESS -- MICROMETER DIALS OR SCREWS -- FEATURES TO LOOK FOR IN A PRESS -- CARE OF THE PRESS -- FIVE - Workshop -- FLOORING -- LIGHTING -- ELECTRICITY -- ACID AREA -- CLEANING AREA -- AREA FOR WORKING WITH GROUNDS -- AQUATINT AREA -- PRINTING AREA -- POWER TOOL AREA -- PAPER AND PLATE STORAGE AREA -- PART TWO - Etching Techniques -- SIX - Formulas for Grounds and Inks -- HARD GROUND -- SOFT GROUND -- ROSIN STOPOUT -- ASPHALTUM STOPOUT -- SPECIAL STOPOUT -- SUGAR LIFT GROUND -- WHITE GROUND -- BLACK INTAGLIO INK -- COLOR INTAGLIO INK -- PIGMENT CHART -- SEVEN - Hard Ground -- BEVELING THE PLATE -- CLEANING THE PLATE -- APPLYING A HARD GROUND -- TRANSFERRING A DRAWING -- TRANSFERRING A REVERSED DRAWING -- DRAWING ON HARD GROUND -- STOPPING OUT HARD GROUND -- BITING HARD GROUND -- REMOVING HARD GROUND -- SCRAPING OUT A LINE -- POLISHING A PLATE AFTER SCRAPING -- REGROUNDING A PLATE -- CLEANUP -- EIGHT - Soft Ground -- APPLYING SOFT GROUND -- DRAWING ON SOFT GROUND.

IMPRESSING TEXTURES INTO SOFT GROUND -- STOPPING OUT SOFT GROUND -- BITING SOFT GROUND -- REMOVING SOFT GROUND -- REGROUNDING A PLATE -- CLEANUP -- NINE - Aquatint -- MAKING A ROSIN BAG -- CLEANING AND BEVELING THE PLATE -- APPLYING ROSIN TO THE PLATE -- ADDING TONE WITH AQUATINT -- CREATING LIGHT TONE ON DARK GROUND -- BITING AN AQUATINT -- REMOVING ROSIN -- BEVELING THE PLATE -- PRINTING AN AQUATINT -- AQUATINT USED AS A MEZZOTINT -- PUTTING ONE AQUATINT OVER ANOTHER -- USING SPRAY ENAMEL -- CLEANUP -- TEN - Sugar Lift -- DRAWING WITH LIFT GROUND -- COATING THE LIFT GROUND -- LIFTING A LIFT GROUND -- BITING THE LIFT GROUND -- APPLYING ROSIN AQUATINT TO A LIFT GROUND -- SPRAYING ENAMEL ON A LIFT GROUND -- REMOVING THE GROUND -- PRINTING THE LIFT GROUND -- LIFT GROUND AS THE SECOND GROUND -- CLEANUP -- ELEVEN - White Ground -- PREPARING WHITE GROUND -- APPLYING WHITE GROUND WITH A BRUSH -- APPLYING WHITE GROUND WITH A DAUBER -- APPLYING AQUATINT TO WHITE GROUND -- APPLYING WHITE GROUND TO AN ETCHED PLATE -- BITING WHITE GROUND -- REMOVING WHITE GROUND -- CLEANUP -- TWELVE - Acids -- MAKING NITRIC ACID BATHS -- MAKING DUTCH MORDANT -- BITING PLATES WITH NITRIC ACID -- PREPARING THE PLATE WITH CONTACT PAPER -- BITING THE SHAPED PLATE -- BITING A COPPER PLATE WITH DUTCH MORDANT -- DISPOSING OF USED ACID -- Cleanup -- PART THREE - Printing Techniques -- THIRTEEN - Basic Printing -- SETTING THE PRESSURE -- PREPARING TARLATAN -- HEATING AND INKING THE PLATE -- WIPING THE PLATE -- HAND-WIPING THE PLATE -- BLOTTING THE PAPER -- PULLING A PROOF -- CENTERING AND REGISTERING -- MAKING A COUNTERPROOF -- DRYING PRINTS -- CLEANUP -- FOURTEEN - Double Intaglio Printing -- PLATE REGISTRATION FOR TWO PLATES -- REGISTERING A BITTEN IMAGE ON A SECOND PLATE -- AQUATINTING THE COUNTERPROOF -- RETAINING THE IMAGE -- INKING THE PLATE(S) -- PRINTING A DOUBLE INTAGLIO.

CLEANUP -- FIFTEEN - Color Printing and Embossing -- PREPARING A PLATE FOR RELIEF PRINTING -- INKING A RELIEF PRINT -- PRINTING A RELIEF PRINT OR EMBOSSING -- CUTTING A STENCIL -- USING A STENCIL -- CLEANUP -- SIXTEEN - Viscosity Method -- UNDERLYING PRINCIPLE -- THE BASIC PROCEDURE -- BITING THE PLATE TO THREE LEVELS -- PREPARING THE SURFACE INKS -- PRINTING TWO SURFACE COLORS -- RETIRAGE -- CARE OF THE PLATE, ROLLERS, AND INKS BETWEEN EACH INKING -- CLEANUP -- SEVENTEEN - Viscosity and Aquatint -- THE BASIC PROCEDURE -- PREPARING THE PLATE -- REBITING WITH COARSE-GRAIN AQUATINT -- PROOFING THE AQUATINTED PLATE -- REBITING THE PLATE -- SCRAPING AND POLISHING -- PRINTING WITH THREE SURFACE COLORS -- CONTACT INKING -- CLEANUP -- PART FOUR - Other Mediums and Methods -- EIGHTEEN - Drypoint -- DRAWING ON THE PLATE -- USING A DRYPOINT NEEDLE -- PRINTING A DRYPOINT -- CLEANUP -- NINETEEN - Engraving -- DRAWING ON THE PLATE -- ENGRAVING WITH A BURIN -- SCRAPING OUT AN ENGRAVED LINE -- CORRECTING A DEPRESSION ON THE PLATE -- PRINTING AN ENGRAVING -- CLEANUP -- TWENTY - Collagraphs -- ASSEMBLING A ONE-PLATE COLLAGRAPH -- PROOFING THE UNINKED COLLAGRAPH -- FINISHING THE COLLAGRAPH PLATE -- ASSEMBLING A MULTI-PLATE COLLAGRAPH -- PRINTING THE MULTI-PLATE COLLAGRAPH -- CLEANUP -- TWENTY-ONE - Tuilegraphs -- WORKING THE TILE -- PRINTING A TUILEGRAPH -- REGISTERING THE TILE AND ANOTHER PLATE -- CLEANUP -- TWENTY-TWO - Blake Transfer Method -- PREPARING TRANSFER PAPER -- DRAWING OR WRITING ON TRANSFER PAPER -- TRANSFERRING THE DRAWING TO THE PLATE -- PRINTING A TRANSFER PLATE -- CLEANUP -- PART FIVE - Appendix -- Things Every Printmaker Should Know and Doesn't Know Whom to Ask -- Glossary -- Supplies and Suppliers -- Bibliography -- Index.