Introducing Abstract Printmaking by Robin Capon (review)

174 Books whereas problem-solving is thought to be the objective of a spontaneous strategy. Statistical analysis shows that seldom does an artist exhibit all the characteristics of one strategy and that various mixes of the two types can occur. Although the strategies are exhibited by most students, they are most clearly seen in advanced students who can manipulate them as they wish. Strategies are shown to be dependent upon various conditions applied to the drawing process. The controllable factors included the type of drawing stimulus (e.g. still-life or mental images) and the nature of the photographic process feedback and the teacher-pupil interaction. The latter part of the book describes some of the ‘indepth ’ case studies made by the author. Subjects took part in regular drawing sessions over several weeks and timelapse photographs were evaluated by the subject prior to each session. The finished drawings and the transcript of the interview held at the conclusion of each study show that chance events often have considerable influence upon the learning process. The case studies also show that artistic idiosyncrasies are suppressed by various aspects of the environment and particularly by the well intentioned advice of viewers. Unfortunately, the ages of the subjects are not given and this omission will limit the comprehension of those readers who are not familiar with the American terms college, junior and senior. Beittel admits that his research is pre-scientific in that the experimental methods are somewhat unsystematic and the conclusions of the studies are in the form of an ‘image’ rather than a theory or a model. However, the implications he draws from his work will provide useful ideas for other art educators and will be of interest to research workers involved in the fields of aesthetics and the psychology of art. The book is intended for an academic audience; artists and art teachers who do not work within such an environment will find the book of little value. Introducing Abstract Printmaking. Robin Capon. Batsford, London, 1973. 96 pp., illus. E2.10. Reviewed by Sean O’Driscoll* As the title implies, this book is not intended for the advanced printmaker; it is an introduction to basic techniques . Nevertheless, if called upon to teach youngsters, even the most experienced artist might well benefit from this review of 20 printing methods that require neither special equipment nor a printing press. The techniques described are easily adapted to even lower age groups. The text begins with good examples of the most rudimentary methods: rubbings, impressions, offsets, paper and collage prints and the employment of common materials mounted on a block. Simple linoleum, potato and wood incisions are then introduced as printing blocks. The book advances to combined processes involving more elaborate techniques, which are nonetheless employable with simple and readily available equipment. The text is illustrated throughout by examples of various techniques, including prints made from such easily procurable materials as cardboard, wax, polystyrene, hardboard, chipboard, cork, plaster, clay and tin. Non-figurative designs, such as illustrated, are particularly well-adapted to the instruction of beginners. In addition, the book also covers elementary techniques of printing figurative subjects, which provide a quick approach to the appreciation of prints. Students may thus be launched into a broad programme of uninhibited experimentation in practical printing. The text is appended by a brief bibliography of related publications, including those on advanced printmaking techniques but, unfortunately, most of the publication dates are omitted. The lists of suppliers in the U.K. and U.S.A. are a valuable addition. The lack of an index, however, detracts from an otherwise useful reference work, *Irish International Arts Centre, Castle Matrix, Rathkeale , County Limerick, Ireland. which, nevertheless, I recommend to teachers of elementary art classes. Plastics as Design Form. Thelma R. Newman. Chilton, Philadelphia, 1972. 349 pp., illus. $17.95. Plastics for Artists and Craftsmen. Harry B. Hollander. Pitman, London, 1972. 224 pp., illus. f4.00. Reviewed by Peggy Goldstein** These books deal with technical problems of working with plastics. Each author writes innovatively; both are teachers. Here the similarities end. The first book is a beautifully illustrated reference book. The emphasis is on exploring the possibilities inherent in various plastic materials...