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The article describes various ways of drawing on stones for lithographic printing. Lithographic crayons and pencils containing larger quantities of grease are capable of producing softer and generally stronger printed marks. Familiarity with crayons and tusches is gained by applying various drawing materials in different ways and subsequently by etching and printing. Other materials used are rubbing blocks and discs, liquid drawing inks, assorted tusches, photocopy toner washes, gum arabic, masking fluids and erasing devices such as knives, drypoint needles, blades and abrasives.

The article discusses the development of siligraphy and its relative importance to the print program at the School of Art Aberystwyth in Wales. The author explains that in waterless lithography, the repulsion of ink is dependent on silicone rubber, applied as a thin coat over the printing element. He adds that waterless lithography has been pioneered by several artists including Perry Tymeson, Jeffrey Sipple, Frank Janzen and Ross Zirkle. He also describes the techniques of siligraphy at the school and the process of waterless plates and waterless printing.

An interview with the artist Paul Croft is presented. Particular focus is given to his retrospective exhibition "Fifty:Fifty," which was held at the MOMA (Museum of Modern Art) in Machynlleth, Wales, from November 2012 through January 2013. Additional topics discussed include what attracted him to printmaking, his time spent traveling to Japan and the themes present in his work.

In this article, the author reflects upon his experiences traveling the country of Wales in order to expand the repertoire of printmaking. Particular focus is given to his view that the Arts Council of Wales and the National Assembly of Wales should be providing funding for workshops, printmaking education and the promotion of graphic arts. Several printmaking events that took place during his travels in 2012 are also discussed.

The author discusses the technique of digital lithography. The process involves the incorporation of digital imaging techniques with traditional techniques of stone and plate lithography. The author describes in detail his ongoing research on digital lithography technique as he further refines his methods. His use of several digital image manipulation software programs, including Photoshop and Corel Painter, is also discussed.