In s3e32 of Platemark, host Ann Shafer speaks with Ad Stijnman, an independent scholar of historical printmaking processes, specializing in manual intaglio printmaking techniques. He is also a professional printmaker. Ad is the go-to guy on all sorts of things. When he speaks, we listen. Beaming in from Amsterdam, our conversation covers all sorts of topics from paper sizing and watermarks to acids and chine collé. We talk about teaching people to look, really look, and be able to describe what they are seeing. We talk about the troubling lack of an internationally shared vocabulary—what color is fawn or taupe, anyway? We talk about why neither of us wears gloves to handle works on paper except in very special circumstances. And, we talk about producing an invaluable and exhaustive (if not complete) list of terms and abbreviations found in print addresses: https://9ea6427a-9293-483f-80d4-9523d4ed999b.filesusr.com/ugd/6b3a67_c8b34f39781542deabab39e8c132c430.pdf.   Ad has lectured and published widely on the materials and techniques of intaglio processes going back to their beginnings. His seminal, award-winning book Engraving and Etching 1400–2000: A History of the Development of Manual Intaglio Printmaking Processes (2012) is on any serious scholar’s bookshelf. Together with Elizabeth Savage, he co-edited the award-winning book Printing Colour 1400–1700: History, Techniques, Functions and Receptions (2015). His curatorial activities include exhibitions on medieval prints, early modern colour prints and Rembrandt’s etchings on Japanese paper. Ad Stijnman (Netherlandish, born 1957). Nagasaki Ki, 2007. Installation of ten prints: engraving, mezzotint, relief etching, white Johannot paper. Each print 50 x 32.5 cm.; overall size 200 x 140 cm. Julian Trevelyan. Etching: Modern Methods of Intaglio Printmaking. New York: Watson-Guptill Publications, 1964. Ad Stijnman. Etsvademecum. De Bilt: Cantecleer, 1985. Virtuelles Kupferstichkabinett: http://www.virtuelles-kupferstichkabinett.de/de/. Rembrandt van Rijn (Dutch, 1606–1669). The Three Crosses, 1653. Drypoint on vellum. Plate: 37.2 x 42.8 cm (14 5/8 x 16 7/8 in.); sheet: 37.8 x 44.1 cm (14 7/8 x 17 3/8 in.). National Gallery of Art, Washington, D.C. Ad Stijnman, ed. Engraving and Etching 1400–2000: A History of the Development of Manual Intaglio Printmaking Processes. Paderborn, Germany: Brill | Hes & De Graaf, 2012. Ad Stijnman and Elizabeth Savage, eds. Printing Colour 1400–1700: History, Techniques, Functions and Receptions. Amsterdam: Brill, 2015. Yuriko Miyosi (Japanese, born 1962) and Ad Stijnman (Netherlandish, born 1957). 24 Roundels, 2020. Circular papers by Miyosi, plates and printing by Stijnman. Colour inks, chine collé, goldleaf. Each roundel: approximately 12 cm. Marion Bouwhuis (Netherlandish, born 1951), Yuriko Miyosi (Japanese, born 1962), and Ad Stijnman (Netherlandish, born 1957). Covid 19 Exchange Print. Etching printed in blue on white Arches by Bouwhuis, pink circular paper by Miyoshi, etching printed in purple with chine collé and goldleaf by Stijnman. Sheet: 25 x 32.5 cm. Ad Stijnman (Netherlandish, born 1957). Column, 1999. Mezzotint on chine collé on white Zerkall paper. Plate: 16 x 21.6 cm. Ad Stijnman (Netherlandish, born 1957). Column, 1999. Mezzotint on white Zerkall paper. Plate: 16 x 21.6 cm. Joris Hoefnagel (Flemish, 1542–1600). Plate 10: A Lion and a Civet Cat from Volume II, Animalia Qvadrvpedia et Reptilia (Terra), c. 1575–80. Watercolor and gouache on vellum. Page: 14.3 x 18.4 c.m (5 5/8 x 7 ¼ in.). National Gallery of Art, Washington, D.C. Scholarly Colloquium: Telling the From Jikji to Gutenberg Story. 2023. Video. Retrieved from the Library of Congress, www.loc.gov/item/webcast-10808. James Ensor (Belgian, 1860–1949). Death Chasing the Flock of Mortals, 1896. Etching. Plate: 23.7 × 18.1 cm. (9 3/8 × 7 3/16 in.); sheet: 29 × 22.1 cm. (11 7/16 × 8 3/4 in.). Art Institute of Chicago, Chicago.   HELPFUL LINKS Ad Stijnman’s scholarl