The author does not pretend to be the inventor of the non-toxic printmaking procedures outlined in his book, and he acknowledges at the outset the pioneering work done by "people like Keith Howard, Mike Zafron, Friedhard Kiekeben, Robert Adam, and others..."

• Removing (or not) the Etching Ground (p. 17)
  It seems that the acrylic resist (in reality an acrylic floor polish) clings so fiercely to the copper plate that they can be partially left on the plate during printing. Not only does this mean that the artist can go back and continue work in the ground, but it also makes the plate easier to wipe. The disadvantage to this procedure, according to the author, is that the hard ground leaves no plate tone on the print, for which the ground must be washed off.

• Hard Ground/Soft Ground Hybrid (p. 22)
  The acrylic-based etching ground system offers a unique possibility of combining hard and soft grounds. The etching ground consists of water-based ink for block prints mixed with an acrylic binder. After objects have been pressed into the soft ground the plate is simply placed in a drying cabinet for 20 minutes, after which time the resist hardens and can be treated as a traditional hard ground, which can then be worked further or etched directly.

• Sprayed Aquatint (p. 24)
  This method relies on an acrylic resist diluted with distilled water and sprayed on with an airbrush. According to BØegh, the possibilities offered go far beyond the traditional resin box. Besides the usual uniform textured surface, the spray technique permits the application of textures in the form of lines, areas with different densities, clouds, splatters, layers of gradually increased thickness, etc. A creative variation on the sprayed aquatint procedure is the creation of aquatint washes, the intaglio version, according to the author, of watercolor painting. To achieve this, the artist simply brushes the freshly sprayed and still wet aquatint layer, or dilutes it with distilled water and does the same. Results are "stunning," according to BØegh.

• Etching
  For an etching technique, in which the film serves as an acid-proof membrane while the plate onto which it has been laminated is being etched. They photopolymer film is extremely acid-proof and well suited for even the deepest bites.

• Non Etching
  For a non-etching technique, which corresponds to conventional photopolymer gravure with photopolymer plates. The depth emerges in the film during the development process.

The book includes three useful appendices. For printmakers who want to get serious about the changeover to non-toxic, BØegh provides a chapter on "The Transition to the Non-Toxic Studio," including also some money-saving, do-it-yourself guidelines. Appendix II presents a brief introduction to Scanning and Digital Imaging, and Appendix III includes information for artists who are new to intaglio printmaking.