Herbert Press Available Titles

H E R B E RT P R E S S

S E P T E M B E R 2026

Material Matters An Artist’s Guide to Understanding Ceramic Materials Linda Bloomfield, Linda Swanson Learn the science and artistry behind the materials that shape your ceramic practice, from geological origins to finished glazes.

TECHNOLOGY & ENGINEERING / M AT E R I A L S S C I E N C E / CERAMICS Herbert Press | 9/29/2026 9781789942309 | $45.00 / $60.00 Can. Hardcover with dust jacket | 240 pages | Carton Qty: 14 10 in H | 7.8 in W | 1 in T | 2 lb Wt Full colour illustrations and photographs throughout

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Listed on Amazon store page Featured in the Herbert Press seasonal newsletter Story shoutout on the Bloomsbury US Instagram Print and online campaign to relevant art journalists and editors across relevant craft media outlets

Understanding how and why clay and glazes work (or don’t) is a fundamental skill needed by all potters and ceramicists. Material Matters reveals the science and technology involved in making and firing ceramics, explaining the property and behaviour of various raw materials based on their underlying chemistry.

Suitable for both amateur and experienced potters, the topics explored include raw materials, clay types, slips, glaze development, colourants and firing techniques – as well as the safety and sustainability tips you’ll need along the way.

Supported by full colour illustrations, photographs, charts and graphs, and written by ceramic arts professor Linda Swanson and glaze expert Linda Bloomfield, Material Matters is the essential guide to working confidently with ceramics.

Linda Swanson is an artist whose interests are grounded in the metamorphic nature of ceramic materials and processes. Her works have been exhibited around the United States, Canada and Europe with recent exhibitions in Paris, Bucharest, Chicago and Milwaukee.

Linda Bloomfield trained as a materials scientist before fulfilling her dream of becoming a potter.

She has made thrown porcelain tableware in her West London studio since 2003 and sold her ranges to retailers such as Liberty and Harrods.

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CLAY AS LIQUID

clay by brushing, dipping, spraying, sponging or slip trailing with a squeeze applicator. While the

colouring an

surface of an engobe can be slightly more vitreous

a smaller amount of colourant. Textured engobes

than a clay body, engobes tend to remain dry and

can be formulated with coarse clays or fillers such

matt. Engobes with enough clay content do not

as sand. Engobe layers can be carved through or

melt and can be used to cover the entire clay form

applied with stencils to expose the underlying clay

including the base. Glaze may be applied over an

or another engobe layer and can be pronounced

engobe to seal the surface.

by utilizing contrasting colours or textures.

Above: Hannah McAndrew, Fat-bellied Tulip jug, 2018. Traditional slip trailing techniques in a tulip design accentuate

this fat-bellied red earthenware jug covered in white slip and lead glaze. (Image credit: Shannon Tofts) Overleaf: Sanam Emami, Patterned Tile, 2021. Opaque engobes and glazes applied with stencilled designs create intriguing windows through which more layers are partially revealed. (Image credit: Del Harrow) 5

H E R B E RT P R E S S

S E P T E M B E R 2026

Contemporary Printmaking Safer Intaglio Techniques and Processes Mark Graver Discover how to make your studio more sustainable with this hands-on guide to safer printmaking.

ART / TECHNIQUES / PRINTMAKING Herbert Press | 9/29/2026 9781789943573 | $40.00 / $53.00 Can. Trade Paperback | 224 pages | Carton Qty: 16 9.6 in H | 7.4 in W | 0.7 in T | 1.5 lb Wt Fully illustrated with photographs throughout

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Many artists love the art of print but are concerned about the hazardous materials traditionally used in intaglio techniques, including inking and plate preparation.

Contemporary Printmaking offers practical advice on lower risk, lower impact alternatives that maintain creativity without compromising health or the environment.

Focusing on acrylic resist etching and metal salt mordants, this book covers techniques for working with copper, aluminium, zinc and steel. You’ll find detailed, illustrated instructions for hard and soft grounds, aquatints, lift resists, wash resists and experimental approaches using accessible, non-toxic materials.

Also explored are drypoint, collagraphy, photopolymer, laser engraving and digital hybrid methods – showing how traditional and new techniques can be combined in innovative ways.

Award-winning artist Mark Graver uniquely blends technical depth with sustainability concerns, offering guidance on setting up a home studio, choosing eco-friendly inks and cleaners, and adapting workflows for affordability and accessibility. Fully illustrated with process photography and finished artwork, and with contributions from international artists and educators, Contemporary Printmaking proves that intaglio can remain bold, experimental and environmentally conscious.

Mark Graver RE is an award-winning artist, printmaker, curator and educator based in New Zealand, where he founded Wharepuke Print Studio in 2005. Holding an MA in Printmaking from Camberwell College of Arts, London, he is internationally recognised for pioneering non-toxic and sustainable approaches to print. Author of Non-Toxic Printmaking (2011), his work is represented in major public collections worldwide.

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Contemporary Printmaking

a black sooty coating. The black surface makes the lines drawn through the resist easier to see.

Painting a plate white makes it easier to work with pencil lines, tracing paper or carbon paper if a preliminary drawing is being transferred to the surface.

T Tracing paper drawing

Tracing paper To use tracing paper to reproduce an existing drawing, first coat the plate with white poster paint. Use a soft B grade pencil and trace your reference drawing. Flip the tracing over, put the paper over the painted plate and go over the lines from the back; enough of the image should be visible on the plate to act as a guide for the etching needle.

Carbon paper Carbon paper can also be used with a white painted surface or directly onto the plate. Remember to reverse your image before transferring otherwise it will be backwards.

Red oxide DIV transfer paper Transfer paper can be made in the studio using red oxide pigment and newsprint, tracing or printer paper. Rub the pigment over the paper using a soft cloth, tissue or cotton wool, building up a thin, even surface. This can also be done using graphite power, graphite sticks or Conte crayon.

Place the paper coated side down over the white painted hard ground then the drawing you want to transfer on top of this and go over the drawn lines with a pencil to transfer the image to the plate.

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.&. Carbon paper drawing T Red oxide transfer paper

H E R B E RT P R E S S

N O V E M B E R 202 6

Off-Loom Weaving Hand-woven Patterns and Inspiration Sarah Ward Podlesny A guide to weaving beautiful hand-woven structures without the complexity of the loom.

C R A F T S & H O B B I E S / W E AV I N G & SPINNING Herbert Press | 11/24/2026 9781789943627 | $30.00 / $40.00 Can. Hardcover with dust jacket | 224 pages | Carton Qty: 14 9.9 in H | 7.7 in W | 0.8 in T | 2 lb Wt Illustrated throughout with beautiful colour images

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In this colorful and inspiring book, artist and weaver Sarah Ward shares beautiful, easy-to-follow “off-loom” weaving techniques. All you need is a simple wooden base and a needle and thread. Bridging the gap between simple frame weaving and “proper” loom weaving, “off-loom” weaving will teach you the basics of woven cloth without the complexity of the loom. And the best part—it’s portable!

The book includes 12 projects with step-by-step instructions and photographs, starting with simple paper weaving, on to dogtooth, herringbone and hopsack, through to a fabulous three dimensional waffle weave. Discover how versatile these structures are, and how many different designs can be made just by changing simple factors such as colours and yarn thickness, adding stripes, and texture. These small woven studies make beautiful artworks, and look great in a frame on the wall.

Sarah also shares some of her own experiences as an artist and teacher of weaving, of finding community in craft, and the undeniable benefits of weaving as a form of therapy.

Woven structure is explained in a bite-sized, manageable way, making complex and intimidating patterns feel do-able for all ages and levels. Whether you are new to weaving, or have many years of experience, this is a delightful new direction to take your practice. This book is a celebration of the magic of weaving, highlighting the importance of sharing and passing on these skills, to keep this...

Sarah Ward is a UK-based hand weaver known for her “off-loom” woven work as Lark & Bower and for her checks, stripes and contemporary Ikats as The Aviary Studio. After graduating from Central Saint Martins in 2010, Sarah gained experience across the textile industry including as a hand weaver at a design studio, a woven specialist at a homeware brand and as a designer for a weaving mill. She teaches online and in-person workshops to an international audience. www.larkandbower.com

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When social distancing steered us towards online learning, sharing stories became one of the main features of a class. As we worked and listened, the colours and the tactile feel of the materials offered a sensory connection - the stories became bonded to the making process, the details woven in with every thread. Now, despite returning to our usual routines post-pandemic, many of us have continued to make time for craft, both together and alone. It is pleasant to be around people with whom we share a common interest. Whether online or in person, there is always laughter and also times of quiet, when everyone is deep in the flow of their work.

When we attend a craft workshop, the new skills we learn are not the only thing we can expect to take away with us. Together we are a melting pot of ideas. If we are open, we can tap into a collective bank of knowledge, and between us, several diverse lifetimes of experience. We might learn of a new yarn shop to visit or a better way to tie a knot. Conversations might lead to book recommendations or a new recipe. Craft may be our starting point but conversations are fluid and rarely limited to the task at hand.

We might just find that we have more in common than our love of making.

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H E R B E RT P R E S S

S E P T E M B E R 2026

Foraged Basketry Weaving with Wild and Invasive Plants Delia Fian Discover how to turn everyday overgrowth into beautiful and useful objects with this fresh, sustainable approach to basket making.

A R T / T E C H N I Q U E S / B A S K E T RY Herbert Press | 9/15/2026 9781789944327 | $35.00 / $47.00 Can. Hardcover with dust jacket | 224 pages | Carton Qty: 14 10 in H | 7.8 in W | 0.8 in T | 2 lb Wt Contains over 500 color photographs

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Foraged Basketry is a groundbreaking guide to transforming invasive plants into functional woven goods. Renowned craftsperson and homesteader Delia Fian invites you to gather what grows wildly around you and create items you can wear, carry and use. From bark satchels and vine pack baskets to classic wicker and coiled vessels, the book offers clear, step-by-step instruction across an unparalleled range of projects for all skill levels.

The only basketry guide devoted entirely to weaving with nuisance plants, it reveals how these overlooked materials are abundant, accessible and beneficial to harvest, ultimately helping restore local ecosystems. With practical guidance on identifying, collecting and preparing plants, Delia empowers both beginners and seasoned weavers to start creating immediately – no purchased supplies or travel required.

More than a manual, Foraged Basketry is a call to action. Through personal stories and voices from the weaving community, Delia explores sustainable craft, connection to place and the beauty in what’s been cast aside.

Delia Fian lives in the Southern Appalachians, crafting a handmade life from wild materials – weeds, herbs, leather and even her own wooden treehouse home. Featured in Nat Geo’s Live Free or Die, she runs School of the Greenwood, teaching basketry online and in person. A grant-winning artist with viral videos, Delia inspires a global audience to reconnect with land through traditional craft.

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Start one weaver on the back of the basket, by laying it behind one stake or tucking into the previous row.

Weave over and under, around to the front of the basket, and turn around on the stake before the first one with a clip {aa}. Weave back in the other direction, all the way around the basket, and turn around on the stake before the other one with a clip.

Weave all the way around again, turning around on the same stakes for a second time. On the third and fourth row, turn around on the third stakes from center. On the fifth and sixth row, turn back on the fourth stakes from center. Continue in this way, turning back one stake sooner every other row. Stop when you have reached the side of the basket, and a V shape has appeared on the front of the basket {bb}.

Weave one row of twining on top of the wale to help hold it in place. Give the weavers a full twist between the stakes, if possible, to help tighten the weave.

Weave a second row of twining straight across the top of the basket {dd}.

Step 9: Finishing Weave

Finish the top of the basket by weaving two bands of three-rod wale and twining. First, weave one row of three-rod wale all the way around the basket, covering up the corners of the stair stepped short rows {cc).

Finish with two rows of three-rod wale {ee). Tuck the weaver ends into the previous row to finish.

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H E R B E RT P R E S S

O C TO B E R 2026

Kumiko Japanese Joinery Projects with a Modern Twist Johnny Tromboukis 10 modern projects using traditional Japanese latticework techniques, for beginner and intermediate woodworkers.

CRAFTS & HOBBIES / WOOD WORK Herbert Press | 10/6/2026 9781789943825 | $30.00 / $40.00 Can. Trade Paperback | 176 pages | Carton Qty: 24 9.7 in H | 7.5 in W | 0.5 in T | 1.3 lb Wt Illustrated with hundreds of color photographs and diagrams

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Dive into the world of kumiko with these helpful projects, perfect for beginners and intermediate woodworkers. Bridging the gap between ancient Japanese artistry and contemporary woodwork, this book starts with an introduction to the history and cultural significance of kumiko—a traditional Japanese lattice technique—and its timeless appeal.

You then embark on a step-by-step journey through the fundamentals of kumiko, learning about essential tools, materials, and techniques. Detailed instructions and clear illustrations demystify the process of cutting, fitting, and assembling the delicate wooden pieces that form intricate geometric patterns. Each chapter builds on the last, gradually advancing from simple designs to more complex patterns, ensuring steady progress and building confidence.

The projects also incorporate innovative ways of working kumiko into modern woodworking. From elegant home decor and furniture to creative and innovative approaches, they seamlessly blend traditional techniques with contemporary aesthetics. Practical tips on finishing, mounting, and preserving kumiko work ensure that these items are not only beautiful but also durable.

Woodworkers of all levels will find inspiration and guidance to create stunning, intricate pieces that celebrate the harmony of traditional and modern design.

Johnny Tromboukis is a fine woodworker specializing in kumiko, a traditional Japanese latticework. Passionate about teaching, Johnny shares his expertise via his YouTube channel and offers tools and kits on his website to help woodworking enthusiasts enhance their skills. His work not only showcases the beauty of kumiko but also supports the woodworking community in exploring and mastering this unique and traditional art form. He can be found on social media at @JTWoodworks.

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4. Position both guide pieces

accurately to the measurements shown and square to the lid.

Secure them using screws from underneath (D-F). This keeps the top face clean and free of visible fasteners.

5. With the lid assembled, you can

now fit it into the toolbox. Insert the end with the beveled guide piece into the side of the toolbox that has the beveled top piece.

Then lower the lid into place and slide it closed (G). Make any adjustments necessary to ensure smooth operation.

6. To hold the lid closed, use a wedge with a 70°

bevel cut along both edges (H). Cut it to size for your specific spacing. This locks the lid in place securely.

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H E R B E RT P R E S S

N O V E M B E R 202 6

Stoneware Glazes 1001 Recipes for Potters Andrea Vinkovic The ultimate resource for potters and ceramicists seeking to understand, test and create stoneware glazes.

C R A F T S & H O B B I E S / P OT T E RY & CERAMICS Herbert Press | 11/24/2026 9781789944365 | $52.00 / $69.00 Can. Hardcover with dust jacket | 352 pages | Carton Qty: 10 10 in H | 7.8 in W | 1.1 in T | 2.8 lb Wt Fully illustrated with photographs throughout

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Andrea Vinkovik presents 1001 recipes, all derived from a single starter glaze, altered systematically to reveal the effects of each ingredient. With clear, accessible language and a “cooking class” approach, the book demystifies glaze chemistry and introduces efficient testing methods like volumetric blending and triaxial analysis.

Beginners will find step-by-step guidance on glaze anatomy, safety and testing, while experienced makers discover a unique visual matrix of results, enabling deeper understanding of glaze behaviour. The book explores how fluxes and colourants interact, offering insight into texture, melt and colour response across a wide range of materials.

Fully illustrated with high-quality images and a gallery of artists’ work using the featured glazes, Stoneware Glazes is both a practical manual and an inspiring resource for anyone working with stoneware.

Andrea Vinkovic, a Perth-based artist with an Advanced Diploma of Art and Design (2002), has exhibited widely, including eight international Sculpture by the Sea shows and the 2022 Venice Art Biennale. She lectures, presents at conferences and contributes to the Journal of Australian Ceramics. An active ceramics advocate, she serves on the 17th National Ceramic Conference committee and runs ClayMake Studio, which in 2024 welcomed 2,245 students and engages over 13k online followers.

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PART 3

EF16

Potash feldspar Kaolin (eckalite) Whiting (OMYA) Lithium carbonate Chrome oxide Rutile

EF17

Potash feldspar Kaolin (eckalite) Whiting (OMYA) Spodumene Chrome oxide Rutile

EF18

Potash feldspar Kaolin (eckalite) Whiting (OMYA) Petalite Chrome oxide Rutile

EF19

Potash feldspar Kaolin (eckalite) Whiting (OMYA) Strontium Chrome oxide Rutile

EF20

Potash feldspar Kaolin (eckalite) Whiting (OMYA) Zinc oxide Chrome oxide Rutile

50.00 20.00 20.00 24.00 1.50 3.00

50.00 20.00 20.00 24.00 1.50 3.00

50.00 20.00 20.00 24.00 1.50 3.00

50.00 20.00 20.00 24.00 1.50 3.00

50.00 20.00 20.00 24.00 1.50 3.00

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