This is one of the most unusual titles I’ve read for Computing Reviews. The book is explicitly “not intended to be a tips and tricks book, nor will we attempt to explain all the various digital imaging software” (p. 43). So, what is it?

The heart of the book is 17 chapters, in each of which an artist recounts his or her process of creating an original work, based in some way on the same three supplied digital images. Each of these experiences is recounted in 12 to 15 pages. Three introductory chapters provide some justification for digital manipulation as art, and explain why every artist was provided with three original images “as inspiration,” but with no stipulation that they even had to source anything from these images.

Following the central chapters are two more on “Seeing Digital Art” and “Categorizing Digital Art,” followed by a three-page afterword.

This book is both illuminating and frustrating. I share living space with a digital artist, and provide tech support to a few, so I am exposed to both the frustrations and innovations of working digital artists. Some of that experience is reflected by the contributors to this title, and their chapters provide varying combinations of insight, inspiration, and frustration. All of this will be familiar to those (such as myself) who are already immersed in this area, but should be helpful to those with a more technical background seeking to work with the arts.

But the book is frustrating for several reasons. First, while titled as addressing digital artists, it in fact is narrowly restricted to the print world. Even so, there are few references to more widely recognized digital print artists, and to digital artists who combine print with other digital media (Web, audio, video, sculpture, or product design). For example, the groundbreaking work of Joshua Davis [1] is not discussed in this book. One would never guess that museums from the Tate Modern to the Museum of Modern Art (MOMA) have exhibited anything but prints.

The theoretical underpinnings to the digital arts are frustratingly brief in their presentation. Few of the macro implications are addressed, for example, the effects of unlimited reproduction upon the creative process, or copyright issues. Haves, have-nots, and ease of entry to the field are not discussed. And, finally, while not a “how to,” a little more “how” would make this book much more interesting to other digital print artists.

As it stands, the target reader is hard to bring into the viewfinder. The publisher lists the book as “user level: beginner-advanced” in “category: digital art.” They’ve got the beginner right, and if the category is amended to include the word “print,” the book is ready for the opening.