In explaining why he has chosen printmaking as his primary medium, it is interesting to note Minegishi's invocation of Leonard Baskin as a major influence, and that Baskin's first success was as a sculptor.

"Printmaking fits somewhere between painting and sculpture. The final image is two dimensional, yet the process of image making, such as carving a woodblock, scratching a metal plate, or etching a stone is quite three dimensional. I am attracted to that," Minegishi says.

Baskin's passion for creating books that combined wood engravings with letterpress and fine binding may also have been responsible for enticing Minegishi to try his hand at similar projects. In 2002 he was commissioned by Heavenly Monkey to cut six engravings, based on sketches by Hieronymus Bosch, to be used as illustrations for an experimental edition of H.P. Lovecraft's Shadow Over Innsmouth. These were subsequently reprinted in 2003, in a small volume titled The "Innsmouth Look", the first book to feature Minegishi's engravings printed from the original blocks. (Reproductions of his engravings have been used to illustrate three volumes of poetry by his mother, Ryoko Minegishi, published in Japan.) Copies of this book have been purchased by a number of international special collections libraries, including the British Library.

The success of the Innsmouth project encouraged Shinsuke to undertake a second commission from the studio, creating 10 botanical engravings to accompany Barbara Hodgson's Good & Evil in the Garden (2003). The project highlighted Minegishi's interest in small-format engravings, with intricate detail. Ars Anatomica (2004) was Minegishi’s next publication, presenting ten miniature engravings that combine studies of human anatomy with his signature abstract mindscapes.

Minegishi's most recent project is The Tale of Three Black Boxes, a book and companion suite of prints issued by Heavenly Monkey Editions in the spring of 2006.

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