Printmaking: in its' most general definition, is the action of manipulating a material to create a pattern or image. Then the transfer of that pattern or image to another surface with a wet medium.

For example: Muddy boot prints on the floor, finger prints on the wall, hand prints on glass, all of these and many more seemingly mundane actions make people artists and printers everyday. But as artists who create in a more formal fashion, we want to provide some definitions to help explain some of the art you may see.

 

WOODCUT

WOOD ENGRAVING

LINOCUT

LITHOGRAPHY

INTAGLIO

ETCHING

AQUATINT

DRYPOINT

MEZZOTINT

SILK SCREEN

COLLAGRAPH

MONOPRINT

 

WOODCUT
Woodcut printing is one of the most traditional methods of printmaking. In a woodcut it is the raised surface containing the positive image that is printing. The background area is carved away with chisels, creating the white,nonprinting areas. The surface is covered with ink by rolling with an ink-covered roller , or by brushing pigments onto the raised areas. Paper is then placed face down on the woodblock and pressure is applied to the back, either by a printing press or a special tool. The colours are then transferred to the paper by the pressure. TOP

WOOD ENGRAVING
Wood engraving is an extremely fine form of woodcutting. The image is developed as an intricate pattern of white lines. Using blocks made from the end-grain of the wood, the artist obtains agreat detail. TOP

LINOCUT
Linocut is essentially the same process as woodcut, the only difference is that linoleum is softer and easier to use. Reduction woodcut or linocut is an exacting process in which the artist uses only one block. The block is cut and used to print the first colour. That same block is cut down a bit more and used to print the second colour over the first. The artist continues to cut and print until all the colours have been printed. TOP

LITHOGRAPHY
This process depends on the natural antipathy of grease and water. The drawing is created with grease on a grease sensitive surface, and the non-printing areas are treated with water based materials to keep them clean. When the ink is rolled on to the surface, it adheres only to the grease sensitised areas.

Historically, lithographic images were prepared on limestone blocks, more recently zinc plates have been used to create the same effect.

The stone/plate has an even grained surface ground into it, which contributes to the characteristic texture of lithographic printing.

After printing, it can be cleaned, but after a few uses it must be re-grained.

The traditional process involves sensitising the surface to receive the grease, (the drawing). The image is then fixed to the plate with a solution of dilute acid and gum. This is called 'etching', not to be confused with intaglio etching, since this solution merely helps to set the greasy marks to the plate. The plate is then treated with various chemicals, wetting and drying alternately, until the image is ready to receive the ink, and be printed. Usually you may only print 10-20 in the edition, since in the traditional process, the image degrades quite quickly. TOP

INTAGLIO
The image is drawn through an acid proof ground. The artist draws into the ground to create an image. The plate is then immersed into a mordant which bites into all the lines which are now exposed . The longer the plate is left in the acid the deeper the lines will become. The ground is then removed and the plate is inked so that the ink is pushed into the lines and pits and wiped off the surface of the plate. To pull an intaglio print, the artist must use a printing press in order to create enough pressure to force the dampened printing paper down into the inked lines.

Colour intaglio prints are usually created with multiple plates. It is also possible to add colour to selected areas of a plate before it is printed. TOP

ETCHING
This process involves putting a wax resist onto the surface of a metal plate. The wax is drawn into, (and very fine lines can be achieved) revealing the metal underneath. This is then placed in a bath of dilute acid, which bites into the lines.

Once the lines are "bitten", a proof needs to be printed, by rubbing ink into the lines, placing damp paper on top of the plate and rolling it through an etching press.

The printmaker may decide to add light and shade to the image by use of an aquatint resin, further processes may be involved before the printmaker is satisfied enough to make an edition. Then each print will be inked up by hand, and printed on the press. TOP

AQUATINT
The artist covers the plate with a fine dusting of resin dust and melts it onto the plate. Heating the plate from beneath causes the dust to harden and adhere to the plate. When the plate is immersed in mordent all the tiny exposed points in between the resin are bitten. When printed , this creates a broad area of tone. TOP

DRYPOINT
The artist draws directly onto the bare metal or plexiglass plate creating a shallow line with a ridge on one side . This ridge , called the burr, is the metal or plastic which is displaced as the line is drawn . The ragged surface of the burr catches more ink than the shallow line beside it and prints a velvety dark line. TOP

MEZZOTINT
A spiked roller called a rocker is used to create a textured surface all over the plate., so that if it was inked and printed it would print solid black. The image is then created with a scraper and burnisher, flattening out areas so that they do not hold ink. It is a very laborious process but the results are spectacular. TOP

SILK SCREEN
This technique involves pushing ink through a fine mesh, with a rubber squeegee. The fine nylon mesh is supported by a frame, originally this was made of silk.

The screen itself may have a stencil adhered to its surface to create an image through which the ink is squeezed.

The artist may also create an image by directly adding ink to the mesh and as if painting an image, layer the ink onto the paper, these are equivalent to mono prints, and as such may be called this. TOP

COLLAGRAPH
A name derived from the word Collage, a technique involving relief and intaglio printmaking. In general - a piece of card is used as a plate, instead of copper or zinc. Textures are laid onto the card (relief), and lines are cut into the card (intaglio). This plate is then protected with a varnish in order to make an edition of prints. Although a print can be achieved by laying paper on top of the plate (after inking up), and rubbing the paper with a spoon (as with lino- cuts). The best results are obtained by using an etching press, particularly if there are intaglio lines in the plate.

One of the joys of this method is not using acids to etch the plate, the artist feels that they have a more direct control over the image that is produced. TOP

MONOPRINT
Usually this term refers to the singular production of a print, rather than an edition. There are various techniques involved in producing a print. One method involves painting with printmaking inks onto the surface of a plate. This form of print is more spontaneous, and may suit those with a painterly approach.

Again, the artist has more direct control over this process, and no acid is involved. TOP

Written by Aimee Birnbaum & Theresa Pateman, intro by Daniel Colvin

Copyright 2004-2008 Cobenick Studios - Columbus, Ohio