Printmaking: Difference between revisions

{{short description|Process of creating artworks by printing, normally on paper}}

[[File:Hokusai, The Underwave off Kanagawa.jpg|thumb|alt=Hokusai, The Underwave off Kanagawa, depicting various waves. A ship can be seen upon the waters.|300px|[[Katsushika Hokusai]] ''The Underwave off Kanagawa'', 1829/1833, color [[woodcut]], Rijksmuseum Collection]]

[[File:1630 Rembrandt Selbstportrait mit aufgerissenen Augen anagoria.JPG|thumb|300px|[[Rembrandt]], ''[[Self-portrait]]'', [[etching]], {{Circa|1630}}]]

* [[Intaglio (printmaking)|Intaglio]], where ink is forced into grooves or cavities in the surface of the matrix. Intaglio techniques include [[collagraph]]y, [[engraving]], [[etching]], [[mezzotint]], [[aquatint]].

* [[Planographic]], where the matrix retains its original surface, but is specially prepared and/or inked to allow for the transfer of the image. Planographic techniques include [[lithography]], [[monotyping]], and digital techniques.

 

A type of printmaking outside of this group is [[viscosity printing]]. [[Printing#Conventional printing technology|Contemporary printmaking]] may include [[digital printing]], photographic mediums, or a combination of digital, photographic, and traditional processes.

[[File:Kirchner - Bildnis Otto Mueller.jpg|thumb|upright|left|[[Ernst Ludwig Kirchner]], ''Portrait of [[Otto Mueller|Otto Müller]]'', 1915]]

 

[[File:Some woodcutts of Stanislaw Raczynski.jpg|thumb|''Woodcuts of Stanislaw Raczynski (1903–1982)'']]

The [[artist]] either draws a design directly on a plank of [[wood]], or transfers a drawing done on paper to a plank of wood. Traditionally, the artist then handed the work to a technician, who then uses sharp carving tools to carve away the parts of the block that will not receive ink.<ref>{{Cite web |title=Woodcut |url=https://www3.metmuseum.org/about-the-met/collection-areas/drawings-and-prints/materials-and-techniques/printmaking/woodcut |access-date=2023-02-24 |website=The Metropolitan Museum of Art |language=en}}</ref> In the Western tradition, the surface of the block is then inked with the use of a [[brayer]]; however in the Japanese tradition, [[Woodblock printing in Japan|woodblocks]] were inked with a brush.<ref>{{Cite web|last=Watton|first=Jill|date=2019-04-26|title=Japanese Woodblock Printmaking Explained|url=https://www.jacksonsart.com/blog/2019/04/26/relief-printing-japanese-woodblock-printmaking/|access-date=2021-07-24|website=Jackson's Art Blog|language=en-GB}}</ref> Then a sheet of [[paper]], perhaps slightly damp, is placed over the block. The block is then rubbed with a [[Baren (printing tool)|baren]] or [[spoon]], or is run through a [[printing press]]. If the print is in color, separate blocks can be used for each [[color]], or a technique called reduction printing can be used.

Another variation of woodcut printmaking is the cukil technique, made famous by the [[Taring Padi]] underground community in Java, Indonesia. Taring Padi Posters usually resemble intricately printed cartoon posters embedded with political messages. Images—usually resembling a visually complex scenario—are carved unto a wooden surface called cukilan, then smothered with printer's ink before pressing it unto media such as paper or canvas.<ref>{{Cite web |title=Woodcut |url=https://www3.metmuseum.org/about-the-met/collection-areas/drawings-and-prints/materials-and-techniques/printmaking/woodcut |access-date=2023-02-24 |website=The Metropolitan Museum of Art |language=en}}</ref>

 

{{main|Engraving}}

[[File:Melencolia I (Durero).jpg|thumb|upright|left|''[[Melencolia I]]'', 1514 engraving by [[Albrecht Dürer]], one of the most important printmakers.]]

Gravers come in a variety of shapes and sizes that yield different line types. The burin produces a unique and recognizable quality of line that is characterized by its steady, deliberate appearance and clean edges. Other tools such as mezzotint rockers, roulettes (a tool with a fine-toothed wheel) and burnishers (a tool used for making an object smooth or shiny by rubbing) are used for texturing effects.

 

 

In the 20th century, true engraving was revived as a serious art form by artists including [[Stanley William Hayter]] whose [[Atelier 17]] in Paris and New York City became the magnet for such artists as [[Pablo Picasso]], [[Alberto Giacometti]], [[Mauricio Lasansky]] and [[Joan Miró]].

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{{main|Mezzotint}}

An [[Intaglio (printmaking)|intaglio]] variant of engraving in which the image is formed from subtle gradations of light and shade. Mezzotint—from the Italian mezzo ("half") and tinta ("tone")—is a "dark manner" form of printmaking, which requires artists to work from dark to light. To create a mezzotint, the surface of a copper printing plate is roughened evenly all over with the aid of a tool known as a rocker; the image is then formed by smoothing the surface with a tool known as a burnisher. When inked, the roughened areas of the plate will hold more ink and print more darkly, while smoother areas of the plate hold less or no ink, and will print more lightly or not at all. It is, however, possible to create the image by only roughening the plate selectively, so working from light to dark.

 

In art, '''foil imaging''' is a printmaking technique made using the Iowa Foil Printer, developed by [[Virginia A. Myers]] from the commercial [[foil stamping]] process. This uses gold leaf and acrylic [[Foil (chemistry)|foil]] in the printmaking process.

 

 

== Color ==

 

== Registration ==

 

 

== Protective printmaking equipment ==