Lithography is a planographic method of printing originally based on the immiscibility of oil and water. The printing is from a stone or a metal plate with a smooth surface. It was invented in 1796 by the German author and actor Alois Senefelder and was initially used mostly for musical scores and maps. Lithography can be used to print text or images onto paper or other suitable material. A lithograph is something printed by lithography, but this term is only used for fine art prints and some other, mostly older, types of printed matter, not for those made by modern commercial lithography.
Etching is traditionally the process of using strong acid or mordant to cut into the unprotected parts of a metal surface to create a design in intaglio (incised) in the metal. In modern manufacturing, other chemicals may be used on other types of material. As a method of printmaking, it is, along with engraving, the most important technique for old master prints, and remains in wide use today. In a number of modern variants such as microfabrication etching and photochemical milling, it is a crucial technique in modern technology, including circuit boards.
Printmaking is the process of creating artworks by printing, normally on paper, but also on fabric, wood, metal, and other surfaces. "Traditional printmaking" normally covers only the process of creating prints using a hand processed technique, rather than a photographic reproduction of a visual artwork which would be printed using an electronic machine ; however, there is some cross-over between traditional and digital printmaking, including risograph.
Woodcut is a relief printing technique in printmaking. An artist carves an image into the surface of a block of wood—typically with gouges—leaving the printing parts level with the surface while removing the non-printing parts. Areas that the artist cuts away carry no ink, while characters or images at surface level carry the ink to produce the print. The block is cut along the wood grain. The surface is covered with ink by rolling over the surface with an ink-covered roller (brayer), leaving ink upon the flat surface but not in the non-printing areas.
Chine-collé or chine collé is a printmaking technique in which the image is transferred onto a surface that is bonded onto a heavier support in the printing process. One purpose is to allow the printmaker to print on a much more delicate surface, such as Japanese paper or linen, that pulls finer details off the plate. Another purpose is to provide a background colour behind the image that is different from the surrounding backing sheet.
Drypoint is a printmaking technique of the intaglio family, in which an image is incised into a plate with a hard-pointed "needle" of sharp metal or diamond point. In principle, the method is practically identical to engraving. The difference is in the use of tools, and that the raised ridge along the furrow is not scraped or filed away as in engraving. Traditionally the plate was copper, but now acetate, zinc, or plexiglas are also commonly used. Like etching, drypoint is easier to master than engraving for an artist trained in drawing because the technique of using the needle is closer to using a pencil than the engraver's burin.
Aquatint is an intaglio printmaking technique, a variant of etching that produces areas of tone rather than lines. For this reason it has mostly been used in conjunction with etching, to give both lines and shaded tone. It has also been used historically to print in colour, both by printing with multiple plates in different colours, and by making monochrome prints that were then hand-coloured with watercolour.
The hectograph, gelatin duplicator or jellygraph is a printing process that involves transfer of an original, prepared with special inks, to a pan of gelatin or a gelatin pad pulled tight on a metal frame.
Intaglio is the family of printing and printmaking techniques in which the image is incised into a surface and the incised line or sunken area holds the ink. It is the direct opposite of a relief print where the parts of the matrix that make the image stand above the main surface.
Monoprinting is a type of printmaking where the intent is to make unique prints, that may explore an image serially. Other methods of printmaking create editioned multiples, the monoprint is editioned as 1 of 1. There are many techniques of mono-printing, in particular the monotype. Printmaking techniques which can be used to make mono-prints include lithography, woodcut, and etching.
Line engraving is a term for engraved images printed on paper to be used as prints or illustrations. The term is mainly used in connection with 18th- or 19th-century commercial illustrations for magazines and books or reproductions of paintings. It is not a technical term in printmaking, and can cover a variety of techniques, giving similar results.
Carborundum mezzotint is a printmaking technique in which the image is created by adding light passages to a dark field. It is a relatively new process invented in the US during the 1930s by Hugh Mesibov, Michael J. Gallagher, and Dox Thrash, an artist working in Philadelphia with the Works Progress Administration (WPA)). "Carborundum Collagraph" collagraph is a different printmaking technique, invented in 1952 by Henri Goetz, an American abstract artist living in Paris. The carborundum mezzotint uses the grits to create pits below the surface of the metal that then hold ink, like traditional mezzotint. The carborundum collagraph creates the image above the surface of the matrix, which does not have to be metal. In one method, the grits are mixed into a paste using an acrylic base that is painted onto the matrix, creating the image much like painting. Once dried, this holds the ink; the wiping and printing are done the same as etching. The techniques described following and below are alternatives to the paste mixture technique, yet all are creating the image above the surface of the matrix. Carbordundum collagraph allows artists to work on a large scale. Normally, cardboard or wood plates are coated in a layer of carborundum or screen, and the lights are created by filling in the texture with screen filler or glue. Carborundum prints may be printed as intaglio plates.
Viscosity printing is a multi-color printmaking technique that incorporates principles of relief printing and intaglio printing. It was pioneered by Stanley William Hayter.
Cliché verre, also known as the glass print technique, is a type of "semiphotographic" printmaking. An image is created by various means on a transparent surface, such as glass, thin paper or film, and then placed on light sensitive paper in a photographic darkroom, before exposing it to light. This acts as a photographic negative, with the parts of the image allowing light through printing on the paper. Any number of copies of the image can be made, and the technique has the unique advantage in printmaking that the design can be reversed just by turning the plate over. However, the image loses some sharpness when it is printed with the plain side of the glass next to the paper.
Melanie A. Yazzie is a Navajo sculptor, painter, printmaker, and professor. She teaches at the University of Colorado at Boulder.
Vitreography is a fine art printmaking technique that uses a 3⁄8-inch-thick (9.5 mm) float glass matrix instead of the traditional matrices of metal, wood or stone. A print created using the technique is called a vitreograph. Unlike a monotype, in which ink is painted onto a smooth glass plate and transferred to paper to produce a unique work, the vitreograph technique involves fixing the imagery in, or on, the glass plate. This allows the production of an edition of prints.
Antoon Sallaert or Anthonis Sallaert (1594–1650) was a Flemish Baroque painter, draughtsman and printmaker who was active in Brussels. Sallaert produced many devotional paintings for the Brussels court of Archdukes Albert and Isabella as well as for the local churches. Sallaert was an innovative printmaker and is credited with the invention of the monotype technique. He was an important tapestry designer for the local weaving workshops.
Alice Garver (1924-1966) was an American painter and printmaker, particularly known for large-format abstract expressionist drawings and monotype prints. She is recognized as an important Albuquerque, New Mexico artist.
Roy Ward Ragle was a San Francisco artist known for his self-portraits executed in large woodcuts. Inspired by the Japanese tradition of Ukiyo-e, his prints were linear in character, finely detailed, but with imagery traced in a web of thin, coiled and looping lines, creating a woodcut that was often mistaken for an etching. Ragle’s persistent attempt of capturing his own features in his woodcuts was triggered by a diagnosis of Crohn’s disease in the early 1970s, a chronic illness that would mark his life and his art. The medications so affected and altered his features that his prints became a way of preserving and rescuing a sense of identity. As Kenneth Baker noted in Roy Ragle's obituary: "Mr. Ragle (...) had long depicted death as his companion in woodcuts and prints in other media, in a manner reminiscent of European dance of death imagery and to Mexican folk art tradition."
In printmaking, surface tone, or surface-tone, is produced by deliberately or accidentally not wiping all the ink off the surface of the printing plate, so that parts of the image have a light tone from the film of ink left. Tone in printmaking meaning areas of continuous colour, as opposed to the linear marks made by an engraved or drawn line. The technique can be used with all the intaglio printmaking techniques, of which the most important are engraving, etching, drypoint, mezzotint and aquatint. It requires individual attention on the press before each impression is printed, and is mostly used by artists who print their own plates, such as Rembrandt, "the first master of this art", who made great use of it.
