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The artist creates the matrix (The material that creates the print) by cutting away all parts of the printing surface not meant to carry ink; this leaves the design “in relief” at the level of the original surface. The surface is then inked, and the ink is transferred to paper with pressure.
The oldest relief prints are woodcuts. The woodcut process lends itself to designs with bold black-and-white contrast. Woodcut editions are limited to a couple hundered prints because the wood starts to give after a while.
Boren, Kailee. Intaglio Print by Kailee Boren. Intaglio Print, 2019, www.pinterest.com/pin/371265563028456204/.
Accessed 27 Jan. 2024.
Intaglio Print Technique/Shade Style. Intaglio Engraving, 2020, www.pinterest.com/pin/566116615659660687/. Accessed 27 Jan. 2024.
Lawrence, Mark. Another Amazing Screen Printing Artist. Screenprinting, 2022, www.pinterest.jp/pin/14777505015161786/. Accessed 27 Jan. 2024.
Marion. Printmaking Again: Lithography. Lithography Printmaking, 2021, in.pinterest.com/pin/591027151084766861/. Accessed 27 Jan. 2024.
Moss, Sarah. More Wood Engravings Ready for Printing by Sarah Moss. Wood Engraving Printmaking, 2015, www.pinterest.co.uk/pin/260364422182437097/. Accessed 27 Jan. 2024.
Muir, Mary. Morag’s Flowers. Linocut, 2013, www.pinterest.com.au/pin/489977634434360785/. Accessed 27 Jan. 2024.
Pesco, Belinda. Drypoint on Plexiglass. Drypoint Intaligo, www.pinterest.com/pin/84583299237878967/. Accessed 27 Jan. 2024.
Prints, Robin. Goldfish. Etching Intaglio, 2018, www.pinterest.com.au/pin/864550459687291240/. Accessed 27 Jan. 2024.
Relief Print with Animals! Relief Printmaking, www.pinterest.com/pin/383439355744950490/. Accessed 27 Jan. 2024.
Roden, Paul, and Valerie Lueth. House Tree. Woodcut Print, 2011, www.pinterest.com/pin/369576713149343207/. Accessed 27 Jan. 2024.
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A stencil is a sheet with a design cut out of it; painting or spraying over the sheet transfers the design to the picture surface.Screenprinting is a refinement of the technique of stencil printing. Early in the twentieth century, stencil technique was improved by attaching the stencil to a screen made of silk fabric stretched across a frame (synthetic fabric is generally used today). With a rubber-edged blade or a squeegee, ink is then pushed through the fabric in the open areas of the stencil to make an image of the stencil on the paper being printed
Unlike relief and intaglio methods, lithography requires no cutting of the matrix. Thus, lithography is a surface or planographic printing process. Lithography lends itself well to a direct manner of working because the artist draws an image directly onto the surface of the stone or plate. This directness makes lithography faster and somewhat more spontaneous than other methods. They tend to resemble waxy crayon drawings.
The artist paints the surface of a copper or zinc plate with a coating of either wax or varnish that will resist acid. The artist then draws easily through this ground with a pointed tool, exposing the metal with each stroke. An etching tool may be as thick as a pen, but is more often closer to a needle. Finally, the plate is immersed in nitric acid. Acid bites into the plate where the drawing has exposed the metal, making a groove
Drypoint is similar to engraving. Using a pointed tool with a steel or diamond tip, the artist scratches shallow lines into a soft copper or zinc plate. The displaced metal leaves a burr, or rough edge. The burr catches the ink and, when printed, leaves a slightly blurred line. Because the burr is fragile and deteriorates rapidly from the pressure of the printing press rollers, drypoint editions are by necessity small and less common.
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This image is an example of Screenprinting
Intaglio printing is the opposite of relief printing: Areas below the surface hold the ink. The image to be printed is cut, scratched, or etched into a metal surface.
Another medium is wood engraving. In this method, the artist uses very dense wood typically boxwood set on its end rather than sideways. The hardness of the wood requires the use of metal engraving tools, but it also makes large editions possible.
To make an engraving, the artist cuts lines into the polished surface of a metal plate with an engraving tool. Lines are made by pushing the tool into the metal to carve a groove. A clean line is preferable; thus, any rough edges of the groove must be smoothed down with a scraper.
Linocut starts with a rubbery, synthetic surface of linoleum, and, just as in woodcut, gouges out the areas not intended to take ink. Linoleum is softer than wood, has no grain, and can be cut with equal ease in any direction. The softness of this matrix material makes fine detail impossible.