`a la poupe’e
an inking technique in intaglio printing whereby multiple colors
are applied to a single printing plate with small pieces of material,
usually tarlatan or felt, shaped like miniature tu-tus, hence
the use of the French term “like a doll”.
aquatint
an etching technique for producing tonal or textural surfaces
on a metal plate, either by heat fusing powdered resin ground
to a plate or dusting with enamel spray paint prior to immersion
in an acid solution for etching.
artist’s proof
(e’preuve d’artiste) one or more prints set aside and
separate from an edition for the artist’s use.
bled print
a print or art work in which the image extends to one or several
of the edges of the paper on which it is created.
bon `a tirer
as a printmaker progresses in producing successive states or impressions,
a version is achieved which is satisfying to the artist and/or
printer. Literally meaning “good to pull”, this version
serves as the basis to which each print in an edition must match.
burr
a ridge of metal pushed or pulled up on either or both sides of
a line by drypoint or engraving tools. In drypoint the burr remains
and creates a blur or fuzzy edge to lines. In engraving the burr
is usually removed prior to printing.
chine colle’
a process of attaching or pressing a thin sheet, usually Oriental
paper, to a print at the same time as the print is produced, in
either lithographic or intaglio printmaking.
color viscosity
the process whereby many colors are applied by rollers to a printing
plate but the colors are kept separate due to the amounts (viscosity)
of oil in the ink, so that the inks repel or attract each other
in somewhat the same way as oil and water repel each other in
lithography (or your mix of oil and vinegar for a salad). A more
oily ink will repel an ink with a lower ratio of oil to ink.
color separation
the printing technique of making separate plates, wood blocks
or lithographic plates or stones for each color to be printed.
drypoint
an intaglio technique in which sharp needles or tools scratch
a metal plate, resulting in raised burrs (displaced metal from
the incision of the tools). These burrs produce a fuzzy or velvety
line when printed, but wears away as successive impressions are
made from the printing plate.
edition
a finite number of identical prints, designated by a fraction
inscription such as 3/10 where 10 is the finite number and 3 is
the sequence in execution/printing.
engraving
an intaglio technique in which crisp clear lines are cut into
a metal plate directly by hand with use of a burin (a v-shaped
metal shaft tool).
enso
(Japanese) A circle. A representation in Zen painting of the repeating
and revolving events.
etching
an intaglio technique in which a metal plate is covered with acid
resistant substances, then worked with an etching needle, wire
or other tool, to expose lines or areas of metal plate to an acid.
The exposed metal is “eaten away” resulting in depressed
lines or areas which will hold ink for printing.
impression number
the number of a print in an edition, written in sequential numbers
to match the order printed; designated in a fraction. For example
an edition of 50 would be numbered 1/50, 2/50, 3/50 and so on
to 50/50.
intaglio
“carving”, the printing technique in which a dampened
paper is pressed into depressed (cut) or incised lines or areas
in a metal plate which have been filled with ink. The lines (image)
are produced by acid (bitten into the metal) or by means of sharp
tools (cut into). See etching, engraving, and aquatint.
linoleum print (linocut)
a type of relief print in which the image is cut or incised into
a piece of linoleum; ink is applied to the surface areas. A multicolor
print may be accomplished in either color separation or reduction
method.
lithograph (lithography)
a planographic print technique which chemically treats areas (image)
of a stone or metal to accept ink (greasy) and repel water, while
non-image areas are conditioned chemically to repel ink and retain
water. Printing begins by wetting the stone or plate with water
which adheres to non-image areas but is repelled by the image area
(greasy areas). Printing inks rolled over this are attracted to
the greasy areas but repelled by the wet areas. The image is then
transferred to paper with a printing press.
mandala
(Sanskrit) World picture. A diagram, usually colorful, explaining
a cosmological or other system often used as a religious guide in
meditation.
mixed media
composed or created with more than one type of material/ medium;
such as oil painting with paper collage or intaglio print with hand
drawing with pencils or pastels etc.
monotype (monoprint)
literally, a print made in an edition of one. Application of inks
and paints on a metal, Plexiglas or other flat surface on which
there is no matrix for further reproduction that is identical of
what has just been printed. (A monoprint is a print done in this
fashion, one type of technique.) Contrary to convention, I prefer
to call one of a kind prints by the term “monoprint” and
prints which use only one technique by the term “monotype”.
In such fashion a monotype may be a monoprint but a monoprint may
not necessarily be a monotype.
planographic printmaking from a flat surface which is not incised by
engraving, etching or otherwise multileveled.
print(s)
the end result of printmaking techniques. In fine art, it is a reference
to that which has been “pulled by hand” and not a reproduction
achieved by any automated system.
printer’s proof
prints pulled during the creative processes of etching, engraving,
etc. in the various stages of developing a plate for final printing
or one that has been printed outside of an edition.
"raising the grain"
rubbing, scratching a wood block with a steel brush or other tool
so as to remove the softer wood between the wood grains. With the
grains thus “exposed” or heightened, the wood grain can
be printed to enhance the print image.
reduction method (reduction block print)
a type of relief print made by printing and successively cutting
away any sections, lines or areas before an additional color or
area is printed. All colors and sections of the print are printed
from one block, printing light colors first through darker ones.
Compare with color separation.
relief (print)
printmaking process in which an image is printed from a raised surface,
usually made by cutting away non-image areas.
serigraph (serigraphy)
printing technique more commonly known as silkscreen, whereby inks
are forced directly onto paper or canvas through an image cut out
or “stencil”.
wood engraving (xylography), a relief print made on the end grain of a
block of wood.
woodcut
a relief print made from the plank side of a block of wood. Areas
not to be printed are cut away. The remaining “raised”
portions are inked, and printing to paper is achieved either by
pressure applied by hand, rubbing by burnisher, or by a printing
press.
