PRINT TECHNIQUE
PRINT TECHNIQUE
THE INTAGLlO PRINTING PROCESS
Etching, Engraving, Drypoint, Aquatint, Mezzotint, Collagraph, Photogravure
The word intaglio is derived from the Italian term meaning 'I cut into'. In this process the areas incised or cut into a metal plate actually print the image while the upper, non-printing surfaces are wiped clean. In etching, a plate, typically copper, aluminum or zinc which can be 'eaten away' by acid, is coated with an acid-resistant substance. A sharp instrument draws the image exposing the surface of the metal. The plate is immersed in an acid bath and the exposed metal surfaces become 'acid etched' leaving lines or other areas recessed below the surface of the plate. In engraving, fine lines are incised directly into the plate and the burrs removed to produce clean, sharp lines on the print. Drypoint is similar to engraving but the burr is not removed, resulting in a soft, almost fuzzy line. In the aquatint process, areas covered by rosin powder become pitted when immersed in an acid bath. When inked and printed these pitted surfaces produce tonal or 'textural' areas. In a mezzotint, a serrated tool is used to roughen areas that will retain ink to be printed, while areas to remain white are burnished and scraped smooth so that ink can be wiped away. In a collagraph, the surfaces to be printed are built up with cardboard or other materials that have been glued onto the plate. (The collagraph may also be a relief printing method.) Artists use a press, apply heavy pressure to transfer ink to paper, as same as etching. In etching, a plate, more typically copper, is used in Japan. Copper is not cheap, so someone in other countries use aluminum or zinc. The relatively recent development of the collagraph technique has provided artists with another method for applying ink to paper. As seen above, it is often employed for the purpose of adding textural and dimensional efforts to the prints. Now some artists in many countries are using collagraph or using it with etching or other. In the photogravure process, the image is photochemically transferred to an etching plate which has been coated with a light-sensitve emulsion. The plate is then etched in acid using the standard intaglio process.
Basic Steps
Design-->Transfer design to plate-->Incise or etch design in plate-->Ink plate and wipe off non-printing surfaces-->Using a press, apply heavy pressure to transfer ink to paper
THE RELIEF PRINTING PROCESS
Woodblock (Woodcut), Wood Engraving, Linoleum Block
Relief printing involves the transference of ink from the raised surface of a block to a receiving surface, usually paper. Using the same principle as a stamp, areas cut away from the surface of the block do not print when the inked image is transferred. Separate blocks are usually required for multicolor prints.
The traditional Japanese woodblock printing method typically employs corner and side marks (kento), water-based inks, mulberry (kozo) bark paper and a hand-held disc (baren) to apply pressure to the back of the paper during the printing process.
In contrast, western woodblock processes typically use oil-based inks applied by a roller onto the block.
Woodcut is another term for woodblock. A wood engraving differs from a woodblock in that it uses a cross-grain block of hardwood. Because this block is usually thicker and harder than the plywood typically used in woodcuts, finer linear gouges are often the preferred tool for producing the small fine lines and patterns that characterize wood engravings. Linoleum block (or linocut) employs the same basic woodcut techniques, but uses linoleum instead of wood.
Basic Steps
Design-->Transfer design to block(s)-->Cut design and registration marks in blocks-->Prepare paper, inks-->Use a pressing instrument to transfer pigment from block to paper