1. Chapter 7
Printmaking

2. Two-Dimensional Art Drawing Painting Printmaking
Two-Dimensional Art
Drawing
Painting
Printmaking
Imaging: Photography, Film, Video, and Digital Arts

3. In comparison with painting and sculpture, engraving is a cosmopolitan art, the immediate inter-relation of different countries being facilitated by the portable nature of its creations –Arthur M. Hind

4. The Importance of Printmaking
Drawing and painting are special because they can take a long time to create and once complete, they are originals.
Printmaking is important for 2 reasons:
Allows us to study great works of art from a distance
Makes artwork available to the general public
The art of printmaking and the physical prints created have given rise to a unique art form.

5. METHODS OF PRINTMAKING
Four Major Categories:
Relief
Intaglio
Lithography
Serigraphy

6. METHODS OF PRINTMAKING, continued…
A design or image is made in or on a surface by hitting or pressing with a tool.
Print - the piece of paper or surface that the design is transferred on to
Matrix - the working surface
Matrixes includes:
wood blocks
metal plates
stone slabs
and silkscreen

8. RELIEF PRINTING Relief Printing - Types of relief printing include:
The matrix is carved with a knife or gouges.
Cut out areas are not printed, while the raised areas are.
Ink is applied to the raised surfaces, often using a roller.
The matrix is pressed against a sheet of paper and the image is transferred.
Types of relief printing include:
Woodcut
Wood Engraving

9. Woodcut Oldest form of printmaking
After the invention of the printing press, it played an important role in book illustration.
Created by cutting along the grain of the flat surface of a wooden board with a knife

10. Figure 7. 2, p. 137: ANDO HIROSHIGE
Figure 7.2, p.137: ANDO HIROSHIGE. Rain Shower on Ohashi Bridge (1857). Color woodblock on paper ⁄8” x 9 1⁄8”.
Figure 7.3, p.137: ZHAO XIAOMO. Family by the Lotus Pond (1998). Multiblock woodcut printed with water-soluble ink cm x 41.7 cm.

11. Wood Engraving
Laminated - For wood engraving, many thin layers of wood are glued together to create a hard, non-directional flat surface.
Burin or graver is used to incise lines instead of using knives or gouges
Very fine lines can be made with the burin, and these lines can give the illusion of tonal gradations
Wood engraving was used to illustrate newpapers.

12. INTAGLIO
Created by using metal plates into which lines have been incised
Plates are covered with ink which is forced into the groove.
Then the ink is wiped off the flat surfaces.
The paper and plate are run through a press.
The paper is pressed in the lines, and the image is transferred to the paper.

13. Intaglio includes:
Engraving
Drypoint
Etching
Mezzotint
Aquatint

14. Engraving Engraving is an ancient artistic method
Engravings were on paper during the 15th century
Clean lines on copper, zinc, or steel are made using a burin.
The harder you push, the deeper the line, the more ink it holds, the darker the resulting line is on paper.

15. Figure 7. 6, p. 139 PAUL LANDACRE. Growing Corn (1940). Wood engraving
Figure 7.6, p.139 PAUL LANDACRE. Growing Corn (1940). Wood engraving. 8 1⁄2” x 4 1⁄4”.

16. Drypoint Drypoint is engraving with a twist.
A needle is dragged across the surface which leaves a rough edge or metal burr left in its wake.
This burr creates a soft line instead of a crisp line.

17. Figure 7. 8, p. 140: REMBRANDT VAN RIJN
Figure 7.8, p.140: REMBRANDT VAN RIJN. Christ Crucified between the Two Thieves (1653). Drypoint,
4th state. 15” x 17 1⁄2”.

18. Etching
Etching is an intaglio process, but there are unique differences.
Minimal pressure is used for the depth of the line.
A chemical process does the rest.
How:
A metal plate is covered with an acid resist and liquid-like wax or resin.
Once dry the artist scratches this surface off with a needle.
Then you place the plate in acid and it eats away the exposed areas, deepening the lines.

19. Figure 7. 10, p. 141: GIOVANNI DOMENICO TIEPOLO. A Negro (1770)
Figure 7.10, p.141: GIOVANNI DOMENICO TIEPOLO. A Negro (1770). Etching, 2nd state. 5 5/8” x 4 9/16”.

20. Figure 7. 11, p. 142 HUNG LIU. Untitled (1992)
Figure 7.11, p.142 HUNG LIU. Untitled (1992). Photo-etching, mixed media. 33” x 22 1⁄2”.

21. Mezzotint and Aquatint
Mezzotint comes from the Italian word meaning “half tint”.
Does not depend on line
Mezzotint is rarely used; painstaking and time consuming
How:
The entire plate is worked with a hatcher which creates thousands of tiny pits all over the surface.
The hatcher is a curved multitoothed implement.
Then you polish or smooth the areas that you want to be white.

22. Figure 7. 12, p. 143 PABLO PICASSO. The Painter and His Model. (1964)
Figure 7.12, p.143 PABLO PICASSO. The Painter and His Model. (1964). Etching and aquatint. 12 5/8” x 18 1/2”.

23. Aquatint Much easier and quicker than mezzotint How:
A metal plate is evenly coated with a fine powder of acid-resistant resin. The plate is heated, causing the resin to melt and stick to the plate.
Lines are etched.
The plate is placed in acid and the exposed surfaces are eaten away.
Aquatint is often used with line etching to create images that have tones that look like wash drawings.

24. Figure 7. 13, p. 144 JOSEF ALBERS. Solo V (1958). Inkless intaglio
Figure 7.13, p.144 JOSEF ALBERS. Solo V (1958). Inkless intaglio. 6 5/8” x 8 5/8”.

25. Other Etching Techniques
Soft-ground etching - uses a ground of softened wax
Lift-ground - creates the illusion of brush and ink drawing by brushing a solution of sugar and water onto a resin-coated plate
Gauffrage – ink-less intaglio

26. Lithography
Lithography or planographic printing - invented in the 19th-century by German playwright Aloys Senefelder
Unlike relief and intaglio printing, the matrix used in lithography is completely flat.
How:
A drawing is made with a greasy crayon on a flat stone slab.
A solution of nitric acid is applied as a fixative.
The surface is then dampened with water.
The stone is covered with an oily ink using a roller. The ink sticks to the wax but not the water.
Paper is pressed to the stone and the ink is transferred from the wax.

27. Figure 7.14, p.145 WANG GUANGYI. Great Criticism: Coca-Cola (1990- 1992). Lithograph. 73 cm x 69 cm.

29. Serigraphy Serigraphy is also known as silkscreen printing.
Stencils are used to create the design or image.
Silk, nylon, or a fine mesh is stretched on a frame.
The stencil is applied to the screen.
Paint or ink is forced through the screen using a squeegee.
Photo silkscreen - allows the artist to create photographic images on the screen covered with a light-sensitive gel.

31. Monotype
Although monotype is a printmaking type, it also overlaps with the mediums of drawing and painting.
The product of monotype is a single, original work of art.
Brushes are used, but the paint can also be scratched off.
How:
The artist draws or paints with oil paint or watercolor on a nonabsorbent surface.
Fine detail is added by scratching paint off with a sharp implement.
Paper is pressed to the surface and the image is transferred.

32. Figure 7. 17, p. 147 EDGAR DEGAS. The Ballet Master (c. 1874)
Figure 7.17, p.147 EDGAR DEGAS. The Ballet Master (c. 1874). Monotype in black ink. 22” x 27 1⁄2”.