Printmaking

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Graphic art is the process of making artwork by printing, usually on paper. Graphic art usually involves only the creation process of prints that have an element of originality, not just a photographic reproduction of a painting. Except in the case of monotyping, this process is able to produce multiples of the same part, called print . Any prints produced are not considered "copies" but are considered "original". This is because usually every print varies because of the intrinsic variables in the mold making process, and also because the printed image is usually not just a reproduction of other works but more often a unique image designed from scratch to be expressed. in certain graphic art techniques. Prints can be known as impressions. Graphic art (other than monotyping) is not chosen simply because of its ability to generate many impressions, but rather for the unique qualities that each graphics process has.

Prints are made by transferring ink from the matrix or through a screen prepared onto a sheet of paper or other material. Common types of matrices include: metal plates, usually copper or zinc, or polymer plates for engraving or etching; stone, aluminum, or polymer for lithography; wooden beams for wood and woodcarvings; and linoleum for linocuts. Screen made of silk or synthetic fabric is used for the screenprinting process. Other types of matrix substrates and related processes are discussed below.

Multiple impressions printed from the same matrix form editions. Since the late 19th century, artists have generally signed individual impressions of the edition and often counted impressions to form a limited edition; the matrix is ​​then destroyed so that no more prints can be produced. Prints can also be printed in book form, such as picture books or artist books.

Video Printmaking

teknik

Ikhtisar

Graphic arts techniques are generally divided into the following basic categories:

• Relief, where ink is applied to the original surface of the matrix. Assistive techniques include woodcut or woodblock as an Asian form usually known, woodcut, linocut and metalcut.
• Intaglio, where the ink is applied beneath the original surface of the matrix. Intaglio techniques include engraving, etching, mezzotint, aquatint.
• Planography, in which the matrix retains its original surface, but is specially prepared and/or inked to allow for image transfers. Planning techniques include lithography, monotyping, and digital techniques.
• Stencils, where the ink or paint is pressed through the prepared screen, including screen printing and pochoir.

Other types of graphic art techniques outside these groups include collagen printing and viscosity. Kolagrafi is a graphic art technique in which textured materials are obeyed on the printing matrix. This texture is transferred to the paper during the printing process. Contemporary graphic art can include digital printing, photography media, or a combination of digital, photographic, and traditional processes.

Many of these techniques can also be combined, especially in the same family. For example, Rembrandt prints are usually referred to as "etchings" for convenience, but very often include working in carvings and drypoints as well, and sometimes having no etching at all.

Wood Cutting

Woodcut, a type of relief printing, was the earliest printing technique, and the only one traditionally used in the Far East. It was probably first developed as a means of pattern printing on fabrics, and in the 5th century it was used in China to print texts and drawings on paper. The wooden pieces of drawing on paper were developed around 1400 in Japan, and a little later in Europe. These are the two areas where the most used pieces of wood are pure as the process of making images without text.

Artist drew a design on a wooden board, or on paper transferred to wood. Traditionally, the artist then hands over the work to a specialist cutter, who then uses a sharp tool to carve out parts of the block that will not receive ink. The block surface is then etched with the use of the brayer, and then a piece of paper, perhaps slightly damp, is placed over the block. The blocks are then rubbed with barrels or spoons, or run through a printing press. If colored, separate blocks can be used for each color, or a technique called reduction printing can be used.

Reduction printing is the name used to describe the process of using a block to print multiple layers of color on a single print. This usually involves cutting a small number of blocks, and then printing the blocks many times over different sheets before washing the blocks, cutting it further and printing the next color on top. This allows the previous color to be displayed. This process can be repeated many times. The advantage of this process is that only one block is required, and different components of the elaborate design will line up perfectly. The disadvantage is that when an artist moves to the next layer, no more prints can be made.

Another variation of woodcut art is the cukil technique, made famous by underground Taring Padi communities in Java, Indonesia. Taring Padi posters usually resemble elaborately printed cartoon posters embedded with political messages. Images - usually resembling complex visual scenarios - are carved on a wooden surface called a cukilan, then doused with printer ink before pressing it onto a medium such as paper or canvas.

Carving

This process was developed in Germany in the 1430s from the carvings used by the goldsmith to decorate the metal. Engravers use hardened steel tools called burin to cut designs onto the surface of metal plates, traditionally made of copper. Carving with a burin is generally a difficult skill to learn.

Gravers come in different shapes and sizes that produce different line types. Burin produces a unique and recognizable line quality that is characterized by its steady, deliberate appearance and clean edges. Other tools such as rocker mezzotint, roulettes and burnisher (a tool used to create fine or glossy objects by rubbing) are used for texturing effects.

To make a mold, the engraved plate is inked, then the ink is removed from the surface, leaving only the ink in the engraved line. The plates are then inserted through a high pressure pressing machine along with a piece of paper (often moistened to soften it). Paper takes ink from the engraved line, makes a mold. This process can be repeated many times; typically a few hundred impressions (copies) can be printed before the printing plate shows many wear marks, except when the dry point, which gives a lot more shallow lines, is used.

In the 20th century, the actual carvings were revived as a serious art form by artists including Stanley William Hayter who Studio 17 in Paris and New York City became magnets for artists such as Pablo Picasso, Alberto Giacometti, Mauricio Lasansky and Joan MirÃÆ'³.

Etching

Etching is part of the intaglio family (along with carvings, drypoints, mezzotints, and aquatints.) The process is believed to have been created by Daniel Hopfer (ca. 1470-1536) from Augsburg, Germany, which is adorned with armor with this way, and apply methods to graphic arts. Etching soon came to challenge the carving as the most popular graphic art medium. The main advantage is that, unlike carvings that require special skills in metalworking, etching is relatively easy to learn for a trained artist.

The etch prints are generally linear and often contain fine detail and contours. Lines can vary from subtle to faint. An etch is the reciprocal of a piece of wood where the lifted part of the etch remains empty while the cracks hold the ink. In pure etching, metal plates (usually copper, zinc or steel) are coated with wax or acrylic soil. The artist then draws through the ground with a pointed, etching needle. The open metal line is then etchered by dipping the plate into an etching bath (eg, nitric acid or iron chloride). The "bite" into the metal is open, leaving a line on the plate. The remaining soil is then cleared from the plate, and the printing process is then the same as for carving.

Mezzotint

The intaglio variant of the engraving in which the image is formed from the gradations of light and smooth shadow. Mezzotint - from Italian mezzo ("half") and ink ("tone") - is the "dark" form of graphic art, which requires artists to work from dark to light. To create a mezzotint, the copper plate surface is coarsely flattened throughout with the help of a device known as a rocker; the image is then formed by smoothing the surface with a tool known as a politur. When inscribed, the rough plates will store more ink and print darker, while the smoother area of ​​the plate holds less or no ink, and will print more lightly or not at all. However, it is possible to create drawings by only leaving the plates selectively, thus working from light to dark.

Mezzotint is known for its luxurious sound quality: first, because the flat, smooth surface has a lot of ink, allowing deep solid color to be printed; secondly because the process of smoothing the texture with the burin, the politur and the scraper allows a smooth gradation in the tone to be developed.

Mezzotint graphics making method invented by Ludwig von Siegen (1609-1680). This process was used extensively in England from the mid-eighteenth century, to reproduce oil paintings and portraits.

Aquatint

Techniques used in intaglio etching. Like etching, aquatint technique involves the application of acids to make marks on metal plates. Where etching techniques use needles to create lines that hold ink, aquatint depends on the acid-resistant rosin powder in the soil to create a tonal effect. Rosin was applied in light dust by the fan booth, rosin then cooked until plugged in the plate. At this time rosin can be glazed or scratched to affect the tonalal quality. The tonal variation is controlled by the level of acid exposure in large areas, and thus the image is formed by large parts at a time.

Goya uses aquatint for most of his prints.

Drypoint

The carving variant, done with a sharp point, is not a v-shaped burin. While the engraved lines are very smooth and hard, the drypoint scratches leave rough spines on the edges of each line. These spines provide drypoint quality line printing that is very smooth and sometimes opaque. Because rapid printing pressures break down the thorns, drypoints are only useful for very small editions; as few as ten or twenty impressions. To overcome this, and allow for longer print runs, electro-plating (here called steelfacing) has been used since the nineteenth century to braze the surface of the plate.

This technique appears to have been discovered by Housebook Master, a 15th-century artist in southern Germany, whose all prints are only on dry points. Among the most famous artists of the old master print: Albrecht DÃÆ'¼rer produces three dry points before leaving the technique; Rembrandt often uses them, but usually coincides with etching and engraving.

Lithography

Lithography is a technique invented in 1798 by Alois Senefelder and based on the chemical repulsion of oil and water. Porous surfaces, usually limestone, are used; drawings drawn on limestone with oily medium. The acid is applied, transferring fat to the limestone, leaving the image 'burned' to the surface. Gum arabic, a water-soluble substance, is then applied, sealing a stone surface that is not covered with the image medium. The stone is moistened, with water remaining only on the surface not covered by the oil-based residue of the image; the stone is then 'rolled', which means the oil ink is applied with a roller that covers the entire surface; because the water pours oil into the ink, the ink just attaches to the oily part, perfectly incised the image. A piece of dry paper is placed on the surface, and the image is moved to the paper by the pressure of the printing press. Lithography is known for its ability to capture fine gradations in shadows and very small details.

The variant is photo-lithography, in which the image is captured by the photographic process on the metal plate; printing is done in the same way.

Screenprinting

Screenprinting (sometimes known as "silkscreen", or "serigraphy") creates a mold using a cloth stencil technique; ink is only pushed through the stencil against the surface of the paper, most often with the aid of a squeegee. Generally, this technique uses a natural or synthetic 'mesh' cloth that stretches tightly along the 'rectangular' frame, much like a stretched canvas. The fabric can be silk, nylon monofilament, multifilament polyester, or even stainless steel. While commercial screenprinting often requires high technology, mechanical equipment and calibrated materials, print makers value it for the "Do It Yourself" approach, and low technical requirements, high quality results. The essential tools needed are a squeegee, mesh fabric, frame, and stencil. Unlike many other mold-making processes, a printing press is not necessary, since screen printing is essentially stencil printing.

Screenprinting can be adapted for printing on various materials, from paper, cloth, and canvas to rubber, glass, and metal. Artists have used techniques to print on bottles, on granite sheets, directly onto walls, and to reproduce images on textiles that will be distorted under pressure from the printing press.

Monotype

Monotyping is a type of graphic art created by drawing or painting on smooth and non-absorbing surfaces. Surface, or matrix, is historically a copper etching plate, but in contemporary works may vary from zinc or glass to acrylic glass. The image is then transferred onto a piece of paper by pressing both together, usually using a printing press. Monotypes can also be created by inserting the entire surface and then, using a brush or cloth, removing ink to create subtractive images, for example creating a lamp from a faded color field. The ink used may be oil-based or water-based. With oil-based ink, the paper may be dry, in which case the image has more contrast, or the paper may be damp, in which case the image has a 10 percent larger tone range.

Unlike monoprinting, monotyping produces unique prints, or monotypes, because most inks are removed during initial emphasis. Although subsequent reprints are sometimes possible, they are very different from the first print and are generally considered lower. The second print of the original plate is called "ghost print" or "cognate". Stencils, watercolors, solvents, brushes, and other tools are often used to decorate monotonous prints. Monotypes are often spontaneously executed and without initial sketches.

Monotypes are the most complicated method among the techniques of graphic art, a unique mold that is basically a printed painting. The main characteristics of this medium are found spontaneously and in combination of graphic arts, paintings, and media images.

Monoprint

Monoprinting is a form of graphic art that uses matrices such as woodblock, lito stone, or copper plates, but produces unique impressions. Some unique impressions printed from one matrix are sometimes known as variable editions. There are many techniques used in monoprinting, including collagraphs, collages, hand-painted extras, and a form of search where thick ink is placed on a table, paper is placed in ink, and the back of the paper is drawn, transferring the ink to the paper. Monoprint can also be made by changing the type, color, and viscosity of the ink used to create different prints. Traditional graphic arts techniques, such as lithography, woodcarvings, and intaglio, can be used to create monoprints.

Mixed media mix

Mixed media molds can use some traditional print art processes such as etching, woodcut, letterpress, silkscreen, or even monoprinting in mold making. They can also combine elements of cabbage, collage, or painted fields, and may be unique, ie one-off, non-issue prints. Mixed media molds are often experimental prints and can be printed on unusual non-traditional surfaces.

Digital prints

Digital prints refer to images printed using digital printers such as inkjet printers rather than traditional printing machines. Images can be printed onto various substrates including paper, cloth, or plastic canvas.

Dye-based ink

Dye-based inks are organic (not minerals) diluted and mixed into liquids. Although most synthetic, derived from petroleum, they can be made from vegetable or animal sources. Dyes are especially suitable for textiles where liquid dyes penetrate and are chemically bonded to the fibers. Due to deep penetration, more layers of material must lose their color before fading is visible. Dyes, however, are not suitable for relatively thin ink layers that are laid out on the print surface.

Pigment-based ink

Pigments are finely ground particle substances, which when mixed or milled into liquids to make ink or paint, insoluble, but remain dispersed or suspended in liquids. Pigments are categorized as inorganic (mineral) or organic (synthetic). Pigment based inks have longer lifetimes than dye-based inks.

GiclÃÆ' Â © e

GiclÃÆ' Â © e (pron.:/? I: 'kle?/Zhee-KLAY or/d? I:' kle?/), Is a neologism created in 1991 by print maker Jack Duganne for digital prints made on a printer inkjet. Initially associated with early dye-based printers are now more often referring to pigment-based prints. This word is based on the French word gicleur, meaning "nozzle". Today art prints produced on large format ink-jet machines using the CcMmYK color model are commonly called "GiclÃÆ' Â © e".

Foil Imagery

In art, foil imaging is a graphical manufacturing technique created using the Iowa Foil Printer, developed by Virginia A. Myers from the commercial stamping foil process. It uses gold leaf and acrylic foil in the process of graphic art.

Maps Printmaking

Color

Printmakers apply colors to their prints in various ways. Some coloring techniques include positive surface roll, negative surface roll, and A la poupe. Often colors in graphic arts involving etching, screen printing, woodcarving, or linocut are applied either by using separate plates, blocks or screens or by using a reductionist approach. In some color plates techniques, a number of plates, screens or blocks are produced, each providing a different color. Each individual plate, screen, or block will be inserted in different colors and applied in a specific order to produce the entire image. An average of about three to four plates is produced, but there are occasions where a print manufacturer can use up to seven plates. Any other plate color app will interact with the colors already applied to the paper, and this should be kept in mind when generating color separations. The brightest colors are often applied first, and then dark colors in a row to the darkest.

The reductionist approach to producing colors is to start with lino or empty wooden blocks or by simple etching. After each color printing, the print manufacturer will then cut further into lino or woodblock to move more material and then apply other colors and reprint. Any lino or wood removal in sequence from the block will expose the printed color to the print viewer. Picasso is often cited as the inventor of the reduction of graphic arts, although there is evidence of this method used 25 years before Picasso linocuts.

The subtractive color concept is also used in offset or digital printing and is present in bitmaps or vector software in CMYK or other color space.

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Registration

In a print-making process that requires more than one ink or other media application, the problem lies in how to correctly arrange the drawing area to receive ink in each application. The most obvious example of this is the multi-colored image in which each color is applied in a separate step. The layers of the results of each step in the multisep print process are called "registrations." Appropriate registration results in different components of the image are in the right place. But, for artistic reasons, improper registration does not necessarily damage the image.

This can vary from process to process. This generally involves placing the substrate, generally paper, in the correct equation with the moldmaking element which will supply with the dyeing.

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Protective mold making equipment

Protective clothing is very important for print makers involved in etching and lithography (closed closed shoes and trousers). Whereas in the past printmakers put their plates in and out of the acid baths empty-handed, today the moldmakers use rubber gloves. They also use industrial respirators for protection from caustic vapors. Most acid baths are built with a ventilation hood on it.

Respirators and protective masks should have particle filters, especially for aquatinting. As part of the aquatinting process, printers are often exposed to rosin powder. Rosin is a serious health hazard, especially for print makers who, in the past, only used to hold their breath using aquatinting booth.

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See also

• Artist proof
• Banhua, Chinese graphic arts
• Carborundum graphic art
• Edition (graphic art)
• Graphic design
• Line carving
• Print Author List
• Print old master
• Shin hanga
• Sosaku hanga
• Ukiyo-e
• Print viscosity

Printmaker by nationality

• Carter based on citizenship
• Ethcher by citizenship
• Printmakers by citizenship

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Note

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References

• What is a Print ?, from the Museum of Modern Art
• Bamber Gascoigne: How to Identify Prints: A Complete Guide to Manual and Mechanical Processes from Woodcut to Inkjet (ISBN: 0-500-28480-6)
• Multi-Color Block Print: Wood/Linoleum - Reduction Method Technique, by Hannah Tompkins
• Design Catalog Handbook with Techniques, visual ergonomics & amp; glossary of graphic art

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Further reading

• A. Hyatt Mayor (1971). Prints & amp; people: social history of the printed image (full PDF) . New York: Metropolitan Museum of Art. ISBN: 9780870991080.
• Beth Grabowski and Bill Fick, "Printmaking: A Complete Guide to Materials & Processes." Prentice Hall, 2009. ISBNÃ, 0-205-66453-9
• Donna Anderson Experience of Graphic Arts. Worcester, MA: Davis Publications, 2009. ISBNÃ, 978-0-87192-982-2
• Gill Saunders and Rosie Miles Print Now: Directions and Definitions The Victoria and Albert Museum (1 May 2006) ISBN: 1-85177-480-7
• Antony Griffiths, Prints and Graphics , British Museum Press, 2nd ed., 1996 ISBNÃ, 0-7141-2608-X
• Linda Hults Print in the Western World: History Introduction. Madison: University of Wisconsin Press, 1996. ISBN 978-0-299-13700-7
• Carol Wax, The Mezzotint: History and Techniques (Harry N. Abrams, Inc., 1990)
• James Watrous Century of American Printmaking. Madison: University of Wisconsin Press, 1984. ISBNÃ, 0-299-09680-7
• William Ivins, Jr. Prints and Visual Communications. Cambridge: Harvard University Press, 1953. ISBNÃ, 0-262-59002-6
• Donald Saff and Deli Sacilotto. Graphic art: History and Process . New York: Holt, Rinehart, and Winston, 1978. ISBNÃ, 978-0030856631

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External links

Graphic art history; glossary

• Museum of Modern Art, New York: What is a Print?
• Thompson, Wendy. "Printed Pictures in the West: History and Techniques". In the Timeline of Art History. New York: Metropolitan Museum of Art, 2000 -. (October 2003)
• Dictionary AndrÃÆ'Â © BÃÆ'Â © guin; very large dictionary terms, more closely related to printing than image creation
• Glossary of other terms - for modern prints
• List of major links to museums etc. online prints images
• Assessing the Originality of Mold by The Masters by art historian David Rudd Cycleback
• The printing technique is described

Organization of graphic arts

• Print the American Council
• International Fine Printing Seller Association
• SGC International (formerly Southern Graphics Council)
• Seattle Print Art
• Bellebyrd - The Print Australia blogspot by art historian Josephine Severn.
• Graphic Artists: contemporary print glossary
• Iowa Biennial - Exhibition & amp; Archive of Contemporary Print
• A site dedicated to graphic arts activities and creative thinking. Includes recordings of famous artists working at Crown Point Press in San Francisco.
• Print and Graphic Art: A site devoted to the practice and history of Australian and Pacific graphic artwork
• Mini Print International of Cadaques The oldest international printed exhibition site and competition, catalogs, archives, winners, exhibitions, jury...
• Mid America Print Council
• International Sign and Printmakers Guild

Source of the article : Wikipedia