Types of Printmaking Techniques - Overview

Types of Printmaking Techniques - Overview

1. Types of Printmaking Techniques

2. Relief Printmaking

3. In relief printmaking, the inked areas are raised above the surface of the matrix, while the non-inked areas are cut away. The raised portions are inked and pressed onto paper, transferring the image. Key Features: Produces bold, graphic contrasts. Limited in fine detail due to the nature of the carving process.

4. Woodcuts The matrix is carved from a wood block, leaving the image in relief. This method creates striking, high-contrast prints By Albrecht Dürer - National Gallery of Art., Public Domain, https://commons.wikimedia.org/w/index.php?curid=43818350

5. Linoleum Cuts (Linocuts) A softer material than wood, linoleum allows for smoother carving and is commonly used for detailed designs. Donwood, Stanley. Cnut (Canute) . 2006. Linocut on wove, signed, dated, and numbered 41/199 in pencil. Sheet: 79 × 64.3 cm. By Zephyris - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=27664024

6. Japanese Woodblock Prints Originating in China and later refined in Japan, woodblock prints such as Hokusai’s The Great Wave off Kanagawa showcase intricate detail and dynamic motion. Multiple blocks are often used for layering colors, resulting in vibrant, multi-colored prints. By Katsushika Hokusai - Metropolitan Museum of Art: entry 45434, Public Domain, https://commons.wikimedia.org/w/index.php?curid=2798407

7. Intaglio Printmaking

8. I ntaglio prints are created by incising (cutting) lines into a matrix, typically a metal plate. Ink is forced into the incised lines, and the surface of the plate is wiped clean. High pressure transfers the inked lines onto the paper. Key Features: Strong line quality and fine detail. Slightly blurred edges due to burrs created during the incision process.

9. Engraving Lines are directly incised into a metal plate using a burin, creating clean, precise lines. Known for sharp detail and texture. Ghisi, Giorgio. Allegory of Life. 1561. Engraving; second state of six (BLL). Sheet (Trimmed): 14 3/4 × 21 3/16 in. (37.5 × 53.8 cm).

10. Etching A metal plate is coated with a wax resist, and the artist scratches the image into the wax. The plate is submerged in acid, which etches the exposed metal lines. The longer the plate is etched, the darker and bolder the lines will appear. After the acid etching, the wax is removed, and the plate is inked, wiped, and printed. Goya, Francisco. Correccion. From Los Caprichos, pl.46 . 1799. Etching and burnished aquatint, 191 × 129 mm. Published by Francisco Goya, Madrid. Royal Academy of Arts Collection.

11. Drypoint Similar to engraving, but the image is scratched directly onto the plate without acid. This creates burrs along the lines, resulting in softer, velvety edges. By Edward Thomas Daniell - link to Norfolk Museums Collections record, Public Domain, https://commons.wikimedia.org/w/index.php?curid=92943201

12. Planar Printmaking Planar printmaking techniques involve working on a flat matrix without carving or cutting into the surface.

13. Monoprints/Monotypes Ink is applied to a flat surface, such as Plexiglass or metal. The artist manipulates the ink by wiping, scratching, or removing it to create the image. Paper is pressed onto the matrix, transferring the image. By definition, each monoprint is unique, as the inked surface cannot be replicated exactly. Known for its painterly qualities. By Giovanni Benedetto Castiglione - The Yorck Project (2002) 10.000 Meisterwerke der Malerei (DVD-ROM), distributed by DIRECTMEDIA Publishing GmbH. ISBN: 3936122202., Public Domain, https://commons.wikimedia.org/w/index.php?curid=148933

14. Lithography Developed in the late 18th century in Germany, lithography relies on the immiscibility (inability to mix) of grease and water. The matrix, traditionally a limestone block or thin zinc plate, is drawn on with grease-based materials (pencils, crayons, or tusche). The surface is treated with gum arabic and acid, which chemically divides the matrix into grease-receptive and water-receptive areas. During printing, the stone is moistened, and oil-based ink adheres only to the grease-receptive areas. Allows for precise detail and tonal variation, resembling drawings or paintings.

15. Worth, Thomas, and Currier & Ives. A Brush for the Lead: New York "Flyers" on the Snow. 1867. Lithograph. Library of Congress, pga.00622.

16. Serigraphy (Screen Printing) Uses a mesh screen to transfer ink through open areas, while a st e ncil blocks other sections. Ink is pushed through the screen using a squeegee, creating sharp-edged images. Requires a separate stencil for each color. Commonly used for posters, fabric, and commercial art. Kent, Sister Mary Corita. Life . 1967. Screenprint, signed.