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Printmaking Terms
There are four main printing methods used for the creation original, limited edition prints:
- relief
- intaglio
- lithography
- screenprinting
Lithography utilises the antipathy between grease and water. The image is drawn onto the surface of the plate that is uncut.
In screenprinting the ink is forced through the mesh of stretched fabric onto paper that prints only in those areas of the screen that is unblocked by a stencil.
One or more methods can be used to create a single print. For a more detailed explanationi refer to the serarate heading for each process.
Aquatint
Fine grains of pine rosin or bitumen are dusted onto the plate, then fusing them (to the surface) by gently heating them to melting point. The remaining exposed metal achieves a light grainy tone creating a watercolour like graduated tonal wash. Printed intaglio.
Artist Proof
It is common practice for the artist to retain a small number of prints from the edition. These are usually marked 'AP' on the print.
Bon a Tirer (B.A.T.)
'Good to Print'. Also known as 'Right To Print' (R.T.P.).
This is the proof approved by the artist that the printmaker uses as reference when printing the edition.
Chine Colle
A technique which involves the laying of a thin sheet of paper on the stone, plate or block and painting with a gum or rice paste. A larger sheet of paper is placed over the top that adheres to the smaller sheet when it passes through the press.
Chop
The embossed stamp or mark of the artist or print workshop where the print has been editioned. It usually can be found at the bottom right of the paper, outside the image area.
Drypoint
An image that is drawn with a metal point on a plate and then printed before or without the plate being etched with acid. This technique is distinguished by soft or furry lines where the plate has been marked. Printed intaglio.
Engraving
Incising the plate with a tool called a 'graver, or 'burin' without the use of acid. Printed intaglio.
Etching
A printmaking process that was first used by artists in the early 16th century. The image is created by the controlled erosion by acid on the surface of a metal plate. Firstly, the plate is covered with an acid resistant ground. The image is then drawn onto the ground with a sharp point to reveal the metal below. The metal plate is then immersed in acid which eats into the exposed metal lines The length of time the plate remains in the acid bath determines the depth of the lines. The deeper the line the darker it will print.
Intaglio Printing
Intaglio, derived from the Latin verb to incise, covers all methods where the ink holding image area is below the surface.
Intaglio pringint is a form of printmaking in which the plate or block is inked with a scraper or roller and the surface wiped clean. The image is created from the ink that remains in the recesses of the plate, which is forced onto the paper under pressure through an etching press. To create better plate contact, the paper is soaked in water, then blotted before printing.
Limited Edition
The number of copies printed from the stone, plate, screen or block are collectively known as an edition. In Australia limited editions rarely number more than 99 and are often less. Each print is numbered e.g the tenth print from an edition of 99 would be marked 10/99. In addition to the numbered prints, APs (artist proofs), PPs (printers proofs), WPs (workshop proofs) are usually printed and generally do not exceed 10% of the numbered prints. These prints have the same value as the numbered prints in the edition. When the plates or screens have been used to produce the stated number of prints in the edition they are destroyed thereby ensuring no further copies can be made. In the case of a lithographic stone, the image is removed from the stone, which is then used again for other editions.
Linocut
An image created on a linoleum block by gouging out the non image areas with a knife or special cutting tool.
Lithograph
A printmaking process in which the image is drawn onto a stone or metal alloy plate with a greasy medium such as crayon. The stone or plate is dampened with water which only settles on the unmarked areas since it is repelled by the greasy drawing medium. The surface is rolled over with greasy printing ink that only adheres to the drawn marks because the water repels it from the other areas. Lightly dampened paper is then placed over the surface of the image. The ink is transferred to the paper by running the stone or plate through a printing press.
A lithograph has no plate mark as in an intaglio print but the area which has been flattened by the press, corresponding with the area of the stone or plate, can sometimes be distinguished in the impression.
Master Printmaker
Most Aboriginal and non indigenous artists collaborate with printmakers in the making of a limited edition print. Master printmakers are not only artists in their own right but are also skilled crafts people who are experts in the technical aspects of printmaking. When working with artists they are often able to provide solutions and make suggestions which end up enhancing and improving the production values of the print on which they are both working. The Australian Art Print Network recognises the valuable contribution printmakers make to the production of an original print by always acknowledging the name of the printer and the print studio responsible for the creation of all the prints in it's range. This acknowledgement, along with other technical information about the production of each print, is documented in the AAPN's catalogue and web site.
Original Prints
Original prints should not be confused with photomechanical prints, which are copied from an original work and usually reproduced on commercial printing presses. They are original works that have been created by the artist on a stone, plate, block or acetate sheet for a specific printmaking process. Acid free, archival quality papers, and special inks are used to ensure the longevity of the print. The main printmaking processes used for creating original prints are etching, linoprinting, lithography and screenprinting.
Original Screenprint
Screenprinting evolved out of the stencil process used by Chinese and Japanese artists centuries ago. Modern screenprinting is a 20th century development which employs a gauzy, open mesh fabric (originally silk), stretched over a wood or metal frame which is called the screen. There are various methods of preparing the screen for printing. The principal involves blocking out areas on the screen which are not to be printed and leaving open those areas where the image is to appear. Ink is forced through the open mesh onto the paper by drawing a rubber blade or squeegee across the screen thereby creating the image. Each colour is printed separately and requires a different screen.
Most Aboriginal artists creating an original print for the screenprinting process work on clear acetate sheets using separate sheets for each colour. They lay one sheet over another to build up the image in much the same way they would for an original canvass. The number of acetate sheets dictate the number of colours used in the printing process. The printmaker cuts a stencil from each acetate created by the artist which is then laid onto the screen.
Screenprints are sometimes referred to as serigraphs or silkscreen prints.
Print Workshops
The majority of prints in The Australian Art Print Network's range result from 'Print Workshops', which are conducted with Aboriginal artists in Aboriginal communities, and Art Centres. A Master Printmaker will travel to a community and work with an artist or artists to create images on plates, stones and acetates.
The Printmaker, on returning to the print studio, will etch plates and cut screens from the acetates. The works are then proofed and sent to the artist for approval or changes. When the artist and printmaker sign off on the proof, the edition is then printed and sent to the artist for signing.
Workshops are also conducted in the Printmaker's studio. As most studios are in or close to Capital cities these sometimes take place when the artist is in town for an exhibition of their original work. In such a situation the print is usually taken to the proofing stage before the artist returns home.
A number of Aboriginal Art Centres and Communities have developed printmaking skills and have installed their own printmaking equipment. The AAPN also source editions from these facilities.
Reduction Printing
A form of printmaking whereby the image is created by multiple printing from the one block or plate. The image builds in tone and colour as the block or plate is cut or scraped away, thus being reduced in structure or surface area.
Relief Printing
Relief printing includes all blocks (wood and lino) and plates (metal) in which the ink holding image area is in relief or raised above the surface.
Relief printing is a form of printmaking in which the image is created by ink being rolled over a flat surface of an incised plate or block.
Screenprint
Terminology used by the AAPN to differentiate an Original Screenprint from one reproduced from an original work.
Serigraph
Another term used to describe screenprinting.
Sugar Lift Etching
The method of printing allows the artist to draw images directly onto the metal plate. The sugar lift is a water soluble solution which usually contains sugar and Indian Ink dissolved together to form a thick, syrupy paininting solution. The image is painted by the artist directly onto the plate with a brush. This is what gives sugar lift a beautiful, raw, autographic makr. After the image is completed it is varnished or stopped out over the whole plate with liquid ground which is acid resistant. Next, the plate is soaked in warm water which dissolves and lifts the sugar. The exposed metal is a true representation of the marks of the artist. The exposed metal is then immersed in an acid bath which eats away the plate to create a 'positive' image. Printed intaglio.
Transfer Printing
The artist creates the original artwork on one matrix and tranfers it to another type of matrix for practical or aesthetic reasons.
The artist draws or paints onto lithographic transfer paper and transfers the image onto stone or plate using a release agent such as water or spirit. The image is added to, fixed, and printed in the normal way by hand. The image is printed not mirror reverse, but exactly as the artist intended.
Woodcut
A design is outlined on the woodblock using a knife and the non-printing areas are then cut away. Most types of wood can be used. Printed Relief.
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