Print Glossary
CentrifugalSystem
by Ursula Neubauer
In general, a print goes through a press where ink is transferred from the plate to the paper/surface using pressure. This glossary is a work in progress. If you see a confusing printmaking term on this site that's not included in this glossary, please email us at caprintmakers@yahoo.com and we'll add it.
Etching This technique involves using acid to bite grooves into the plate. A substance called an etching ground blocks the acid from biting through in certain places, while disruptions in the ground allow the acid to bite in other areas. The plate is printed by pressing ink into the grooves and wiping excess ink off the surface. Ink is then transferred from the plate to the paper by being run through a press.
Intaglio From Italian, 'in the cut' or 'in the groove,' this term refers to one of the four basic printmaking families. It encompasses all prints made by pressing the ink down into the crevices of the plate then wiping excess ink away from the surface. The paper is placed over the plate and run through an intaglio press, which squeezes the paper and plate with high pressure between two rollers, transferring the ink to the paper. Some examples of intaglio techniques include etching, mezzotint, drypoint, aquatint and engraving. To see a picture of an intaglio press, visit the artist statement of Ursula Neubauer in the "Galleries" section of this site.
Lithography Prints taken from a drawing done from a polished limestone or zinc or aluminum plates. The drawing is done with greasy crayons, pens, or pencils. A solution containing gum arabic and dilute nitric acid is washed on the stone (or plate). This solution fixes the design in place. The entire plate surface is washed with water and then inked. Print paper is applied and sent through a press, transferring the image of the stone (or plate) to the paper.
Mezzotint Invented in 17th century Germany, an artist using this technique roughens the surface of the metal plate until it can print a rich, velvety black. Then the artist works lighter values into the plate by smoothing the rough areas with scrapers and burnishers. The rough areas retain the ink, which is then transferred to the paper by using pressure.Mezzotint Invented in 17th century Germany, an artist using this technique roughens the surface of the metal plate until it can print a rich, velvety black. Then the artist works lighter values into the plate by smoothing the rough areas with scrapers and burnishers. The rough areas retain the ink, which is then transferred to the paper by using pressure.
Monoprint This term is frequently used in place of 'monotype,' but there is a distinction between the two. A monoprint has some repeatable element that is a permanent part of the plate used to print it. An example of the repeatable element would be an incised line in the plate or an object glued to its surface. While the painted surface of the plate cannot be duplicated, the line or impression of the other element will remain the same through subsequent printings.
Monotype Often considered a 'painterly' technique, this involves painting on a smooth surface and transferring that painting onto paper, usually, but not always, with the help of a press. Since the surface is smooth and does not hold ink in any repeatable way, each print is as unique as a painting.
Planographic One of the four basic printmaking families, this refers to prints made from a smooth plane. This term is seldom used when naming printmaking techniques, but this is the family of two very common forms of printmaking: lithography and monotype.
Proof Usually an 'artist proof' or 'working proof,' this is a print that is associated with a limited edition but is not numbered within the edition. Instead, it has its own numbering system. A working proof is a print that was pulled while the artist was still manipulating the plate. It shows what the plate looked like at that stage of the artist's progress. An artist proof is the same as the editioned print. These may be the artist's personal copies, or perhaps copies withheld from publication for archives. There should only be a small number of artist proofs in relation to the edition size, and if any exist, the artist should be able to say exactly how many.
Relief One of the four basic printmaking families, this term refers to any printing at which the artist rolls the ink onto the raised surface of the plate and prints by pressing that surface onto paper or like material. These prints can be made by hand, with a baren, a letterpress, or an intaglio press. Some examples of relief techniques include woodcut, wood engraving, linocut, letterpress, and stamping.
Serigraphy The process, also called silkscreen, that uses a squeegee to force ink through selected parts of stretched mesh containing the image. The image on the mesh can be produced either photographically, by cutting stencil, or by drawing direct with a block out material.
Stencil One of the four printmaking families, it involves printing by applying ink through a distinctly shaped opening. Silkscreen and pochoir are examples of this technique.
Viscosity Print A print made by a technique in which the artist uses some inks which contain more oil or are of a thicker oil than other inks. The variations of this property may allow the artist to create unusual patterns with certain inks resisting other inks. It may allow the artist to create an editionable multicolor print using a single plate rather than separating different colors onto different plates.