Print Process Examples

THE PROCESS

THE PROCESS A print, in its most elemental form, is an image that has been transferred from one surface to another. The mark of a foot in wet sand, or dirty fingers on a clean window, or "postage due" on a letter - these are prints: simple versions of the frequently complex work of art created by artists and called original, or fine art prints. Simple or complex, a print begins with a surface that carries a design capable of being transferred repeatedly, either by pressure or by rubbing, onto another surface, usually paper. Various materials are used for the original design or image and many processes have been developed for working the design onto the surface. For the most part, these processes originated as methods of commercial printing, and, in fact, many of them are still used for such purposes today. What distinguishes printmaking from the commercial use of similar processes, besides the higher quality of the materials employed, is the active participation of the creator. In the printmaking methods described below, the artist makes the block, plate, or screen, applies the ink by hand, and pulls each print. CLICK ON A IMAGE TO SEE A LARGER VERSION
	Screenprint (Serigraph): Screenprinting is a stencil process using silk, polyester, or other fine mesh fabric stretched on a frame. Non-image areas are blocked out on the screen using a variety of materials, such as paper, glue, or special films attached to the screen. Then ink is forced through the openings in the fabric by a squeegee drawn across the surface of the screen. The process is repeated for each color. Screenprinting is the only medium which does not print in reverse.
	Collagraph: A collagraph can be a combination of relief and intaglio. The collagraph is pulled from a surface that has been constructed of adhered elements built up in the collage manner. It may be inked in the intaglio or relief method, or a combination of both. The plate is printed on a press.
	Intaglio (Etching/Aquatint): Intaglio, from the Italian "Itagliare," to carve or cut, is used to define a series of printmaking techniques, such as etching, engraving, aquatint, mezzotint, etc. Using a plate made of copper, zinc, steel, or plastic, the artists incises grooves or pits into the plate with a sharp instrument (engraving or drypoint) or by dipping the metal plate into an acid solution (etching). In an etching, the incisions in the plate are produced by drawing on an acid-resistant wax ground with a sharp tool and immersing the plate in an acid bath. Darker lines are prodcued by longer immersion. To create an aquatint, the artist covers the plate with a fine dust of rosin particles and heats the plate so that the rosin dust adheres to it. The acid bites around the particles, producing a tonal effect.
	Relief (Woodcut or Linocut): Relief printing is one of the oldest printmaking techniques. Areas of lines are cut into the surface of the block with knives or gouges. Only the surface of the block recieves the ink and prints the image. When the block is finished, ink is applied to the surface with rollers (brayers) or, in the oriental manner, by painting on the surface with a brush. Paper is then put face down on the block, which is then run through a press or printed by hand with a wooden spoon or baren.
	Lithography: Lithography is a planographic or flat surface process executed on a smoothly grained slab of limestone, zinc, or aluminum plate. The artist draws on the surface with a grease crayon or liquid grease solution. The plate is treated with chemicals, dampened with water, and then inked with a roller. The ink adheres only to the greased areas. It is printed in a lithograph press.
	Monotype: A monotype is created by drawing or painting onto a metal or glass plate, which is then printed by and or on an etching press. There are no incised lines or acid areas bitten into the plate. The result is a one-of-a-kind print.
	Monoprint: Part of an image is repeatable--from an etching plate or lithographic stone, for example- and part of it is uniquely created for each individual piece, as with a monotype.
	Reduction Print: Pablo Picasso was responsible for this major innovation in the 1950's. Using one block, either wood or linoleum, he devised a method of cutting and printing each color from one block until only the last portion remains on the block, This eliminated the need for a separate block for each color and ensured more accurate registration.
	Stacked Monotype: This is a monotype using the transparent layering technique. Three or more inks are made transparent by adding plate oil or transparent medium. Printing is done as each color is applied to the entire plate and wiped off by the artist. The final result is achieved by "stacking" or "layering" transparent inks as the plate passes through the press each time.
	Mixed Printmaking Media Print: This print is essentially a monotype that is created by adding two or more images created by more that one printmaking technique onto one plate. The plate is then printed, resulting in, a Mixed Printmaking Media Print.
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