Glossary
AQUATINT
An etching process in which tone is created by treating a plate with fine particles of acid-resistant material (powdered resin) and then placing the plate in an acid bath. The acid bites into the plate between the grains of resin, and when printed, the mass of tiny spots produces a textured area with tonal effects similar to water colour wash.back to top of page
ARTIST’S PROOF /E.A.
Impressions printed especially for the artist and excluded from the numbering of an edition, but exactly like the editioned prints in every other respect. Usually appears as “A.P” or “E.A.”back to top of page
BURR
When using a drypoint needle or other engraving tool to draw directly into a metal plate small fine pieces of metal are raised up on both sides of the scored line. This burr holds additional ink during the printing process and gives the lines a velvety or fuzzy texture. Burr is very delicate and consequently is easily worn down during the pressures of the printing process. Early pulls or impressions taken from such plates are characterised by rich burr. In the case of Old Master prints especially, the quantity and evidence of burr can sometimes be used as an aid in determining how early the impression was pulled.back to top of page
CARBORUNDUM
The trade name of silicon carbide, carborundum began its use in printmaking as an abrasive which was used in effacing lithographic stones. The particles, when mixed together with glue can also be used to draw on a plate – sometimes creating a raised surface – which is then inked and printed with the ink being held in the spaces between the particles. The resulting prints are often textured due to the raised areas of the printing surface.back to top of page
CATALOGUE RAISIONNÉ
A scholarly catalogue which should include all the known works by an artist at the time of publication. Essential information by which works are identified is included.back to top of page
COLOPHON/JUSTIFICATION
A note, usually at the end of a book or portfolio of prints, giving all or some of the following information: name of work, author, printer, place of printing, date, size of edition.back to top of page
DRYPOINT
An intaglio process in which a plate is marked or incised directly with a needle. The drypoint line can look very much like an etched line but is usually lighter and characterized by the existence of burr.back to top of page
EDITION
The total number of impressions pulled of a single image or sets of images from the same matrix. To this number the artist usually authorizes the addition of a small number of artist’s, printer’s, publisher’s and other proofs.back to top of page
ENGRAVING
An intaglio process in which a plate is marked or incised directly with a burin or other metal-marking tool. No acid is used in this process since the design is dug out by hand. An engraved line can range from very deep and wide, to lighter and thinner and is often characterized by a pointed end signaling the exit of the “v” shaped burin from the metal.back to top of page
ETCHING
An intaglio process in which a plate is treated with an acid-resistant ground. The artist then draws through the ground with various tools to expose the metal. The plate is then immersed in an acid bath where the acid “bites” or chemically dissolves the exposed lines. The metal plate is therefore “carved” or “etched” by the acid rather than by a tool directly in the metal.http://www.moma.org/exhibitions/2001/whatisaprint/flash.html
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FRONTISPIECE
Illustration in a book opposite the title page.HORS-COMMERCE/ “H.C”
Meaning “outside of the commercial edition” these proofs, not originally intended for sale, are excluded from the numbering of an edition, but are otherwise exactly like the edition prints in every other respect.back to top of page
INTAGLIO
All matrices which have either been cut into or “bitten” into. The resulting “dug out” lines are printed. Intaglio processes include etching, aquatint, engraving, mezzotint and metal engravings, among others.back to top of page
LINOCUT/LINOLEUM CUT
A relief process, like a woodcut where the artist carves the design out of the linoleum or linoleum mounted onto wood. What remains is printed, rather than what is cut away.http://www.moma.org/exhibitions/2001/whatisaprint/flash.html
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LITHOGRAPHY
A planographic printing process where a drawing is made directly on a stone or other smooth matrix with greasy materials such as lithographic crayon. The surface is then dampened with water, which is repelled by the greasy areas The surface is then rolled with greasy printing ink, which adheres only to the greasy areas and is itself repelled by the areas which have water. The drawn image is then printed. A separate stone is required for each colour.http://www.moma.org/exhibitions/2001/whatisaprint/flash.html
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MATRIX
The base from which the print is made. This can be anything – a standard metal plate or lithographic stone, a potato or vinyl record, a stencil, anything from which you print.back to top of page
MEZZOTINT
An intaglio method in which the entire surface of the plate is roughened by a spiked tool (“rocker”) so that, if inked, the entire plate would print in solid black. The artist then works from “black” to “white” by scraping (or burnishing) out areas to produce lighter tones.back to top of page
MONOTYPE
A unique image printed from an unworked smooth, metal or glass surface painted in ink by the artist.back to top of page
MONOPRINT
A print which has as its base an etching, lithograph or woodcut and which is then uniquely altered by monotype colouring, inking, or choices in paper colour.back to top of page
PLATEMARK
The imprint in the paper resulting from the edge of a metal plate being pushed into it during the pressure of the printing process.back to top of page
PLATE TONE
A veil of ink intentionally left on the surface of the plate during printing which creates delicate areas of tone or shading.back to top of page
POCHOIR
A printing process using stencils, originally used to simulate hand-colouring.back to top of page
PRINTER’S PROOFS
Impressions printed especially for the printer(s) and excluded from the numbering of an edition, but exactly like the editioned prints in every respect. Usually appears as “P.P”.back to top of page
PUBLISHER
The person or entity who subsidises and often initiates the making of a print edition or portfolio and who also disseminates the prints.back to top of page
SCREENPRINT/ SILKSCREEN
A printing process using stencils to block out areas which are then printed through silk, other fabric or metal mesh.http://www.moma.org/exhibitions/2001/whatisaprint/flash.html
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SOFT GROUND ETCHING
An etching technique where a soft ground is laid on the metal plate. The artist draws onto a piece of paper which is laid down on top of the ground. The ground adheres to the paper where the pencil or other tool has pressed down into it through the paper and pulls away when the paper is lifted The resulting “marked” plate is placed in an acid-bath where the acid “bites” into the more exposed areas where the ground has been “lifted”. The line created is often soft and grainy.back to top of page
STATE
An impression taken from the plate at a particular moment or stage of development and distinguished from impressions taken at other times during that process. The final State is the state from which editions are generally pulled, although some artists pull several impressions in each state.back to top of page
STEEL FACING
When a metal intaglio plate is covered with a thin deposit of steel using electrolysis creating a much harder surface which can accommodate larger numbers of printings before wear becomes evident.back to top of page
TRIAL PROOF
An early proof, often incorporating artist’s revisions and changes and generally not identical to the numbered, editioned prints. Also referred to as a Working Proof.back to top of page
TUSCHE
Grease in stick or liquid form used principally for drawing in lithography.back to top of page
WATERMARK
Design in the paper seen when held against the light. A manufacturer’s mark, it is used to trace the origin and date of the paper.back to top of page
WOODCUT
A relief technique where the image or design is left raised above what is carved out of the wood. What is not carved is printed.http://www.moma.org/exhibitions/2001/whatisaprint/flash.html
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