Printmaking Vocabulary

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Printmaking Vocabulary Baren: A round, smooth pad used Etching: A means of incising lines in to press paper against an inked a metal plate with acid for printing wood or linoleum block. in the intaglio technique. Bench Hook: A metal or wooden Gouge: In relief printing, a tool for plate with a raised edge on each cutting and clearing areas from a end to hold a woodcut or linocut in block of wood or linoleum. place while cutting. Intaglio: Any of the techniques in Block: A piece of thick, flat material, which an image or tonal area is with a design on its surface, used to printed from lines or textures print repeated impressions of that scratched or etched into a metal design. plate (engraving, etching, drypoint, aquatint, lift ground, soft ground). Brayer: A small roller used to spread printing ink evenly on a Linoleum Print: A type of relief surface before printing. print in which the image is cut into a piece of linoleum. Burin: A tool used by an engraver with a steel shaft and a sharp point Lithograph: A printing technique in at one end and a handle at the which the image is drawn on a very other. flat slab of limestone (or a specially treated metal plate). Chine Colle: A technique for gluing smaller pieces of paper onto a print Monoprint: A print pulled in an while printing it. Usually thin edition of one. There are no series papers are attached to a heavier of identical printing paper with this method. prints that are signed and numbered. Collagraph: A print made from an image built up with glue and other Printing Press: A device used by a collage-type materials. fine art printmaker to produce prints one copy at a time. It applies Edition: A set of identical prints pressure between a sheet of paper that are numbered and signed. and an inked printing plate. Engraving: A form of intaglio Proofs: Prints made at various printing in which lines are incised stages during the creative process into a metal plate with a carving to act as guidelines for further tool called a burin. stages to change, correct or improve the image. The Art of Education | www.theartofed.com Printmaking Vocabulary Registration: Adjustment of separate plates, blocks, screens or paper in color printing to ensure correct alignment of the colors. Relief: A technique in which the image is printed from a raised surface. Relief Print: A means of making prints by creating a raised design on a flat surface. The design is inked or covered with color and stamped on paper or another surface. Screen Print: A form of stencil printing in which the stencil is adhered to a fine screen for support. Stencil: A printing process by which areas are blocked out to keep ink from non-image areas. The Art of Education | www.theartofed.com .

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Styro-Prints Printmaking
LESSON 18 LEVEL B STYRO-PRINTS PRINTMAKING WHAT YOU WILL LEARN: learning the basic techniques of relief printmaking WHAT YOU WILL NEED: sheets of styrofoam about 13x15.5 cm.(5”x 6”) (clean flat sided styrofoam meat trays with the sides cut off) or commercial styrofoam such as Scratch-Foam Board (TM); ballpoint pen or dull pencil; black or colored water-based printing ink; one or two rubber brayers for ink, available at crafts or art supply stores; a small sheet of formica or a smooth plastic mat for an ink pad; a variety of kinds and colors of papers; damp sponge or towel; newspapers to cover work surface. Relief Print Teacher Example “TIPS”: Set up your work table as indicated in the diagram. You will Getting Started: Relief printing draw on your styrofoam “plate” some began thousands of years ago in where else and then move to the China. Much later, in Europe, wood printing place. If you have never blocks were smoothed and then cut printed before, you may want a into with sharp tools. They were then inked to make prints that grownup to help you the first time. were handed out like posters and It will be fun for both of you! handbills or flyers. In the 1500s, Important: read through all the John Gutenberg put rows of little directions before you begin to print. wooden block letters into a printing press, and the first modern books were made. In relief printing. “the ups print and the downs don’t.” That means that the surface that is inked will print and the part of the block Lesson18 A ©Silicon Valley Art Museum that is cut away or pushed down, will not.
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RELIEF PRINTING 101 Maury 2017
RELIEF PRINTING 101 Maury 2017 Relief printing is one of the oldest (500 BC) and most direct of all the printmaking methods. Images can be simplistic and graphic, or intricate and detailed. It’s a subtractive process, meaning you cut away, or subtract, the areas you do not want to print. USING WOOD VS. LINEOLEUM? Wood and linoleum are the most common relief printing substrates. Other materials such as MDF, foam, cintra, and even dense cardboard have been used. Your choice of material will heavily dictate the kinds of marks and level of detail you are able to achieve. Wood Linoleum Grain of wood will print No grain, smooth surface Wood is denser, takes more effort to cut, Softer for cutting and easier for making curved offers a more angular mark. lines. More readily available and often cheaper Special order if no art store available, pricier Comes in very large sizes Many sizes available, including rolls PREPARING THE BLOCK LINOLEUM: No preparation of the surface of the block is required. But if you are printing multiple colors with accurate registration, it is a good idea to make sure your linoleum block is square on one corner for registration during printing. WOOD: For easier carving, use Shina plywood, which is a softer plywood and allows for easy cutting across the grain. A dense, tight-grained wood such as cherry, maple or birch also works but requires more effort to carve (especially across the grain). It can be solid wood or plywood as long as it’s flat and even. The benefit to a harder wood is that it will withstand more printing with a press and will retain very fine detail better.
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Image Carrier Poster
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We Are Oberlin
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AQUATINT: OPENING TIMES: Monday - Friday: 9:30 -18:30 PRINTING in SHADES Saturday - Sunday: 12:00 - 18:00
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Printing Presses in the Graphic Arts Collection
Printing Presses in the Graphic Arts Collection THE NATIONAL MUSEUM OF AMERICAN HISTORY 1996 This page blank Printing Presses in the Graphic Arts Collection PRINTING, EMBOSSING, STAMPING AND DUPLICATING DEVICES Elizabeth M. Harris THE NATIONAL MUSEUM OF AMERICAN HISTORY, SMITHSONIAN INSTITUTION WASHINGTON D.C. 1996 Copies of this catalog may be obtained from the Graphic Arts Office, NMAH 5703, Smithsonian Institution, Washington D.C. 20560 Contents Type presses wooden hand presses 7 iron hand presses 18 platen jobbers 29 card and tabletop presses 37 galley proof and hand cylinder presses 47 printing machines 50 Lithographic presses 55 Copperplate presses 61 Braille printers 64 Copying devices, stamps 68 Index 75 This page blank Introduction This catalog covers printing apparatus from presses to rubber stamps, as well as some documentary material relating to presses, in the Graphic Arts Collection of the National Museum of American History. Not listed here are presses outside the accessioned collections, such as two Vandercook proof presses (a Model 4T and a Universal III) that are now earning an honest living in the office printing shop. At some future time, no doubt, they too will be retired into the collections. The Division of Graphic Arts was established in 1886 as a special kind of print collection with the purpose of representing “art as an industry.” For many years collecting was centered around prints, together with the plates and tools that made them. Not until the middle of the twentieth century did the Division begin to collect printing presses systematically. Even more recently, the scope of collecting has been broadened to include printing type and type-making apparatus.
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Rescuing Dudley Carter's Goddess of the Forest
Roger Baird Figure 1. Dudley Carter performing art-in-action at his 100th birthday party. 1996 WAG Postprints—Norfolk, Virginia Rescuing Dudley Carter’s Goddess of the Forest Arno P. Schniewind, Roger Baird, and Dale P. Kronkright ABSTRACT: The Goddess of the Forest, a massive sculpture created by Dudley Carter from a large redwood log as part of the “Art in Action” program during the World’s Fair held in San Francisco 1939/40, was later placed into the city’s Golden Gate Park where it remained until 1986. By then the Goddess, which stood 26 feet tall and had a girth at the base of 21 feet, showed serious signs of distress in the form of extensive decay and stood with the aid of props. It was decided to take the Goddess down and move it to San Francisco City College which already had another Carter sculpture, the Ram. City College also owns a major mural by Diego Rivera, created at the same time as the Goddess, which shows Carter in the process of creating the Ram with his double-bitted axe. Dudley Carter, who was 95 in 1986, was called to City College to devise a plan for rescuing what could be rescued, and subsequent work was carried out according to his instructions. It involved cutting about 10 feet off the bottom, and retaining only a “half shell” of the upper part, since extensive interior decay had left only an outer shell of sound wood 1 to 4 inches in thickness. An armature was constructed to support this shell.
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Private Collection of Camille Pissarro Works Featured in Swann Galleries’ Old Master-Modern Sale
FOR IMMEDIATE RELEASE Contact: Alexandra Nelson October 14, 2016 Communications Director 212-254-4710 ext. 19 [email protected] Private Collection of Camille Pissarro Works Featured in Swann Galleries’ Old Master-Modern Sale New York— On Thursday, November 3, Swann Galleries will hold an auction of Old Master Through Modern Prints, featuring section of the sale devoted to a collection works by Camille Pissarro: Impressionist Icon. The beginning of the auction offers works by renowned Old Masters, with impressive runs by Albrecht Dürer and Rembrandt van Rijn. Scarce engravings by Dürer include his 1514 Melencholia I, a well-inked impression estimated at $70,000 to $100,000, and Knight, Death and the Devil, 1513 ($60,000 to $90,000), as well as a very scarce chiaroscuro woodcut of Ulrich Varnbüler, 1522 ($40,000 to $60,000). Rembrandt’s etching, engraving and drypoint Christ before Pilate: Large Plate, 1635-36, is estimated at $60,000 to $90,000, while one of earliest known impressions of Cottages Beside a Canal: A View of Diemen, circa 1645, is expected to sell for $50,000 to $80,000. The highlight of the sale is a private collection of prints and drawings by Impressionist master Camille Pissarro. This standalone catalogue surveys Impressionism’s most prolific printmaker, and comprises 67 lots of prints and drawings, including many lifetime impressions that have rarely been seen at auction. One of these is Femme vidant une brouette, 1880, a scarce etching and drypoint of which fewer than thirty exist. Only three other lifetime impressions have appeared at auction; this one is expected to sell for $30,000 to $50,000.
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Materials for Printmaking
A COMPARATIVE STUDY. OF CONVENTIONAL AND EXPANDABLE ACIn RESISTANT STOPOUT MATERIALS FOR PRINTMAKING A Creative Project Presented to The School of Graduate Studies Drake University In Partial Fulfillment ot the Requirements tor the Degree Master ot Fine Arts by Lyle F. Boone January 1970 A COMPARATIVE STUDY OF CONVENTIONAL AND EXPANDABLE ACID RESISTANT STOPOUT MATERIALS FOR PRINTMAKING Lyle F. Boone Approved by Committee: TABLE OF CONTENTS CHAPTER PAGE I. INTRODUCTION • • • • • • • • • • 1 The problem • • • • • • • • • • • 1 Definitions of terms used • • • • • • • • 2 Lift-ground • • • • • • • • • • • 2 Ground • • • • • • • • • • 2 Rosin • • • • • • • • • • • 2 Stopout • • • • • • • • • • • • 3 Procedure • • • • • • • • • • • • • 5 II. THE CONVENTIONAL METHOD OF STOPPING OUT • • • 7 Conventiona.1 Uses of Shella.c Stopout with Ha.rd and Soft-ground • • • 8 Conventional Use of' Shellac Stop,·ut with Aqua.tint • • • • • • • • • 13 Conventional Materials for Li.ft-ground • • 18 III. NON-CONVENTIONAL METHODS OF USING EXPANDABLE ACID RESISTANT STOPOUT MATERIALS • • • 22 Non-conventional Stopout with Ha.rd and So.ft ground • • • • • • • • • • • 24 Non-conventional Materials for Aquatint • • • 26 Non-conventional Materia.ls with Lift-ground • • 29 IV. CREATIVE APPLICATION OF FINDINGS • • 38 v. CONCLUSION • • • • • • 52 BIBLIOGRAPHY • • • • • • • 54 LIST OF FIGURES FIGURE PAGE 1. Print Containing Hard and Soft-ground Etching, Aquatint, Copper, Size 8" x 11-1/2". • • • 12 2. Area Indicating Shellac Breakdown, Containing Hard and Soft-ground Etching, Aquatint, Zino, Size 8" x 6" • • • . • • • • • 14 3. Aqua.tint, Hard and Soft-~round Etching on " ff - Copper, Size 8 x 12 •••••• • • 15 4. Print Containing Lift-ground, Aquatint, Hard ft ft ground Etohing, Copper, Size 4 x 6 • • • 20 Print Containing Aquatint, Copper, Size 4 tt x 5" 7.
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A Student Guide to the Use of Soft Grounds in Intaglio Printmaking
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