TECHNIQUES | PROCESS
Monotype
This print process is meant to yield one original impression from each prepared plate. Because each monotype is unique and hand executed, this method is not a technique of multiple replication. The drawing is painted directly onto a non-absorbent surface. This image is then pressed onto an absorbent sheet of paper either by hand or with an etching press.
Monotype w/Chine collé
This print process is meant to yield one original impression from each prepared plate. Because each monotype is unique and hand executed, this method is not a technique of multiple replication. The drawing is painted directly onto a non-absorbent surface. This image is then pressed onto an absorbent sheet of paper either by hand or with an etching press.
—Also see Chine-collé section below
Viscosity Monotype
“This is a printmaking process in which a image is drawn into ink of a dripping, thin viscosity rolled out over a plexiglass plate. A second layer of stiffer, thick inks is rolled across the plate altering the image. At this stage, the interactions of thick and thin inks can yield luminous effects. With the addition of more ink, they are pressed into the inked surface, with effects relating to the natural phenomena of turbulence and chaos. The stressed interaction of inks leaves traces of wild eddies, whirls, and fractal patterns that give the imagery a life-like complexity.”
Credit: Paul Trachtman
Viscosity Monotype w/Chine collé
This is a printmaking process in which a image is drawn into ink of a dripping, thin viscosity rolled out over a plexiglass plate. A second layer of stiffer, thick inks is rolled across the plate altering the image. At this stage, the interactions of thick and thin inks can yield luminous effects. With the addition of more ink, they are pressed into the inked surface, with effects relating to the natural phenomena of turbulence and chaos. The stressed interaction of inks leaves traces of wild eddies, whirls, and fractal patterns that give the imagery a life-like complexity.
—Also see Chine-collé section below
Intaglio
“A method of printing to which the image is printed from below the surface of the plate. Intaglio platemaking normally involves using etching, drypoint or engraving processes. Intaglio is the only way of printing that can print ink in varying thickness. All other methods deposit ink in a uniform layer from the surface of a plate to the surface of the paper or other material.”
Credit: Kathan Brown
Intaglio w/Chine collé
“A method of printing to which the image is printed from below the surface of the plate. Intaglio platemaking normally involves using etching, drypoint or engraving processes. Intaglio is the only way of printing that can print ink in varying thickness. All other methods deposit ink in a uniform layer from the surface of a plate to the surface of the paper or other material.”
Credit: Kathan Brown
—Also see Chine-collé section below
Etching
“An image printed from a metal plate that has been incised by acid. The term also describes the activity of biting a metal plate in acid. In general, etching processes involve coating the plate with an acid-resistant ground, removing the ground in the image areas, then submerging the plate in a bath of diluted acid.
Aquatint, also a form of etching uses similar principles but plate preparation is more complex. Aquatint is often etched in a bath of acid, but may be etched by spit biting, i.e., painting the acid directly on the plate.”
Credit: Kathan Brown
Aquatint
“Aquatint is the most common method of creating tones in etching. Irregular grains of rosin are applied to a plate, then the plate is heated, causing the grains to melt slightly and adhere to the plate. The acid bites around the individual grains, and the plate is left with a rough surface, or tooth, that holds the ink.”
Credit: Kathan Brown
Relief Print
“One of the four basic printmaking methods Relief printing, the oldest print process, encompasses woodcut, linocut and hand-set type. The plate or block is incised, but the ink is applied to the top surface rather than to the incisions as in intaglio. Intaglio plates can be printed in relief, and sometimes relief and intaglio are combined.”
Credit: Kathan Brown
Mixed Media Print
A technique involving the use of two or more artistic media such as ink and pastel or painting and collage, that are combined in a single composition. In this composition a mixture of an oil based print and pastel drawing was applied.
Chine-collé
“Historically, it comes from the French word, chine-collé (also called papier collé). It is a printmaking technique in which a thin sheet of paper is printed on and at the same time adhered to a sturdier sheet.”
Credit: Kathan Brown
The paper can be of different colors and textures and can be pre-cut or left whole with an image incorporated. It is most important that the adhering of the chine-collé to the heavier support paper of the print is done during the printmaking process. It is not simply glued to the print as a collage element.
Stone Lithography
“Fine art lithography is a printing process in which artists use greasy drawing materials to make original images on stones and/or metal plates.
A lithograph is an original image created by an artist who works closely with a master printer. A press is used to transfer drawings from stones or metal plates to paper. It is a hand process used to create original works of art that can be printed multiple times.
What distinguishes the Print as an original is that the artist participated directly in the creation of the image and approves all impressions after they are printed.”
Credit: Tamarind Institute of Lithography