Printmaking Glossary
This glossary is your guide to the fascinating world of printmaking.
Whether you’re a seasoned collector, an artist, or just beginning to explore this timeless art form, you’ll find clear and concise definitions of the key terms, techniques, and tools that shape the craft. Dive in and deepen your understanding of the rich traditions and innovations in printmaking.
Printmaking Glossary
A
A La Poupee
A printmaking technique that involves applying multiple colors directly onto a single plate using small fabric daubers or brushes. This method allows for the creation of multicolored prints in a single pass through the press. In intaglio printmaking, it is a particularly intricate process that requires precise application to ensure colors do not bleed into one another.
Acid
A corrosive liquid, such as nitric acid or ferric chloride, used in traditional etching processes to bite into the exposed areas of a metal plate. The acid dissolves the metal, creating grooves that hold the ink during printing. However, in drypoint, the lines are created entirely by physical scratching, so acid is not part of the technique.
B
Bite
The process by which acid corrodes a metal plate in etching, creating incised lines where the ink will later be held. The depth and texture of the lines depend on the duration of the plate’s exposure to the acid. Although not relevant to drypoint, the concept of “bite” is central to understanding how other intaglio methods differ.
Burr
The ridge of displaced metal that forms on either side of a line incised with a drypoint needle. This burr gives drypoint prints their distinctive soft, velvety line quality, which fades over time as the burr wears down with repeated pressings. The presence of burr also limits the number of high-quality impressions that can be made from a drypoint plate.
C
Copper Plate
A commonly used matrix in intaglio printmaking, prized for its ability to hold intricate detail. Copper is especially well-suited for drypoint because its softness allows for deep, expressive lines, yet it is durable enough to withstand the pressure of the printing press. Artists often polish copper plates to a mirror finish before beginning their work.
Crosshatching
A shading technique that involves the use of intersecting sets of parallel lines to create tonal variation and depth. In printmaking, crosshatching is often employed to produce rich, textured shadows or subtle gradations of light. The technique is particularly effective in drypoint, where the burr enhances the tonal quality of the lines.
D
Drypoint
A form of intaglio printmaking where the artist scratches lines directly into a metal plate using a sharp needle. Unlike etching, which requires acid to bite into the plate, drypoint relies entirely on the physical pressure of the artist’s hand. The burr created by this process produces soft, rich lines that are unique to the medium, making drypoint an expressive and tactile art form.
Deckle Edge
The rough, irregular edge found on handmade or specialty papers. Deckle edges are often prized in printmaking for their aesthetic quality, lending a sense of authenticity and craftsmanship to the finished print. This feature arises naturally during the paper-making process when the paper pulp settles unevenly at the mold’s edges.
E
Edition
A set of prints made from the same plate, produced in a limited quantity and typically numbered and signed by the artist. Each impression in the edition is considered an original work, and collectors value lower edition numbers or prints marked as “artist’s proofs.” For drypoint, the edition size is often smaller due to the delicate nature of the burr.
Engraving
An intaglio technique in which an artist uses a burin, a specialized tool with a sharp, beveled tip, to carve clean lines into a metal plate. The resulting grooves create sharp, precise marks on the final print. Unlike drypoint, engraving lacks the burr, resulting in a crisper line quality.
F
Foul Bite
An unintended mark or area of corrosion on a metal plate, typically caused by unintended texture or blemishes to a print, often viewed as flaws. In drypoint, where no acid is used, such mishaps are avoided, but other unintentional scratches or marks might occur during the engraving process. Artists often incorporate or correct these “imperfections” creatively.
G
Ground
A protective coating applied to the surface of a metal plate in traditional etching methods. The ground is typically made from wax or resin and shields areas of the plate from acid exposure, allowing artists to draw designs that will be etched into the plate. Drypoint does not require a ground, as the design is directly scratched into the plate.
Graver
A versatile tool used primarily in engraving to carve lines into a metal plate. It has a sharp, chisel-like tip that allows for the creation of precise, crisp marks. While drypoint artists generally use needles, gravers can also be employed for deeper or more deliberate incisions in drypoint work.
H
Hard Ground
A type of etching ground that is firm and durable, used to coat plates during the etching process. Artists scratch through the hard ground to expose the metal beneath before immersing the plate in acid. This technique contrasts with drypoint, which bypasses the use of ground entirely.
Hatching
A fundamental technique in art and printmaking that involves creating parallel lines to suggest tone, texture, or shadow. Hatching can be enhanced in drypoint by varying the pressure of the needle, which affects the prominence of the burr and the resulting printed line quality.
I
Intaglio
A collective term for printmaking techniques where the design is incised into the surface of a plate, and ink is applied into these recesses. The surface is wiped clean before the plate is printed, leaving ink only in the incised lines. Intaglio methods include drypoint, engraving, etching, aquatint, and mezzotint, each with distinct characteristics.
Impression
A single print pulled from a plate. Every impression is considered an original work, and its quality depends on factors such as the plate’s condition, the inking process, and the pressure of the printing press. Drypoint impressions, in particular, vary due to the gradual wear of the burr.
L
Line Quality
The visual characteristics of a line, including its thickness, sharpness, and texture. In drypoint, line quality is heavily influenced by the burr, which gives lines a soft, velvety appearance. Artists can vary the line quality by altering the pressure or angle of the needle.
M
Matrix
The surface or object, such as a metal plate, that holds the design to be printed. In intaglio printmaking, the matrix is typically a copper, zinc, or steel plate. Drypoint artists favor softer metals like copper for their ability to hold the burr, which creates the medium’s characteristic line quality.
Monoprint
A unique print that results from a one-off alteration to a matrix, such as hand-coloring or adding a one-time texture. While traditional intaglio methods are designed for editions, drypoint’s burr naturally limits the number of consistent impressions, giving each print a degree of individuality.
P
Plate Tone
The subtle shading or texture that occurs when a thin film of ink is left on the surface of the plate during the wiping process. Plate tone can add depth and atmosphere to a drypoint print, though it requires skill to control and maintain consistency across impressions.
Proof
A test print made during the creation of a plate to check the progress of the design, inking, and wiping techniques. Artists often pull several proofs to evaluate and refine their work before finalizing an edition. Proofs are often highly valued by collectors, particularly in drypoint, where the burr’s quality diminishes over time.
R
Registration
The precise alignment of the paper and plate during the printing process, ensuring that multiple layers or colors align perfectly. In drypoint, registration is critical when combining multiple plates or integrating other intaglio techniques into a composition.
S
Scraper
A tool used to smooth or remove unwanted marks or burrs from a plate. In drypoint, scrapers can be employed to correct errors or reduce the prominence of burrs for cleaner, more controlled lines.
Soft Ground
A pliable, wax-based coating used in etching that allows artists to transfer textures or draw with softer tools. While not applicable to drypoint, understanding soft ground is helpful for artists exploring the broader intaglio family.
T
Tarlatan
A stiffened, loosely woven cloth used to wipe excess ink from a plate while leaving ink in the incised lines. Proper tarlatan use is essential for achieving clean, sharp prints in intaglio techniques, including drypoint.
Tone
The gradation of light to dark areas in a print, achieved through line density, burr effects, or the intentional use of plate tone. Tone is a critical aspect of drypoint, where the unique texture of the burr adds depth and dimension to the printed image.
W
Wiping
The process of cleaning the surface of an inked intaglio plate to remove excess ink while leaving ink in the recessed areas. In drypoint, careful wiping is necessary to preserve the burr’s ink while ensuring clean lines and plate tone.
Z
Zinc Plate
A metal plate alternative to copper, often used for intaglio printmaking due to its affordability. However, zinc is less durable than copper and not as ideal for drypoint because the burr wears down more quickly, limiting the number of high-quality impressions.
Historical Beginnings
of Drypoint Etching
Drypoint etching emerged in the late 15th century as an offshoot of traditional engraving. Its earliest practitioners were German and Dutch printmakers, who experimented with different tools and methods to achieve softer, more expressive lines.
The earliest known drypoint print, created in the 1480s, is attributed to the German artist Master of the Housebook, whose delicate and intricate works set a precedent for the medium. Soon after, other artists began to explore the potential of drypoint, using it to capture subtle details and atmospheric effects that were difficult to achieve with engraving alone.
“The Road to Calvary” (1475/80)
Master of the Housebook