Page 196 - Art-Addiction

containing inscriptions (title, its principal inventor, this various inks smudging. In let- A print is a copy if the designer
dedication, date, signature, process consists in pouring a terpress, offset lithography and has taken the image from
etc.). layer of gelatine mixed with photogravure several blocks/ another artist.
CHIarosCUro potassium chromate over plates are also used: there are CorrosIVe aGeNts
(see printmaking techniques) the surface of a zinc or glass three if the base colors, blue, Products used for cleaning
1. In a general sense, chiar- plate which is then exposed to red and yellow, are used (by and biting the various fabrics,
oscuro describes the method light to receive the image. The overprinting different colors papers, stones and metals
of using contrasted light and gelatine hardens in proportion can be obtained), or four if grey used in printmaking are divided
shade as a means of illuminat- to the amount of light received, or black is added to emphasize into three types: acids, alkalis
ing and giving form to a particu- the unexposed parts remaining the dark areas. Printing with and salts. nitric acid is the
lar subject. soft and capable of retaining different colored blocks, plates most commonly used of the
2. In a specific sense, it moisture, and the printing can or stones demands exact acids. It bites copper (c. 15
describes a particular wood- therefore be done, lithographi- registration involving a careful degrees Baume), zinc and steel
cutting process (chiaroscuro cally: the plate is dampened concordance of the variously (between 5 degrees 15 degrees
woodcut) in which tone with water and the ink is colored parts. Usually colors Baume), in a rapid, shallow
blocks (usually in lighter and applied with a roller. It adheres are printed from light to dark manner; it is also used for
darker tones of one color.) are to the surface in inverse but often the blues are printed cleaning and for preparing the
overprinted and juxtaposed proportion to the amount of first. n.B. There is a difference lithographic stone. sulphuric
to obtain a colored print. The moisture retained, the hard between color. Prints and acid is used for cleaning and
same technique can be applied areas of gelatine printing the impressions taken from a single biting steel. Hydrochloric acid
to lithography: different stones darkest. The reticulated grain colorblock,plate or stone (other attacks zinc and steel and in a
are used for the varying tones. of collotype is particularly good than brown or black). neither diluted form is used for wash-
CHINe CoLLe for reproducing watercolor, for must they be confused with ing. Phosphoric acid is used for
Areas of thin colored tissue which the process was much handcolored prints. cleaning ferrous metals and alu-
mounted on or glued to the used during the latter part of CoNserVatIoN minium as well as for preparing
surface of a print. the nineteenth century. The restoration of works of zinc and aluminium for the lith-
CHIseL CoLor BLoCK art with the aim to correct ographic and offset techniques.
A flat tool used in woodcut- Color blocks (or tone blocks) damage caused by handling, Hydrofluoric acid attacks
ting. It has a bevelled edge and print the various colors in a excessive exposure to light, glass and eramic. Acetic acid
is either pushed manually, or color. or chiaroscuro woodcut. smoke,dust, humidity or aridity, (vinegar) was formerly used
knocked with a mallet, over The key block prints the outline. and contact with liquid or any frequently in the composition
large areas to be cut away, see: chiaroscuro, color printing. other destructive substance. of etches. Of the alkalis, soda
i.e. those between the edges CoLor PrINtING Present methods allow cleaning is the most commonly used:
of the design and the sides of In woodcuts, color printing is and repair, provided that the as a detergent for washing
the block. done with several different print has not been subjected to the screen, for cleaning metal
CHroMoLItHoGraPHy color. Blocks which are over- irreversible alterations. plates, and for bleaching. It
In a loose manner this can printed. Chiaroscuro woodcuts CoNserVator is used particularly on zinc,
mean simply printing litho- are printed in various tones of A person specially trained in iron and aluminium, as well as
graphs in color. The term was one color. And for this reason the preventive care and main- on organic materials. Potash
specifically applied to certain cannot be classed as true tenance as well as restoration possesses approximately the
nineteenth-century color litho- color. prints. A more unusual of works of art and museum same characteristics. Ammonia
graphs which were reproduc- method of color. Printing can objects. The term restorer is used as a cleaning agent. The
tive in intention and imitated be done from one assembled traditionally refers to a person most frequently used of the
the appearance of oil paintings. block; the various parts having trained in carrying out remedial salts is ferric chloride, a slow
They were printed from a been previously separated and or restorative treatments. In etch which penetrates in depth
large number of stones, which inked with the different colors Francophone countries the while preserving the form of
demands a good technical skill. There are two different ways term restaurateur covers both the design. On account of these
CLeaNING of intaglio color. Printing: with kinds of person; the term con- qualities it is much used in
As used in painting conserva- several plates, i.e. one for each servator referring to a curator aquatint and photogravure.
tion, refers to application of color., which are overprinted or a keeper. CoUterProof
solvents and other liquids to juxtaposed next to each other; CoPPer An impression taken from a
remove discolored surface or with one plate which has The most important metal freshly printed sheet onto
coatings, as well as to retouch- been inked in different parts used in engraving. It is supple another piece of paper. It
ings and restorations not with separate colors applied to work, yet strong enough to shows the design in the same
part of the original work. In with a brush or stumps of rag endure the press, receptive to direction as that on the plate,
other contexts, it refers to the (a la poupee or “dolly”). several ink and wipes clean without stone or block; the artist uses
removal of dirt and coating stones are used in lithographic leaving traces. It polishes well it for assessing corrections to
from surfaces by a variety of color. Printing, one or the other and is also sensitive to mor- be made.
liquid and/or dry techniques. sometimes replaced by a zinc dants. It does, however, tarnish CoVeraGe
CLIPPING plate. Known as chromoli- quickly if left unprotected. The ability of an ink to cover
reducing the margins of a print. thography (or chromo), it was CoPPer-faCING and absorb into a surface as
CoLLaGraPH a popular technique in the The application of a very thin regards the amount required
The print resulting from a col- nineteenth century. Colors layer of copper onto a metal for printing. It is relative to the
lage of materials glued together can be printed side by side, or plate by means of electrolysis. receptivity of the support to
on a base and printed as a com- overprinted, in screenprinting, zinc must initially be copper- the ink.
bined relief and intaglio plate. by preparing the screen in such faced if a steel-facing is to be CraCKs
CoLLotyPe a way that a place is reserved applied. In grounds, paint layers, surface
Initially called albertype, after for each color. without the CoPy coatings (of paintings), the
192 ARTaddiction