Page 197 - Art-Addiction

term designates a system of from the fifteenth century. make a pile of fresh impression faCsIMILe
fissures that develop with the small round holes were with interleaving sheets. 1. A print which is an exact
aging of the materials, or as a stamped with a punch and dryPoINt copy of an original design, i.e. a
result of environmental action hammer into a metal plate A method of intaglio engraving “reproductive” print as opposed
(expansion, contraction of the which was then inked and on metal. to an “original” print.
support), or a combination printed as a relief block or eMBossING 2. In a more specific sense it
of both. There are various rec- metalcut. The stamped work A printmaking method in which refers to the exact reproduc-
ognized systems of cracks, or appears as white dots sur- a design is impressed into tion of a line drawing in wood
craquelure, which result from rounded by black and gives a paper without the use of any engraving (as opposed to
both natural and environmental crude effect of tone. ink, creating a heavily raised its interpretation in a brush
causes, and are characteristic dot WorK surface area. or wash technique) and was
too of the artist’s technique A loose description of the sur- eNGraVer particularly popular in the nine-
and materials. face of any metal plate, either 1. One who practices engraving. teenth century. Photomechani-
CrayoN relief (see: dotted manner) or 2. The specialist who engraved cal processes are also used for
Various types of crayon are intaglio, which has been dotted on the stone in lithographic obtaining facsimiles.
used in printmaking. The greasy or grained in a manner such as engraving: a technique which fadING
lithographic crayon is made to create an impression of tone was popular when lithography The gradation of a tint in an
with a natural grease or a when printed. The dots can had a larger industry than it has imperceptible manner.
chemical. A corrective crayon is be achieved either by working today. see: lithography. faLse MarGINs
used in lithography to remove directly on the plate or by etch- 3. In photogravure, the line A print may not have normal
lines or blemishes. ing through a ground. engraver specializes in the margins for a variety of
daBBer doUBLe IMaGe etching process. reasons. In this case, it may be
There are various types of A printing error which causes eNGraVING mounted on a larger sheet of
dabbers used in printmaking. the image of the print to appear In a general sense, the word paper which provides it with
The inking dabber, a round tool, twice. It occurs if the paper covers all works of art or indus- false margins.
with a wide base, is covered in falls out of alignment as a result try (both plate and impression) “feCIt”
leather of fine skin; it is used for of not being properly secured which use incision as means of sometimes found after the
inking the incisions on an inta- during one or, more likely, two marking the design. name of the engraver or maker
glio plate and the relief areas passages through the press. eNVIroNMeNt at the base of a print, meaning
on a wood block. A dabber is The blankets may also cause In the context of conservation the artist whose name it
also used for laying the ground: the paper to move if not prop- and deterioration studies, these follows “made it.”
it is half-moon shaped, stuffed erly fixed. terms refer to physical effects feLt
with cotton and covered in silk. dryING of the environment, such as Woollen or cotton material used
In lithography, a type of wash 1. The layer of ink on a freshly humidity, temperature, light, for packing round the printing
is applied to the stone with a printed sheet can dry in one of pollutants of the atmosphere. rollers.
dabber made of a ball of cotton three different ways: by evapo- etCHer fIBer fILL
covered with fine skin. ration of the solvent that main- An engraver who practices the Utilizing paper pulp to complete
daMPeNING tains the ink in a liquid form; by etching process. losses in a sheet of paper.
1. Paper is often moistened penetration of the paper; or by etCHING fILLet
before printing as this makes it oxidation on contact with the One of the most important 1. A spacer device placed
more flexible when contact is air. Inks used in relief, intaglio methods of intaglio engraving. between the glazing and
made with the block, plate, etc., and lithographic printing dry by etCHING “A la Plume”. the mount in a frame which
and also ensures better recep- penetrating the paper and by A method of intaglio printing in prohibits the glazing material
tivity of the ink. 2. In lithography oxidation; those used in pho- which a pen and ink drawing is from coming in contact with the
and offset lithography the togravure dry by evaporation made on a clean metal plate. artwork.
surface of the stone must be and by penetration. The greasy When this has dried, the entire 2. An ornamental wood molding
thoroughly dampened before inks used in screenprinting dry surface is covered with a light put outside the image and
the printing ink is applied. This by oxidizing and by penetrating aquatint ground and placed inside the matting of a framed
prevents the ink from adhering the paper; cellulose and water- in an acid bath which has the work of art.
to the nongreased parts. based inks also dry by evapora- effect of removing the ground fIrst edItIoN
deaCIdIfy tion and by penetration. 2. where it is to be found over The earliest edition of a book or
To chemically stabilize acidic The drying of paper: in intaglio the ink. The plate can then be a print to be taken.
paper; can be either an aque- and lithographic printing, the bitten as for a normal etching. fLaKING
ous or non-aqueous treatment. paper is dampened before an The technique is difficult to do Loss of small islands of paint,
deCKLe edGe impression is taken. It is then well, and was much improved or other surface material, or
The rough uneven edge on flattened by laying it between by the sugar-lift process. even ground layers following
handmade paper and on sheets of cardboard and dried “eX-LIBrIs” cleavage, blistering, or buckling
some good quality machine in a press for at least twelve An owner’s mark placed in a action in paintings or similar
made paper which has been hours. 3. Methods of drying: in book, usually on the inside of works of art.
leftuntrimmed. most techniques, an electric the cover. engraved ones have fLatteNING
dIsINteGratIoN of PaPer drier propelling hot or cold air is been used since the fifteenth A restoration procedure involv-
Printing error which occurs if used. In screenprinting, freshly century. ing controlled humidification
paper that has been exces- printed sheets have to be eXPaNsIoN and controlled drying under
sively dampened is put in the placed on specially constructed The result of change in the pressure.
press. It becomes attached to racks, as it i more important dimension of a sheet of paper forMat
the plate and disintegrates. for them to be kept well apart due to excess humidity; more Plates, blocks and screens,
dotter MaNNer when drying than in other tech- pronounced across the grain sheets of paper, film and
A method of engraving dating niques. Usually is sufficient to than with it. negatives often have recurrent
193 ARTaddiction