Page 198 - Art-Addiction

formats, which means that the plate, etc.). Indicates the name of a printer. “INVeNIt” or “INV.”
dimensions of a print frequently HatCHING The artist has occasionally Accompanies the name of the
recur. Parallel lines which are cut acted in this capacity as well as artist of the original design on
foXING, foX MarKs close together in an engrav- making the design. a print.
froNtIsPIeCe ing with the aim of giving an IMPrINt JaPaN PaPer
In the oldest sense of the word, effect, en masse, of a grey or The imprint obtained by making A good quality paper which
the frontispiece refers to an dark tone. The lines may be a mould of a relief block or an is lightly translucent and
ornate title page in a book; intersected by other parallel intaglio plate (in, respectively, extremely resistant. It is used
more recently; it has applied to lines, a technique known as intaglio and relief). for fine impressions. Imitation
an illustration placed before or cross-hatching; or they may be INCaNdesCeNt Japanese paper also exists.
opposite the title page. over-hatched. Parallel marks As used in lighting, refers to the JaPaNese WoodCUts
GLass PrINts made with a drypoint were type of lamp with a tungsten A Japanese technique of
The “cliche-verre” is sometimes used on geographical maps to filament. The light produced is woodcutting.
translated as a glass print. represent water. a continuous spectrum in the Key stoNe
Completely distinct from this HC (HOrs de COMMerCe) visible region, and is on the The stone on which the original
are certain decorative items An impression pulled outside ‘warm’ side, i.e. about 2,500- drawing is made in lithography.
produced in the late seven- the edition for the personal use 3,0000 Kelvin. It can be copied for transfer
teenth and early eighteenth of the publisher or artist. INItIaL impressions in order to avoid
centuries, which are also often HUMIdIty A large typographical letter damage which may be caused
termed “glass prints”: a mezzo- The absolute humidity is the appearing at the beginning by over-handling.
tint was glued face down onto content of water vapor in the of texts. It can be specially Key traNsfer
glass, then rubbed from behind air measured as grams per engraved and decorated with The transfer of each color from
to remove all the paper, hand cubic meter or in equivalent figures or various ornaments. a transparency to a block for
colored, and framed. terms. INK printing in several colours. The
GoUGe IMItatIoN Colored liquid used for writing, line which forms the
A tool used for cutting wood A reproduction of an original drawing and printing. It can be outline of each color on the
and linoleum, specifically to drawing or of a particular art- thick in texture, or even solid, transfer can be called the key
clear away larger spaces of the ist’s style. in which case it is dissolved. A line. see: overprinting.
block. Curved gouges may be IMPressIoN large number of different types LaId PaPer
obtained as well as flat ones. In printing terminology, an of ink are used in printmak- A type of hand-made paper
V-shaped.gouges are used for impression is any print taken ing. drawing inks are used for which shows the pattern of the
cutting deep, angular furrows. from a particular block, plate, preparatory designs on blocks vertical wire-marks and the
A gouge used in linocut- etc. The word may be qualified and plates. A particular type horizontal connecting
ting resembles a pen and is to indicate the type of impres- of ink is specially prepared for chain-lines of the wires in the
attached to a pearshaped sion, e.g. “natural” impression, drawing on lithographic stone papermaker’s mould.
handle. pale impression, etc. Types of or on autographic paper. Print- LetterING
GradatIoN impressions include: ing inks can either be water All printed inscriptions relating
gradual strengthening, or 1.”Cloudy”. If the ink is not or oil based. In screenprinting to the design represented in
weakening, of a tone. applied evenly in screenprint- cellulose-based and plastic a print. Written references
GraIN ing, a “cloudy” impression inks are also used. Other inks on prints first appeared in
1. A loose description of aqua- will result (from the French “ are specially prepared for the fifteenth century. In the
tint ground and of its resulting nuage “). certain procedures, e.g. for seventeenth century the
effect on an impression, and of 2. Loose impression. A print on use as a mordant, or in transfer lettering took on a particular
any other printing element or Indian or Japanese paper which lithography. importance with the addition of
impression with dots or grain has not been laid down on IINKING dedications, mottoes, tokens
on its surface. thicker paper (to strengthen it). The process of putting the of esteem, etc., to the usual
2. The irregular aspect of the 3. “natural”. From the French required amount of ink onto the titles and descriptions. In the
surface of a stone, plate or “epreuve nature”: an impres- necessary parts of the printing eighteenth century it became
transfer paper in the litho- sion taken from an intaglio plate element, i.e. the relief areas habitual to take a proof of an
graphic method, necessary to after wiping it completely clean, of a block, the incised parts of engraving before lettering, i.e.
the firm adhesion of the marks as opposed to leaving a film of an intaglio plate, the greased before any writing had been
of the crayon. It is created on ink on its surface, or dragging areas of a lithographic stone, engraved. Proofs were also
the stone or plate by an initial some of the ink out of the lines etc. It is applied with either a taken with the lettering in the
graining process. to create special effects. roller or a dabber; on an intaglio process of being made, e.g.
3. The irregular aspect of the 4. “neigeuse”. The French plate pieces of muslin or a with white lettering in which
surface of paper or of transpar- expression for an impression brush are also used, or it can be only the contours of the writing
ent film used in screenprinting. taken from a badly inked or mis- applied & la poupee. In screen- have been engraved, with grey
HaNd-CoLorING printed plate which has caused printing the ink is scraped over lettering in which the letters
Hand-coloured prints have white patches to appear where the screen with a squeegee. have been lightly hatched, or
an old tradition and must there ought to be lines. INPaINtING (retoUCHING) with scratched lettering, where
be distinguished from those 5. Pale impression. One in Introduction of new paint into the writing has been deleted.
printed in color (color printing). which the design fails to show areas of loss in an original some of the lettering concerns
Coloring is done in watercolor up sufficiently. This may be due construction. the fabrication of the print. The
or gouache, with either a brush to faulty printing; it also results INtaGLIo author of the design or the orig-
or a stencil cut to allow ink from a plate with shallow A printing process in which the inal painting is designated by
through over the necessary incisions, such as one that has image is incised or etched into name followed by: delineavit,
areas directly onto the impres- been well-used. a metal plate using a variety of del. (designed), invenit or inv.
sion (as opposed to the block, “IMPressIt” or “IMP” techniques and tools.
194 ARTaddiction