Page 199 - Art-Addiction

(invented), etc. The author of paint layers. relining refers parts of a specially prepared etc.; at one time it may also
an engraving itself is described strictly to a second or subse- black background. have contained a cartouche.
most frequently by: sculpsit, quent lining, in which the old LItHoGraPHIC WasH A larger lower margin may
sculp., sc., incisit, incidit or inc. lining is removed and replaced. A process used in lithography be kept simply to balance the
(engraved); or equally by: fecit, LINoCUt for obtaining the effects of a print within the sheet of paper.
fee., fe., ft., or f. (made) which An abbreviation of linoleum cut. wash drawing. It has also been The size of the margins also
also applies to the craftsman of The technique is a derivation of known as a lithotint. It must not depends on the format of the
a print in any other technique. the woodcut but owing to the be confused with a lithographic paper. Margins were usually
Perfecit signifies the comple- supple, relatively soft proper- aquatint in which the grain clipped until the eighteenth
tion of the work, possibly by ties of the material, linocuts is more marked. The color is century, and from the beginning
a second engraver. The name have different characteristics. applied with a dabber. of the nineteenth their exis-
of the publisher has for a long The material takes all types of LItHoGraPHy tence came to be regarded as
time been accompanied by lines, but is most suited to large With woodcutting and intaglio an important factor in assess-
excudit, excud. Or excudebat, designs with contrasting dark engraving, this is one of the ing the commercial value of a
and more recently by chez or and light flat tints. The material oldest methods of printmaking. print. If clipped, the impression
the Italian version appresso. is cut with small pen-like tools It dates from the end of the would be worth less, particu-
The name of the printer is which have a mushroom- eighteenth century. It is based larly if printed on fine quality
followed by formis and that of shaped handle. The tools have on the chemical fact that there paper. restored margins are
the lithographic printer by lith. a variety of forms: straight and is a natural antipathy between known as false margins.
Artists who print their own rounded edge, double-pointed, grease and water. The image is MarK
prints may inscribe after their as a chisel or a Vshaped chisel, drawn on a stone with a greasy 1. Particular sign serving as the
signature imp. Or impressit. etc. As on a woodcut, the relief ink which is dark in color only artist’s signature on a print.
On some old French prints, the parts of the block are inked. to aid the draughtsman with his 2. A vignette, sometimes
name of the dealer or trades- For printing a large number of work, The stone is then thor- accompanied by a motto, that
man is found preceded by se important proofs, the lino is oughly dampened; the water publishers used to place either
vend chez. Copyrights granted attached to a wooden block. remains on the ungreased on the title page or at the end
to engravers were expressed by Color printing is done with areas only. The printing ink is of a book.
A.P.d.r. Or C.P.r. (French royal several lino blocks. applied with a roller: it adheres 3. A stamp or collectors mark
privileges) and by Published LItH only to the greased parts. that identifies a prior owner of
According to Act of Parliament Abbreviation of lithographer. Lightly dampened paper is then a work, usually placed on the
in england (from 1735). In the nineteenth century it placed over the surface of the back of the print or drawing.
LIGHt-staINING preceded the name of the image, followed by a protective Mat
A print which has been exposed printer at the base of numerous sheet. stone and paper are In the framing of works of art on
to the light, over a long period, lithographs. passed through a flat-bed paper, the mat is a cardboard
without any protection, LItHoGraPH scraper press. Lithographic with a cutout window placed
becomes dusty and dirty and Along with woodcutting and printing is a delicate opera- over the work to keep it a
acquires a stained appearance. intaglio engraving, this is tion necessitating a careful distance away from the glass or
LINe one of the oldest methods of preparation of the stone and other glazing material.
This refers to any line as it printmaking. a particular kind of inking. The MeZZotINt
appears on an impression, LItHoGraPHIC eNGraVING prints are not marked by the An intaglio printing process.
whether taken from the inked engravings can be produced effect of the press as in intaglio The work is done in two stages.
or uninked parts of the printing on a lithographic stone by a printing, although a slight mark A metal plate is initially grained
element; as well as to the inci- variety of preparations. The indicating the edge of the stone by working over it systemati-
sions made in a plate or block, lines achieved slightly resemble is sometimes visible. Transfer cally with a spiked tool known
and the marks on a lithographic those of a steel engraving. methods can be used to avoid as the rocker; this creates a
stone. The technique lies half way the difficulties involved in multitude of fine dots all over
sIMPLe LINe between planographic and moving heavy stones round its surface. If inked, the plate
A single line, i.e. one that has intaglio printing. a studio. The drawings are would print a rich black. The
not been strengthened by suc- LItHoGraPHIC etCHING made on transfer paper which second stage of the process
cessive stages of cutting. A polished lithographic stone is grained, or on autographic consists in smoothing away
LINe eNGraVING can also be used for etching. paper which is smooth, and parts of the roughned surface
A term sometimes used to The surface is covered with then transferred to the stone. with the aid of a scraper and a
specify an engraving made with liquid ground such as is used Lithographic methods have also burnisher in order to create the
the burin. for intaglio printing. After been adapted to metal plates white and highlighted parts of
LINING or reLINING drying, the drawing is done with (grained zinc and aluminium). the resulting print.The scraping
The process of adhering a a blunt needle. A dilute acid is Lithographic color printing is of the plate is a skillful job;
reinforcing fabric to the back of used as a mordant. n.B. This done with several stones (or delicate tonal transitions can
a canvas painting, giving it new must not be confused with the metal plates), one for each be obtained if it is done well,
strength and durability. There etching used in lithography to color but the flat appearance of some
are two types of adhesives fix the image to the stone. MarGIN mezzotints is an indication of
used: in glue lining, an aqueous LItHoGraPHIC MeZZotINt Unprinted parts surrounding the difficulties involved. This
glue composition is used; in the A method which is akin to the design. generally the two flatness is also caused by the
wax-resin process an adhesive mezzotint in metal engraving lateral margins are of equal fact that mezzotint plates
composition based on beeswax although it does not attain quite length; the upper and lower wear down very quickly. Color
is employed. In all cases, the the same quality. Various meth- margins may be equal but mezzotints can be printed with
infusion of the adhesive into ods of working the stone exist the latter is sometimes larger several plates, one for each
voids in the paint layers serves of which the aim is to create the in order to allow space for color.
also to consolidate weakened white areas by scraping away signature, numeration, title, MIXoGraPHy (MIXOgrAPH)
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