Page 203 - Art-Addiction

to the surface of the grounded england. It can either be etched parts where the drawing has ground layer with possibly a
plate; the ground adheres to or engraved: frequently the been made. thin layer of wood, before rein-
the back of the paper where the indentations on the plate are sUIte forcing with the new support
crayon has left indentations in first made with acid and then A set of prints dealing with the material.
it, thereby creating an impres- finished off with the burin. A same subject, or by the same traNsMItted LIGHt
sion on the plate of the marks steel plate has a particularly artist, which are published as The illumination of an object
of the crayon. The paper with clean, sharp line that can be a whole. It can also refer to by placing the light source
the attached ground is carefully extremely fine; it also produces a series of prints taken apart behind and viewing from the
removed and the plate is bitten. many more impressions than from an illustrated book. front. Useful in revealing crack
It is possible to reproduce a copper plate. It is used in sULPHUr PrINt systems and other forms of
any kind of texture with this particular for book illustrations, There are various ways in which separation.
method: textiles, rough papers, stamps, book-plates, vignettes sulphur is involved in printmak- ULtraVIoLet LIGHt
netting or leather can be and greeting cards. ing. (1) A mixture of flowers Primarily invisible light, ranging
pressed into a soft ground in a steNCIL of sulphur and olive oil can be from the x-ray region, about
similar fashion. 1. stencils are an essential part applied directly to the surface 4 nanometers wavelength to
sPLatter of screenprinting: they are of a metal plate to produce a just beyond the violet in the
A method of applying the ink attached to or incorporated tone similar to that of an aqua- visible spectrum, about 380
in lithography. It is sprayed with the screen to ensure that tint. some engravers spread the nanometers.
through a metal mesh onto the ink passes through in the oil on first, and then apply the VarNIsH
the stone with the aid of a correct places. They can be powdered sulphur. (2) A sulphur Usually refers to the thin pro-
stiff brush. Areas which are to made in many different forms, proof may be taken onto a tective and aesthetic coating on
remain white or be very lightly e.g. as a simple masking or sheet covered with sulphur, a work of art or museum object.
splattered are protected with covering stencil; as a “wash- from an intaglio plate in which There are natural and synthetic
gum Arabic. out” stencil, which involves the incisions have been previ- resin varnishes.
steeL-faCING drawing the design on the ously filled with lamp black. Verso
A process consisting of deposit- screen in a greasy substance, sUPPort (1) The reverse or back of an
ing, by electrolysis, a very thin then covering the whole screen In a painting, the physical object.
layer of iron onto a copper plate with filler or gum, and finally structure that holds or carries (2) The left hand page of an
in order to reinforce it. Copper, dissolving the greasy image the ground and paint film. Any open book or manuscript.
the most commonly engraved in turps, thereby forming a 11 material, such as fabric, wood, WaterMarK
metal, can become scratched positive “stencil; or as a photo- metal or paper, on which a Manufacturer’s mark made in
and worn down through use. stencil, whereby photographic work of art is executed, serving the paper. It is recognizable by
Furthermore, the wheels of images are incorporated into as a structural base. its transparency.
the press tend to flatten out the screen. 2. stencils are also sUrfaCe toNe WIPING (THe PLATe)
the indentations, removing the used for coloring prints by If a plate is not completely In all intaglio printing methods
finest ones altogether, and rub hand. stencils of the areas to wiped before printing, “ surface the plate is wiped after it has
away the idiosyncratic burr be colored are cut out in zinc tone “ is created by the films of been inked; the white areas
on plates engraved with the or aluminium; the colors are ink left on its surface. selective of a print will not appear
drypoint. In this respect steel- dabbed on with a large brush wiping creates surface tone. clean unless this is done very
facing is an added protective (known as a “ pompon “ in tINt thoroughly. some ink may be
and allows a greater number French); they may be juxta- generally speaking, a tint can purposefully left on the plate to
of impressions to be made posed or superimposed over be any color; more specifically create surface tone, or some
while maintaining a constant each other. The method was it is a variant shade obtained by may be dragged out of the lines
quality. The steel-facing can be much used in the coloring of mixing one color with another, for further effect.
removed if reworking on the maps, topographical prints and particularly white. The delicate WoodCUt
plate is required. zinc must be devotional woodcuts. It is still series of lines used to denote A method of relief printing in
faced with copper before being used today for book illustration areas of shade (as opposed which wood is the printing
steel-faced. Chromium is some- and on greeting cards. see: to those representing line) in element.
times used instead of steel, hand-colouring, registration. wood engravings, were at one WoodCUt eNGraVING
generally in photogravure, to sUBstrate time known as “tints”; hence Another method of relief
strengthen the printing drums. The primary layer of mate- tint tool, the type of burin used printing in which wood is the
It has the advantage of prevent- rial; can relate to a mount to produce them. printing element.
ing oxidation (it is necessary to substance or the base material toNe WoVe PaPer
varnish or grease a steel-faced upon which a work of art is The particular shade of a color; A type of handmade paper
plate), and of producing a sur- executed. in printing terminology, tone produced from a mould with
face that facilitates wiping at sUGar-LIft ProCess is opposed to line. It refers a mesh so tightly woven as to
the time of printing. A method of defining drawn to non-linear techniques, leave no visible pattern.
steeL PLates areas on an intaglio plate. such as wash or paint, etc., ZINCoGraPHy
Iron plates are known to have The necessary area is painted and its interpretation into A term sometimes adopted
been used before the sixteenth directly onto the metal surface prints is effected by the tonal from the French, meaning the
century and durer made with Indian ink in which sugar processes, e.g. aquatint, brush use of lithography on a zinc
several etchings on this metal. has been dissolved. This is etching, dotted manner, stipple. plate. As zinc may also be
steel, made from a mixture covered with a stopping-out traNsfer etched, it is best to avoid use of
of iron and a slightly larger varnish and, when the latter The removal of the support the term without specification,
proportion of carbon, did not has dried, submerged in water (e.g. wood) of a painting and since it could be taken to imply
become generally used until the which causes the sugar mixture its replacement by a more this different technique as well.
end of the eighteenth century, to swell, removing the varnish stable support. Partial transfer
and this was particularly in and exposing the metal at the refers to retention o the original
199 ARTaddiction