Printmaking is the process of creating artworks by printing , normally on paper , but also on fabric , wood , metal , and other surfaces. "Traditional printmaking" normally covers only the process of creating prints using a hand processed technique, rather than a photographic reproduction of a visual artwork which would be printed using an electronic machine ( a printer ); however, there is some cross-over between traditional and digital printmaking, including risograph .
48-478: (Redirected from Magic Mirror ) Magic mirror or The Magic Mirror may refer to: Art [ edit ] Magic Mirror (M. C. Escher) , a 1946 lithograph by M. C. Escher Escher In the Magic Mirror , a 1934 painting by Paul Klee Literature [ edit ] Magic Mirror (book) , a 1999 book by Orson Scott Card Magic Mirror (Snow White) ,
96-401: A Chinese bronze mirror Disney's Magical Mirror Starring Mickey Mouse , a 2002 video game See also [ edit ] Catoptromancy , divination using a mirror Infinity mirror , parallel or angled mirrors, creating smaller reflections that appear to recede to infinity Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with
144-519: A brush. Then a sheet of paper , perhaps slightly damp, is placed over the block. The block is then rubbed with a baren or spoon , or is run through a printing press . If the print is in color, separate blocks can be used for each color , or a technique called reduction printing can be used. Reduction printing is a name used to describe the process of using one block to print several layers of color on one print. Both woodcuts and linocuts can employ reduction printing. This usually involves cutting
192-527: A design directly on a plank of wood , or transfers a drawing done on paper to a plank of wood. Traditionally, the artist then handed the work to a technician, who then uses sharp carving tools to carve away the parts of the block that will not receive ink. In the Western tradition, the surface of the block is then inked with the use of a brayer ; however in the Japanese tradition, woodblocks were inked with
240-416: A different print copying the first, common in early printmaking). However, impressions can vary considerably, whether intentionally or not. Master printmakers are technicians who are capable of printing identical "impressions" by hand. A print that copies another work of art, especially a painting, is known as a "reproductive print". Multiple impressions printed from the same matrix form an edition . Since
288-515: A fabric stencil technique; ink is simply pushed through the stencil against the surface of the paper, most often with the aid of a squeegee. Generally, the technique uses a natural or synthetic 'mesh' fabric stretched tightly across a rectangular 'frame,' much like a stretched canvas. The fabric can be silk, nylon monofilament, multifilament polyester, or even stainless steel. While commercial screen printing often requires high-tech, mechanical apparatuses and calibrated materials, printmakers value it for
336-501: A fictional object in the fairy tale "Snow White" "The Magic Mirror" (fairy tale) , a Rhodesian fairy tale in Andrew Lang's The Orange Fairy Book The Magic Mirror , a 1989 book by Sylvia Plath Other uses [ edit ] Magic Mirror (album) , a 2021 album by Pearl Charles Magic Mirror (film) , a 2005 Portuguese film The Magic Mirror (ballet) , a 1903 ballet by Marius Petipa Chinese magic mirror ,
384-487: A gradient-like quality. Mokulito is a form of lithography on wood instead of limestone. It was invented by Seishi Ozaku in the 1970s in Japan and was originally called Mokurito. Josef Albers , Ralston Crawford , Gene Davis . Robert Indiana , Roy Lichtenstein , Julian Opie , Bridget Riley , Edward Ruscha , Andy Warhol . Screen printing (occasionally known as "silkscreen", or "serigraphy") creates prints by using
432-412: A metal plate. Where the etching technique uses a needle to make lines that retain ink, traditional aquatint relies on powdered rosin which is acid resistant in the ground to create a tonal effect. The rosin is applied in a light dusting by a fan booth, the rosin is then cooked until set on the plate. At this time the rosin can be burnished or scratched out to affect its tonal qualities. The tonal variation
480-426: A mezzotint, the surface of a copper printing plate is roughened evenly all over with the aid of a tool known as a rocker; the image is then formed by smoothing the surface with a tool known as a burnisher. When inked, the roughened areas of the plate will hold more ink and print more darkly, while smoother areas of the plate hold less or no ink, and will print more lightly or not at all. It is, however, possible to create
528-430: A small amount of the block away, and then printing the block many times over on different sheets before washing the block, cutting more away and printing the next color on top. This allows the previous color to show through. This process can be repeated many times over. The advantages of this process is that only one block is needed, and that different components of an intricate design will line up perfectly. The disadvantage
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#1732765126214576-484: A table, paper is placed on the ink, and the back of the paper is drawn on, transferring the ink to the paper. Monoprints can also be made by altering the type, color, and viscosity of the ink used to create different prints. Traditional printmaking techniques, such as lithography, woodcut, and intaglio, can be used to make monoprints. Mixed-media prints may use multiple traditional printmaking processes such as etching, woodcut, letterpress, silkscreen, or even monoprinting in
624-399: A traditional printing press. Images can be printed to a variety of substrates including paper, cloth, or plastic canvas. Dye-based inks are organic (not mineral ) dissolved and mixed into a liquid. Although most are synthetic, derived from petroleum , they can be made from vegetable or animal sources. Dyes are well suited for textiles where the liquid dye penetrates and chemically bonds to
672-565: A type of relief print , is the earliest printmaking technique. It was probably first developed as a means of printing patterns on cloth, and by the 5th century was used in China for printing text and images on paper. Woodcuts of images on paper developed around 1400 in Europe, and slightly later in Japan. These are the two areas where woodcut has been most extensively used purely as a process for making images without text. The artist either draws
720-426: A unique and recognizable quality of line that is characterized by its steady, deliberate appearance and clean edges. Other tools such as mezzotint rockers, roulettes (a tool with a fine-toothed wheel) and burnishers (a tool used for making an object smooth or shiny by rubbing) are used for texturing effects. To make a print, the engraved plate is inked all over, then the ink is wiped off the surface, leaving ink only in
768-634: Is viscosity printing . Contemporary printmaking may include digital printing , photographic mediums, or a combination of digital, photographic, and traditional processes. Many of these techniques can also be combined, especially within the same family. For example, Rembrandt's prints are usually referred to as "etchings" for convenience, but very often include work in engraving and drypoint as well, and sometimes have no etching at all. Albrecht Dürer , Hans Burgkmair , Ugo da Carpi , Hiroshige , Hokusai , Frans Masereel , Gustave Baumann , Ernst Ludwig Kirchner , Eric Slater Antonio Frasconi Woodcut,
816-400: Is a form of printmaking that uses a matrix such as a woodblock, litho stone, or copper plate, but produces impressions that are unique. Multiple unique impressions printed from a single matrix are sometimes known as a variable edition. There are many techniques used in monoprinting, including collagraph , collage , hand-painted additions, and a form of tracing by which thick ink is laid down on
864-510: Is a lithograph print by the Dutch artist M. C. Escher first printed in January, 1946. It depicts a mirror standing vertically on wooden supports on a tiled surface. The perspective is looking down at an angle at the right hand side of the mirror. There is a sphere at each side of the mirror. The main focus of the image is a procession of small griffin (winged lion) sculptures that emerge from
912-407: Is a technique invented in 1798 by Alois Senefelder and based on the chemical repulsion of oil and water . A porous surface, normally limestone , is used; the image is drawn on the limestone with a greasy medium. Acid is applied, transferring the grease-protected design to the limestone, leaving the image 'burned' into the surface. Gum arabic , a water-soluble substance, is then applied, sealing
960-501: Is called a "ghost print" or "cognate". Stencils, watercolor, solvents, brushes, and other tools are often used to embellish a monotype print. Monotypes are often spontaneously executed and with no preliminary sketch. Monotypes are the most painterly method among the printmaking techniques, a unique print that is essentially a printed painting. The principal characteristic of this medium is found in its spontaneity and its combination of printmaking, painting, and drawing media. Monoprinting
1008-408: Is controlled by the level of acid exposure over large areas, and thus the image is shaped by large sections at a time. Contemporary printmakers also sometimes using airbrushed asphaltum or spray paint , as well as other non toxic techniques, to achieve aquatint due to rosin boxes posing a fire hazard. Goya used aquatint for most of his prints. Mary Cassatt , Francis Seymour Haden , Master of
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#17327651262141056-404: Is part of the intaglio family. In pure etching, a metal plate (usually copper, zinc, or steel) is covered with a waxy or acrylic ground . The artist then draws through the ground with a pointed etching needle, exposing the metal. The plate is then etched by dipping it in a bath of etchant (e.g. nitric acid or ferric chloride ). The etchant "bites" into the exposed metal, leaving behind lines in
1104-422: Is placed on the surface, and the image is transferred to the paper by the pressure of the printing press. Lithography is known for its ability to capture fine gradations in shading and very small detail. Photo-lithography captures an image by photographic processes on metal plates; printing is more or less carried out in the same way as stone lithography. Halftone lithography produces an image that illustrates
1152-645: Is that once the artist moves on to the next layer, no more prints can be made. Another variation of woodcut printmaking is the cukil technique, made famous by the Taring Padi underground community in Java, Indonesia. Taring Padi Posters usually resemble intricately printed cartoon posters embedded with political messages. Images—usually resembling a visually complex scenario—are carved unto a wooden surface called cukilan, then smothered with printer's ink before pressing it unto media such as paper or canvas. The process
1200-425: Is then transferred onto a sheet of paper by pressing the two together, usually using a printing-press. Monotypes can also be created by inking an entire surface and then, using brushes or rags, removing ink to create a subtractive image, e.g. creating lights from a field of opaque color. The inks used may be oil based or water based. With oil based inks, the paper may be dry, in which case the image has more contrast, or
1248-601: Is used. In the 20th century, true engraving was revived as a serious art form by artists including Stanley William Hayter whose Atelier 17 in Paris and New York City became the magnet for such artists as Pablo Picasso , Alberto Giacometti , Mauricio Lasansky and Joan Miró . Albrecht Dürer , Rembrandt , Francisco Goya , Wenceslaus Hollar , Whistler , Otto Dix , James Ensor , Edward Hopper , Käthe Kollwitz , Pablo Picasso , Cy Twombly , Lucas van Leyden Etching
1296-400: The screen printing process. Other types of matrix substrates and related processes are discussed below. Except in the case of monotyping , all printmaking processes have the capacity to produce identical multiples of the same artwork, which is called a print. Each print produced is considered an "original" work of art, and is correctly referred to as an "impression", not a "copy" (that means
1344-448: The "Do It Yourself" approach, and the low technical requirements, high quality results. The essential tools required are a squeegee, a mesh fabric, a frame, and a stencil. Unlike many other printmaking processes, a printing press is not required, as screen printing is essentially stencil printing. Screen printing may be adapted to printing on a variety of materials, from paper, cloth, and canvas to rubber, glass, and metal. Artists have used
1392-461: The Housebook , Richard Spare , William Lionel Wyllie A variant of engraving, done with a sharp point, rather than a v-shaped burin . While engraved lines are very smooth and hard-edged, drypoint scratching leaves a rough burr at the edges of each line. This burr gives drypoint prints a characteristically soft, and sometimes blurry, line quality. Because the pressure of printing quickly destroys
1440-492: The burr, drypoint is useful only for very small editions; as few as ten or twenty impressions. To counter this, and allow for longer print runs, electro-plating (here called steelfacing) has been used since the nineteenth century to harden the surface of a plate. The technique appears to have been invented by the Housebook Master , a south German fifteenth-century artist, all of whose prints are in drypoint only. Among
1488-421: The creation of the print. They may also incorporate elements of chine colle, collage, or painted areas, and may be unique, i.e. one-off, non-editioned, prints. Mixed-media prints are often experimental prints and may be printed on unusual, non-traditional surfaces. Istvan Horkay , Ralph Goings , Enrique Chagoya Digital prints refers to images printed using digital printers such as inkjet printers instead of
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1536-515: The crevices hold ink. A non-toxic form of etching that does not involve an acid is Electroetching . John Martin , Ludwig von Siegen , John Smith , Wallerant Vaillant , Carol Wax An intaglio variant of engraving in which the image is formed from subtle gradations of light and shade. Mezzotint—from the Italian mezzo ("half") and tinta ("tone")—is a "dark manner" form of printmaking, which requires artists to work from dark to light. To create
1584-424: The engraved lines. The plate is then put through a high-pressure printing press together with a sheet of paper (often moistened to soften it). The paper picks up the ink from the engraved lines, making a print. The process can be repeated many times; typically several hundred impressions (copies) could be printed before the printing plate shows much sign of wear, except when drypoint , which gives much shallower lines,
1632-399: The fiber. Because of the deep penetration, more layers of material must lose their color before the fading is apparent. Dyes, however, are not suitable for the relatively thin layers of ink laid out on the surface of a print. Pigment is a finely ground, particulate substance which, when mixed or ground into a liquid to make ink or paint, does not dissolve, but remains dispersed or suspended in
1680-427: The image by only roughening the plate selectively, so working from light to dark. Mezzotint is known for the luxurious quality of its tones: first, because an evenly, finely roughened surface holds a lot of ink, allowing deep solid colors to be printed; secondly because the process of smoothing the texture with burin, burnisher and scraper allows fine gradations in tone to be developed. The mezzotint printmaking method
1728-438: The late 19th century, artists have generally signed individual impressions from an edition and often number the impressions to form a limited edition; the matrix is then destroyed so that no more prints can be produced. Prints may also be printed in book form, such as illustrated books or artist's books . Printmaking techniques are generally divided into the following basic categories: A type of printmaking outside of this group
1776-439: The liquid. Pigments are categorized as either inorganic (mineral) or organic (synthetic). Pigment-based inks have a much longer permanence than dye-based inks. Giclée (pron.: /ʒiːˈkleɪ/ zhee-KLAY or /dʒiːˈkleɪ/), is a neologism coined in 1991 by printmaker Jack Duganne for digital prints made on inkjet printers. Originally associated with early dye-based printers it is now more often refers to pigment-based prints. The word
1824-514: The most famous artists of the old master print, Albrecht Dürer produced three drypoints before abandoning the technique; Rembrandt used it frequently, but usually in conjunction with etching and engraving. Honoré Daumier , Vincent van Gogh , George Bellows , Pierre Bonnard , Edvard Munch , Emil Nolde , Pablo Picasso , Odilon Redon , Henri de Toulouse-Lautrec , Salvador Dalí , M. C. Escher , Willem de Kooning , Joan Miró , Stow Wengenroth , Elaine de Kooning , Louise Nevelson Lithography
1872-419: The most popular printmaking medium. Its great advantage was that, unlike engraving which requires special skill in metalworking, etching is relatively easy to learn for an artist trained in drawing. Etching prints are generally linear and often contain fine detail and contours. Lines can vary from smooth to sketchy. An etching is opposite of a woodcut in that the raised portions of an etching remain blank while
1920-400: The paper may be damp, in which case the image has a 10 percent greater range of tones. Unlike monoprinting , monotyping produces a unique print, or monotype, because most of the ink is removed during the initial pressing. Although subsequent reprintings are sometimes possible, they differ greatly from the first print and are generally considered inferior. A second print from the original plate
1968-433: The plate. The remaining ground is then cleaned off the plate, and the printing process is then just the same as for engraving . Although the first dated etching is by Albrecht Dürer in 1515, the process is believed to have been invented by Daniel Hopfer ( c. 1470–1536 ) of Augsburg, Germany, who decorated armor in this way, and applied the method to printmaking. Etching soon came to challenge engraving as
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2016-416: The surface of the mirror and trail away from it in single file. Both the angular reflection of the tiles and the offset between the reflection of the sphere in front of the mirror and the sphere behind it prove it is a mirror. Yet the reflection of the griffin procession continues to emerge from behind the mirror. The griffin processions of both sides loop around to the front and enter a tessellated pattern on
2064-404: The surface of the stone not covered with the drawing medium. The stone is wetted, with water staying only on the surface not covered in grease-based residue of the drawing; the stone is then 'rolled up', meaning oil ink is applied with a roller covering the entire surface; since water repels the oil in the ink, the ink adheres only to the greasy parts, perfectly inking the image. A sheet of dry paper
2112-421: The technique to print on bottles, on slabs of granite, directly onto walls, and to reproduce images on textiles which would distort under pressure from printing presses. Monotyping is a type of printmaking made by drawing or painting on a smooth, non-absorbent surface. The surface, or matrix, was historically a copper etching plate, but in contemporary work it can vary from zinc or glass to acrylic glass. The image
2160-557: The tile surface. This printmaking -related article is a stub . You can help Misplaced Pages by expanding it . Printmaking Prints are created by transferring ink from a matrix to a sheet of paper or other material, by a variety of techniques. Common types of matrices include: metal plates for engraving , etching and related intaglio printing techniques; stone, aluminum, or polymer for lithography ; blocks of wood for woodcuts and wood engravings ; and linoleum for linocuts . Screens made of silk or synthetic fabrics are used for
2208-485: The title Magic mirror . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Magic_mirror&oldid=1247162381 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Magic Mirror (M. C. Escher) Magic Mirror
2256-457: Was developed in Germany in the 1430s from the engraving used by goldsmiths to decorate metalwork. Engravers use a hardened steel tool called a burin to cut the design into the surface of a metal plate, traditionally made of copper. Engraving using a burin is generally a difficult skill to learn. Gravers come in a variety of shapes and sizes that yield different line types. The burin produces
2304-516: Was invented by Ludwig von Siegen (1609–1680). The process was used widely in England from the mid-eighteenth century, to reproduce oil paintings and in particular portraits. Norman Ackroyd , Jean-Baptiste Le Prince , William Daniell , Francisco Goya , Thomas Rowlandson A technique used in Intaglio etchings. Like etching, aquatint technique involves the application of acid to make marks in
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