![]() His vast body of work includes altarpieces and religious works, numerous portraits and self-portraits, and copper engravings. At the beginning of the process, the cylinders are impressed with the intended image. Albrecht Dürer, (born May 21, 1471, Imperial Free City of Nürnberg Germanydied April 6, 1528, Nürnberg), painter and printmaker generally regarded as the greatest German Renaissance artist. ![]() In this method, an engraved cylinder with cells where ink is placed is used. This method has become extremely efficient in modern times, as the digital file acts as the printing plate, therefore saving time and. This type of printmaking is commonly seen in laser or ink jet printers. Intaglio refers to a printing technique where the ink is laid on recessed parts of the intended printing form. Digital printing is a type of printmaking that takes a digital image and prints it onto a surface (paper, cloth, etc.). Only low pressure is required to print (compare to intaglio printing below). Gravure printing is an intaglio printing technique. I’ve tried to select images that exemplify, as much as possible, the prime characteristics of each print method, but the final tenor of each image owes at least as much to the artist him/herself as it does to the technique(s) used to achieve it.Įssentially the earliest form of printing, relief involves a printing surface in which the negative space of the image has been carved away (so, the original surface is what gets inked). Note: Images are all from Wikimedia Commons (and they link there, as well-as always, click for larger versions). Note, though, that because of the inherent complexity of the art-and artists’ tendency to mix and fake both techniques and media-figuring out the process(es) used to make a print is far from straightforward, and the descriptions and examples I offer here barely scratch the surface. It was a great experience, although the biggest things I walked away with were (1) how wonderful it would be to truly learn and practice these printing processes and (2) the sheer vastness of everything there is to know and how little of that I truly grasped at the end of the workshop. In writing about these processes, I hope to both clarify their characteristics in my own mind and to provide some information to others. We even had the opportunity to try out the basics of some of these techniques (i.e., woodcut, drypoint, engraving, and mezzotint-minus the printing process itself) ourselves. Taught by Sarah Smith of Montserrat College of Art and Olfactory Press, this workshop covered some of the most common print methods, attempting to teach attendees how to identify prints in our collections. In July, I attended a continuing education workshop at Simmons College called Print Methods for the Collector and Conservator.
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