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Printmaking | Definition, History, Techniques, Artists, & Facts | Britannica

SUBSCRIBESUBSCRIBESUBSCRIBEHomeHistory & SocietyScience & TechBiographiesAnimals & NatureGeography & TravelArts & CultureProConMoneyGames & QuizzesVideosOn This DayOne Good FactDictionaryNew ArticlesHistory & SocietyLifestyles & Social IssuesPhilosophy & ReligionPolitics, Law & GovernmentWorld HistoryScience & TechHealth & MedicineScienceTechnologyBiographiesBrowse BiographiesAnimals & NatureBirds, Reptiles & Other VertebratesEnvironmentFossils & Geologic TimeInsects & Other InvertebratesMammalsPlantsGeography & TravelGeography & TravelArts & CultureEntertainment & Pop CultureLiteratureSports & RecreationVisual ArtsImage GalleriesPodcastsSummariesTop QuestionsLists and StoriesBritannica KidsAsk the ChatbotGames & QuizzesHistory & SocietyScience & TechBiographiesAnimals & NatureGeography & TravelArts & CultureProConMoneyVideosprintmakingIntroductionMajor techniques of printmakingRelief processesWoodcutColour woodcutWood engravingLinoleum cutMetal cutCardboard (paper) cutRelief etchingRubbingDotted print (criblé)Intaglio processesEngravingDrypointMezzotintCrayon manner and stipple engravingEtchingHard-ground etchingSoft-ground etchingRelief etchingAquatintLift-ground etching (sugar-lift aquatint)Acids and the etching processMetal graphicPrinting by intaglio processesIntaglio colour printingStencilled colours with an intaglio plateIntaglio and surface colour with relief etchingSurface-printing processesLithographyStencil processesSpecial techniquesMonoprint (monotype)Cliché-verreThe cellocutCollagraphyPlaster printProcess printsLinecutHalftone cut or plateRotogravureOffset lithographyContemporary experimentationMounting and care of printsHistory of printmakingPrintmaking in the 15th centuryGermanyItalyOther countriesThe Netherlands and BurgundyFrancePrintmaking in the 16th centuryGermanyOther countriesThe Netherlands and FlandersItalyFranceTrends in the late 16th centuryPrintmaking in the 17th centuryPortrait engravingFranceGermanyThe NetherlandsEnglandFlemish printmakingEuropean etchingItalyThe NetherlandsJapanese ukiyo-e printsPrintmaking in the 18th centuryItalyEnglandSpainFranceJapanPrintmaking in the 19th centuryFranceJapanOther countriesPrintmaking in the 20th centuryFranceGermanyOther countriesReferences & Edit HistoryQuick Facts & Related TopicsImages & Videosprintmaking summaryArtistic Styles and Techniques QuizWho invented the photograph and why?What was the first picture ever taken?What was the first color photograph?What are some of the major film festivals?Visual ArtsGraphic ArtFacebookXhttps://www.britannica.com/art/printmakingBoise State Pressbooks - PrintmakingSmarthistory - Printmaking in Europe, c. 1400−1800The MET - What Is Printmaking?National Gallery of Art - Process and Product: PrintmakingOpen Oregon Educational Resources - PrintmakingMary Cassatt: Woman BathingGabor F. Peterdi Painter and printmaker. Emeritus Professor of Printmaking, Yale University. Author of Printmaking; Great Prints of the World.Britannica Editors Encyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree....HistorypaperpaintbrushetchingwoodcutdrawingengravingprintingmetamorphosisreproductionpreciousJapaneseart historybearingHokusaiPablo PicassoBritannica Quiz Artistic Styles and Techniques QuizstraightforwardPopOpNew YorkdisclosureSUBSCRIBE Many artists believe that the answer lies in the giving of honest information. In the 17th and 18th centuries in the West, most prints carried all the relevant information on their margins. The names of individuals were followed by Latin abbreviations indicating their role in the work. Common examples are del. (delineavit): “he drew it”; imp. (impressit): “he printed it”; and sculp. (sculpsit): “he engraved it.” This type of information, together with the total edition number, should be furnished by the artist or the dealer to the buyer. Clearly, it is impossible to make completely rigid rules to define originality. Probably the most realistic solution is to establish degrees of originality, based on the degree of the artist’s participation in the various steps in the creation of the finished print.There may also be confusion about edition numbering. In contemporaryvalueNathaniel CurrierJames Merritt IvesRembrandtWilliam BlakePablo Picassostencilingrubbingmonotypeplaster printcostume plateSee all related contentJames McNeill Whistlerconvention

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