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<title>Printmaking</title>

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<span id="openzim-page-title" class="mw-page-title-main"><span class="mw-page-title-main">Printmaking</span></span>

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</style><div role="note" class="hatnote navigation-not-searchable">This article is about techniques of printmaking as a fine art. For the history of printmaking in Europe, see <a href="Old_master_print" title="Old master print">Old master print</a>. For the Japanese printmaking tradition, see <a href="Ukiyo-e" title="Ukiyo-e">Ukiyo-e</a>.</div>

<p><b>Printmaking</b> is the process of creating <a href="Work_of_art" title="Work of art">artworks</a> by <a href="Printing" title="Printing">printing</a>, normally on <a href="Paper" title="Paper">paper</a>, but also on <a href="Fabric" class="mw-redirect" title="Fabric">fabric</a>, <a href="Wood" title="Wood">wood</a>, <a href="Metal" title="Metal">metal</a>, 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 href="Printer_(computing)" title="Printer (computing)">a printer</a>); however, there is some cross-over between traditional and digital printmaking, including <a href="Risograph" title="Risograph">risograph</a>.

</p><p>Prints are created by transferring ink from a <a href="Matrix_(printing)" title="Matrix (printing)">matrix</a> to a sheet of paper or other material, by a variety of techniques. Common types of matrices include: metal plates for <a href="Engraving" title="Engraving">engraving</a>, <a href="Etching" title="Etching">etching</a> and related <a href="Intaglio_printing" class="mw-redirect" title="Intaglio printing">intaglio printing</a> techniques; stone, aluminum, or polymer for <a href="Lithography" title="Lithography">lithography</a>; blocks of wood for <a href="Woodcut" title="Woodcut">woodcuts</a> and <a href="Wood_engraving" title="Wood engraving">wood engravings</a>; and linoleum for <a href="Linocut" title="Linocut">linocuts</a>. Screens made of silk or synthetic fabrics are used for the <a href="Screen_printing" title="Screen printing">screen printing</a> process. Other types of matrix substrates and related processes are discussed below.

</p><p>Except in the case of <a href="Monotyping" title="Monotyping">monotyping</a>, 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 a different print copying the first, common in early printmaking). However, impressions can vary considerably, whether intentionally or not. <a href="Master_printmaker" title="Master printmaker">Master printmakers</a> 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".

</p><p>Multiple impressions printed from the same matrix form an <a href="Edition_(printmaking)" title="Edition (printmaking)">edition</a>. Since 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 <a href="Artist's_book" title="Artist's book">artist's books</a>.

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<div class="mw-heading mw-heading2"><h2 id="Techniques">Techniques</h2></div>

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</style><table class="infobox" style="width: 300px; clear: right; float:right;margin:0 0 1.5em 1.5em"><tbody><tr><th colspan="2" class="infobox-above" style="font-size:115%">External videos</th></tr><tr><td colspan="2" class="infobox-full-data" style="text-align: left"><span typeof="mw:File"><span></span></span> <a rel="nofollow" class="external text" href="https://www.khanacademy.org/humanities/art-history-basics/artists-materials-techniques/printmaking/v/moma-relief-printmaking">Printmaking: Woodcuts and Engravings</a>, <a href="Smarthistory" title="Smarthistory">Smarthistory</a></td></tr></tbody></table>

<div class="mw-heading mw-heading3"><h3 id="Overview">Overview</h3></div>

<p>Printmaking techniques are generally divided into the following basic categories:

</p>

<ul><li><a href="Relief_print" class="mw-redirect" title="Relief print">Relief</a>, where ink is applied to the original surface of the matrix, while carved or displaced grooves are absent of ink. Relief techniques include <a href="Woodcut" title="Woodcut">woodcut</a> or <a href="Woodblock_printing" title="Woodblock printing">woodblock</a>, <a href="Wood_engraving" title="Wood engraving">wood engraving</a>, <a href="Linocut" title="Linocut">linocut</a> and <a href="Metalcut" title="Metalcut">metalcut</a>.</li>

<li><a href="Intaglio_(printmaking)" title="Intaglio (printmaking)">Intaglio</a>, where ink is forced into grooves or cavities in the surface of the matrix. Intaglio techniques include <a href="Collagraph" class="mw-redirect" title="Collagraph">collagraphy</a>, <a href="Engraving" title="Engraving">engraving</a>, <a href="Etching" title="Etching">etching</a>, <a href="Mezzotint" title="Mezzotint">mezzotint</a>, <a href="Aquatint" title="Aquatint">aquatint</a>.</li>

<li><a href="Planographic" class="mw-redirect" title="Planographic">Planographic</a>, where the matrix retains its original surface, but is specially prepared and/or inked to allow for the transfer of the image. Planographic techniques include <a href="Lithography" title="Lithography">lithography</a>, <a href="Monotyping" title="Monotyping">monotyping</a>, and digital techniques.</li>

<li><a href="Stencil" title="Stencil">Stencil</a>, where ink or paint is pressed through a prepared screen or material with cutout elements, including <a href="Screen_printing" title="Screen printing">screen printing</a>, <a href="Risograph" title="Risograph">risograph</a>, and <a href="Stencil" title="Stencil">pochoir</a>.</li></ul>

<p>Types of printmaking outside of this group are <a href="Viscosity_printing" title="Viscosity printing">viscosity printing</a>, water surface printing such as <a href="Paper_marbling" title="Paper marbling">paper marbling</a>, . <a href="Printing#Conventional_printing_technology" title="Printing">Contemporary printmaking</a> may include <a href="Digital_printing" title="Digital printing">digital printing</a>, photographic mediums, or a combination of digital, photographic, and traditional processes.

</p><p>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 <a href="Drypoint" title="Drypoint">drypoint</a> as well, and sometimes have no etching at all.

</p>

<div class="mw-heading mw-heading3"><h3 id="Woodcut">Woodcut</h3></div>

<div style="width:35%; float: right; margin: 10px; padding: 8px; border: 1px solid #8888aa;">Artists using this technique include

<p><a href="Albrecht_D%C3%BCrer" title="Albrecht Dürer">Albrecht Dürer</a>,

<a href="Hans_Burgkmair" title="Hans Burgkmair">Hans Burgkmair</a>,

<a href="Ugo_da_Carpi" title="Ugo da Carpi">Ugo da Carpi</a>,

<a href="Hiroshige" title="Hiroshige">Hiroshige</a>,

<a href="Hokusai" title="Hokusai">Hokusai</a>,

<a href="Frans_Masereel" title="Frans Masereel">Frans Masereel</a>,

<a href="Gustave_Baumann" title="Gustave Baumann">Gustave Baumann</a>,

<a href="Ernst_Ludwig_Kirchner" title="Ernst Ludwig Kirchner">Ernst Ludwig Kirchner</a>,

<a href="Eric_Slater" title="Eric Slater">Eric Slater</a>,

<a href="Antonio_Frasconi" title="Antonio Frasconi">Antonio Frasconi</a>

</p>

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<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="Woodcut" title="Woodcut">Woodcut</a></div>

<p>Woodcut, a type of <a href="Relief_print" class="mw-redirect" title="Relief print">relief print</a>, 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.<sup id="cite_ref-woodcut_1-0" class="reference"><a href="#cite_note-woodcut-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> Woodcuts of images on paper developed around 1400 in Europe, and slightly later in Japan.<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> These are the two areas where woodcut has been most extensively used purely as a process for making images without text.

</p>

<p>The <a href="Artist" title="Artist">artist</a> either draws a design directly on a plank of <a href="Wood" title="Wood">wood</a>, 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.<sup id="cite_ref-woodcut_1-1" class="reference"><a href="#cite_note-woodcut-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> In the Western tradition, the surface of the block is then inked with the use of a <a href="Brayer" title="Brayer">brayer</a>; however in the Japanese tradition, <a href="Woodblock_printing_in_Japan" title="Woodblock printing in Japan">woodblocks</a> were inked with a brush.<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> Then a sheet of <a href="Paper" title="Paper">paper</a>, perhaps slightly damp, is placed over the block. The block is then rubbed with a <a href="Baren_(printing_tool)" title="Baren (printing tool)">baren</a> or <a href="Spoon" title="Spoon">spoon</a>, or is run through a <a href="Printing_press" title="Printing press">printing press</a>. If the print is in color, separate blocks can be used for each <a href="Color" title="Color">color</a>, or a technique called reduction printing can be used.

</p><p>Reduction printing is a name used to describe the process of using one block to print several layers of color on one print. Both <a href="Woodcut" title="Woodcut">woodcuts</a> and <a href="Linocut" title="Linocut">linocuts</a> can employ reduction printing. This usually involves cutting 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 is that once the artist moves on to the next layer, no more prints can be made.

</p><p>Another variation of woodcut printmaking is the cukil technique, made famous by the <a href="Taring_Padi" title="Taring Padi">Taring Padi</a> 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.<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup>

</p>

<div class="mw-heading mw-heading3"><h3 id="Engraving">Engraving</h3></div>

<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="Engraving" title="Engraving">Engraving</a></div>

<p>The process was developed in Germany in the 1430s from the engraving used by <a href="Goldsmith" title="Goldsmith">goldsmiths</a> to decorate metalwork. Engravers use a hardened steel tool called a <a href="Burin_(engraving)" title="Burin (engraving)">burin</a> 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.

</p><p>Gravers come in a variety of shapes and sizes that yield different line types. The burin produces 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.

</p><p>To make a print, the engraved plate is inked all over, then the ink is wiped off the surface, leaving ink only in 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 <a href="Drypoint" title="Drypoint">drypoint</a>, which gives much shallower lines, is used.

</p><p>In the 20th century, true engraving was revived as a serious art form by artists including <a href="Stanley_William_Hayter" title="Stanley William Hayter">Stanley William Hayter</a> whose <a href="Atelier_17" title="Atelier 17">Atelier 17</a> in Paris and New York City became the magnet for such artists as <a href="Pablo_Picasso" title="Pablo Picasso">Pablo Picasso</a>, <a href="Alberto_Giacometti" title="Alberto Giacometti">Alberto Giacometti</a>, <a href="Mauricio_Lasansky" title="Mauricio Lasansky">Mauricio Lasansky</a> and <a href="Joan_Mir%C3%B3" title="Joan Miró">Joan Miró</a>.

</p>

<div class="mw-heading mw-heading3"><h3 id="Etching">Etching</h3></div>

<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="Etching" title="Etching">Etching</a></div>

<div style="width:35%; float: right; margin: 10px; padding: 8px; border: 1px solid #8888aa;">Artists using this technique include

<p><a href="Albrecht_D%C3%BCrer" title="Albrecht Dürer">Albrecht Dürer</a>,

<a href="Rembrandt_Harmenszoon_van_Rijn" class="mw-redirect" title="Rembrandt Harmenszoon van Rijn">Rembrandt</a>,

<a href="Francisco_Goya" title="Francisco Goya">Francisco Goya</a>,

<a href="Wenceslaus_Hollar" title="Wenceslaus Hollar">Wenceslaus Hollar</a>,

<a href="James_Abbott_McNeill_Whistler" class="mw-redirect" title="James Abbott McNeill Whistler">Whistler</a>,

<a href="Otto_Dix" title="Otto Dix">Otto Dix</a>,

<a href="James_Ensor" title="James Ensor">James Ensor</a>,

<a href="Edward_Hopper" title="Edward Hopper">Edward Hopper</a>,

<a href="K%C3%A4the_Kollwitz" title="Käthe Kollwitz">Käthe Kollwitz</a>,

<a href="Pablo_Picasso" title="Pablo Picasso">Pablo Picasso</a>,

<a href="Cy_Twombly" title="Cy Twombly">Cy Twombly</a>,

<a href="Lucas_van_Leyden" title="Lucas van Leyden">Lucas van Leyden</a>

</p>

</div>

<p><b>Etching</b> is part of the <a href="Intaglio_(printmaking)" title="Intaglio (printmaking)">intaglio</a> family. In pure etching, a metal plate (usually copper, zinc, or steel) is covered with a waxy or acrylic <a href="Ground_(etching)" title="Ground (etching)">ground</a>. 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. <a href="Nitric_acid" title="Nitric acid">nitric acid</a> or <a href="Ferric_chloride" class="mw-redirect" title="Ferric chloride">ferric chloride</a>). The etchant "bites" into the exposed metal, leaving behind lines in the plate. The remaining ground is then cleaned off the plate, and the printing process is then just the same as for <a href="Engraving" title="Engraving">engraving</a>.

</p><p>Although the first dated etching is by <a href="Albrecht_D%C3%BCrer" title="Albrecht Dürer">Albrecht Dürer</a> in 1515, the process is believed to have been invented by <a href="Daniel_Hopfer" title="Daniel Hopfer">Daniel Hopfer</a> (<abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1470–1536</span>) of Augsburg, Germany, who decorated armor in this way, and applied the method to printmaking.<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> Etching soon came to challenge engraving as 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.

</p><p>Etching prints are generally linear and often contain fine detail and contours. <a href="Line_art" title="Line art">Lines</a> can vary from smooth to sketchy. An etching is opposite of a woodcut in that the raised portions of an etching remain blank while the crevices hold ink.

</p><p>A non-toxic form of etching that does not involve an acid is <a href="Electroetching" title="Electroetching">Electroetching</a>.

</p>

<div class="mw-heading mw-heading3"><h3 id="Mezzotint">Mezzotint</h3></div>

<div style="width:35%; float: right; margin: 10px; padding: 8px; border: 1px solid #8888aa;">Artists using this technique include

<p><a href="John_Martin_(painter)" title="John Martin (painter)">John Martin</a>,

<a href="Ludwig_von_Siegen" title="Ludwig von Siegen">Ludwig von Siegen</a>,

<a href="John_Smith_(engraver)" title="John Smith (engraver)">John Smith</a>,

<a href="Wallerant_Vaillant" title="Wallerant Vaillant">Wallerant Vaillant</a>,

<a href="Carol_Wax" title="Carol Wax">Carol Wax</a>

</p>

</div>

<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="Mezzotint" title="Mezzotint">Mezzotint</a></div>

<p>An <a href="Intaglio_(printmaking)" title="Intaglio (printmaking)">intaglio</a> 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 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 the image by only roughening the plate selectively, so working from light to dark.

</p><p>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.

</p><p>The mezzotint printmaking method was invented by <a href="Ludwig_von_Siegen" title="Ludwig von Siegen">Ludwig von Siegen</a> (1609–1680). The process was used widely in England from the mid-eighteenth century, to reproduce oil paintings and in particular portraits.

</p>

<div class="mw-heading mw-heading3"><h3 id="Aquatint">Aquatint</h3></div>

<div style="width:35%; float: right; margin: 10px; padding: 8px; border: 1px solid #8888aa;">Artists using this technique include

<p><a href="Francisco_Goya" title="Francisco Goya">Francisco Goya</a>,

<a href="Thomas_Rowlandson" title="Thomas Rowlandson">Thomas Rowlandson</a>,

<a href="Jean-Baptiste_Le_Prince" title="Jean-Baptiste Le Prince">Jean-Baptiste Le Prince</a>,

<a href="William_Daniell" title="William Daniell">William Daniell</a>,

<a href="Norman_Ackroyd" title="Norman Ackroyd">Norman Ackroyd</a>

</p>

</div>

<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="Aquatint" title="Aquatint">Aquatint</a></div>

<p>A tonal technique typically used in conjunction with <a href="Intaglio_(printmaking)" title="Intaglio (printmaking)">Intaglio</a> techniques, especially etching, and printed in the same way. Like etching, aquatint technique involves the application of acid to make marks in a metal plate. Where the etching technique uses a needle to make lines that retain ink, traditional aquatint relies on powdered <a href="Rosin" title="Rosin">rosin</a> 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 plate is then exposed to acid, to which the rosin particles are resistant, and tonal variation is controlled by the level of acid exposure over large areas, and thus the image is shaped by large sections at a time. Very often it is combined with conventional etching. Printing gradually wears away the rosin grain, and many fewer impressions can be printed than in the traditional intaglio techniques before the tonal contrasts weaken, perhaps only 100. The popularity of the technique in the 19th century, combined with this weakness, probably played a role in the rise of the <a href="Limited_edition" class="mw-redirect" title="Limited edition">limited edition</a> print.

</p><p>Contemporary printmakers also sometimes using airbrushed <a href="Asphaltum" class="mw-redirect" title="Asphaltum">asphaltum</a> or <a href="Aerosol_paint" class="mw-redirect" title="Aerosol paint">spray paint</a>, as well as other non toxic techniques, to achieve aquatint due to rosin boxes posing a fire hazard.<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup>

</p><p>Goya used aquatint for most of his prints. After his death, later printings wore away the aquatint grain almost completely, leaving only the etched lines and faint tonal shadows.<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup>

</p>

<div class="mw-heading mw-heading3"><h3 id="Drypoint">Drypoint</h3></div>

<div style="width:35%; float: right; margin: 10px; padding: 8px; border: 1px solid #8888aa;">Artists using this technique include

<p><a href="Mary_Cassatt" title="Mary Cassatt">Mary Cassatt</a>,

<a href="Francis_Seymour_Haden" title="Francis Seymour Haden">Francis Seymour Haden</a>,

<a href="Master_of_the_Housebook" title="Master of the Housebook">Master of the Housebook</a>,

<a href="Richard_Spare" title="Richard Spare">Richard Spare</a>,

<a href="William_Lionel_Wyllie" title="William Lionel Wyllie">William Lionel Wyllie</a>

</p>

</div>

<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="Drypoint" title="Drypoint">Drypoint</a></div>

<p>A variant of engraving, done with a sharp point, rather than a v-shaped <a href="Burin_(engraving)" title="Burin (engraving)">burin</a>. 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 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.

</p><p>The technique appears to have been invented by the <a href="Housebook_Master" class="mw-redirect" title="Housebook Master">Housebook Master</a>, a south German fifteenth-century artist, all of whose prints are in drypoint only. Among 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.

</p>

<div class="mw-heading mw-heading3"><h3 id="Lithography">Lithography</h3></div>

<div style="width:35%; float: right; margin: 10px; padding: 8px; border: 1px solid #8888aa;">Artists using this technique include

<p><a href="Honor%C3%A9_Daumier" title="Honoré Daumier">Honoré Daumier</a>,

<a href="Vincent_van_Gogh" title="Vincent van Gogh">Vincent van Gogh</a>,

<a href="George_Bellows" title="George Bellows">George Bellows</a>,

<a href="Pierre_Bonnard" title="Pierre Bonnard">Pierre Bonnard</a>,

<a href="Edvard_Munch" title="Edvard Munch">Edvard Munch</a>,

<a href="Emil_Nolde" title="Emil Nolde">Emil Nolde</a>,

<a href="Pablo_Picasso" title="Pablo Picasso">Pablo Picasso</a>,

<a href="Odilon_Redon" title="Odilon Redon">Odilon Redon</a>,

<a href="Henri_de_Toulouse-Lautrec" title="Henri de Toulouse-Lautrec">Henri de Toulouse-Lautrec</a>,

<a href="Salvador_Dal%C3%AD" title="Salvador Dalí">Salvador Dalí</a>,

<a href="M._C._Escher" title="M. C. Escher">M. C. Escher</a>,

<a href="Willem_de_Kooning" title="Willem de Kooning">Willem de Kooning</a>,

<a href="Joan_Mir%C3%B3" title="Joan Miró">Joan Miró</a>,

<a href="Stow_Wengenroth" title="Stow Wengenroth">Stow Wengenroth</a>,

<a href="Elaine_de_Kooning" title="Elaine de Kooning">Elaine de Kooning</a>,

<a href="Louise_Nevelson" title="Louise Nevelson">Louise Nevelson</a>

</p>

</div>

<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="Lithography" title="Lithography">Lithography</a></div>

<p><a href="Lithography" title="Lithography">Lithography</a> is a technique invented in 1798 by <a href="Alois_Senefelder" title="Alois Senefelder">Alois Senefelder</a> and based on the <a href="Cohesion_(chemistry)" title="Cohesion (chemistry)">chemical repulsion</a> of <a href="Oil" title="Oil">oil</a> and <a href="Water" title="Water">water</a>.

A porous surface, normally <a href="Limestone" title="Limestone">limestone</a>, 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. <a href="Gum_arabic" title="Gum arabic">Gum arabic</a>, a water-soluble substance, is then applied, sealing 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 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.

</p>

<div class="mw-heading mw-heading4"><h4 id="Variations_of_Lithography">Variations of Lithography</h4></div>

<p><a href="Photo-lithography" class="mw-redirect" title="Photo-lithography">Photo-lithography</a> captures an image by photographic processes on metal plates; printing is more or less carried out in the same way as stone lithography.

</p><p><a href="Halftone" title="Halftone">Halftone</a> lithography produces an image that illustrates a gradient-like quality.

</p><p><a href="Mokulito" title="Mokulito">Mokulito</a> 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.<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup>

</p>

<div class="mw-heading mw-heading3"><h3 id="Screenprinting">Screenprinting</h3></div>

<div style="width:35%; float: right; margin: 10px; padding: 8px; border: 1px solid #8888aa;">Artists using this technique include

<p><a href="Josef_Albers" title="Josef Albers">Josef Albers</a>,

<a href="Ralston_Crawford" title="Ralston Crawford">Ralston Crawford</a>,

<a href="Gene_Davis_(painter)" title="Gene Davis (painter)">Gene Davis</a>.

<a href="Robert_Indiana" title="Robert Indiana">Robert Indiana</a>,

<a href="Roy_Lichtenstein" title="Roy Lichtenstein">Roy Lichtenstein</a>,

<a href="Julian_Opie" title="Julian Opie">Julian Opie</a>,

<a href="Bridget_Riley" title="Bridget Riley">Bridget Riley</a>,

<a href="Edward_Ruscha" title="Edward Ruscha">Edward Ruscha</a>,

<a href="Andy_Warhol" title="Andy Warhol">Andy Warhol</a>.

</p>

</div>

<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="Screenprinting" class="mw-redirect" title="Screenprinting">Screenprinting</a></div>

<p><a href="Screen_printing" title="Screen printing">Screen printing</a> (occasionally known as "silkscreen", or "serigraphy") creates prints by using 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.<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> While commercial screen printing often requires high-tech, mechanical apparatuses and calibrated materials, printmakers value it for 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.

</p><p>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 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.

</p>

<div class="mw-heading mw-heading3"><h3 id="Monotype">Monotype</h3></div>

<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="Monotyping" title="Monotyping">Monotyping</a></div>

<p>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 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 the paper may be damp, in which case the image has a 10 percent greater range of tones.

</p><p>Unlike <a href="Monoprinting" title="Monoprinting">monoprinting</a>, 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 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.

</p><p>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.<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup>

</p>

<div class="mw-heading mw-heading3"><h3 id="Monoprint">Monoprint</h3></div>

<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="Monoprinting" title="Monoprinting">Monoprinting</a></div>

<p>Monoprinting 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 <a href="Collagraph" class="mw-redirect" title="Collagraph">collagraph</a>, <a href="Collage" title="Collage">collage</a>, hand-painted additions, and a form of tracing by which thick ink is laid down on 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.

</p>

<div class="mw-heading mw-heading3"><h3 id="Mixed-media_prints">Mixed-media prints</h3></div>

<p>Mixed-media prints may use multiple traditional printmaking processes such as etching, woodcut, letterpress, silkscreen, or even monoprinting in 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.

</p>

<div class="mw-heading mw-heading3"><h3 id="Digital_prints">Digital prints</h3></div>

<div style="width:35%; float: right; margin: 10px; padding: 8px; border: 1px solid #8888aa;">Artists using this technique include

<p><a href="Istvan_Horkay" title="Istvan Horkay">Istvan Horkay</a>, <a href="Ralph_Goings" title="Ralph Goings">Ralph Goings</a>, <a href="Enrique_Chagoya" title="Enrique Chagoya">Enrique Chagoya</a>

</p>

</div>

<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="Digital_printing" title="Digital printing">Digital printing</a></div>

<p>Digital prints refers to images printed using digital printers such as <a href="Inkjet_printing" title="Inkjet printing">inkjet printers</a> instead of a traditional printing press. Images can be printed to a variety of substrates including paper, cloth, or plastic canvas.

</p>

<div class="mw-heading mw-heading4"><h4 id="Dye-based_inks">Dye-based inks</h4></div>

<p>Dye-based inks are <a href="Organic_compound" title="Organic compound">organic</a> (not <a href="Mineral" title="Mineral">mineral</a>) dissolved and mixed into a liquid. Although most are synthetic, derived from <a href="Petroleum" title="Petroleum">petroleum</a>, they can be made from vegetable or animal sources. Dyes are well suited for textiles where the liquid dye penetrates and chemically bonds to 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.

</p>

<div class="mw-heading mw-heading4"><h4 id="Pigment-based_inks">Pigment-based inks</h4></div>

<p>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 the liquid. Pigments are categorized as either <a href="Inorganic" class="mw-redirect" title="Inorganic">inorganic</a> (mineral) or organic (synthetic).<sup id="cite_ref-MagnoliaFAQ_11-0" class="reference"><a href="#cite_note-MagnoliaFAQ-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> Pigment-based inks have a much longer permanence than dye-based inks.<sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup>

</p>

<div class="mw-heading mw-heading4"><h4 id="Giclée">Giclée</h4></div>

<p><a href="Gicl%C3%A9e" title="Giclée">Giclée</a> (pron.: /ʒiːˈkleɪ/ zhee-KLAY or /dʒiːˈkleɪ/), is a neologism coined in 1991 by printmaker Jack Duganne <sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> for digital prints made on inkjet printers. Originally associated with early dye-based printers it is now more often refers to pigment-based prints.<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> The word is based on the French word gicleur, which means "nozzle". Today fine art prints produced on large format ink-jet machines using the <a href="CcMmYK_color_model" title="CcMmYK color model">CcMmYK color model</a> are generally called "Giclée".

</p>

<div class="mw-heading mw-heading3"><h3 id="Foil_imaging">Foil imaging</h3></div>

<p>In art, <b>foil imaging</b> is a printmaking technique made using the Iowa Foil Printer, developed by <a href="Virginia_A._Myers" title="Virginia A. Myers">Virginia A. Myers</a> from the commercial <a href="Foil_stamping" class="mw-redirect" title="Foil stamping">foil stamping</a> process. This uses gold leaf and acrylic <a href="Foil_(chemistry)" class="mw-redirect" title="Foil (chemistry)">foil</a> in the printmaking process.

</p>

<div class="mw-heading mw-heading3"><h3 id="Direct-to-garment_printing_(DTG_printing)">Direct-to-garment printing (DTG printing)</h3></div>

<p><a href="Direct-to-garment_printing" title="Direct-to-garment printing">Direct-to-garment printing</a> (DTG) is a process of <a href="Textile_printing" title="Textile printing">printing on textiles</a> using specialized aqueous <a href="Inkjet" class="mw-redirect" title="Inkjet">ink jet</a> technology. DTG printers typically have a <a href="Platen" title="Platen">platen</a> designed to hold the garment in a fixed position, and the printer inks are jetted or sprayed onto the textile by the print head.

</p>

<div class="mw-heading mw-heading2"><h2 id="Color">Color</h2></div>

<p>Printmakers apply color to their prints in many different ways. Some coloring techniques include positive surface roll, negative surface roll, and <a href="A_la_poup%C3%A9e" class="mw-redirect" title="A la poupée">A la poupée</a>. Often color in printmaking that involves etching, <a href="Screen_printing" title="Screen printing">screen printing</a>, woodcut, or <a href="Linocut" title="Linocut">linocut</a> is applied by either using separate plates, blocks or screens or by using a reductionist approach. In multiple plate color techniques, a number of plates, screens or blocks are produced, each providing a different color. Each separate plate, screen, or block will be inked up in a different color and applied in a particular sequence to produce the entire picture. On average about three to four plates are produced, but there are occasions where a printmaker may use up to seven plates. Every application of another plate of color will interact with the color already applied to the paper, and this must be kept in mind when producing the separation of colors. The lightest colors are often applied first, and then darker colors successively until the darkest.

</p><p>The reductionist approach to producing color is to start with a lino or wood block that is either blank or with a simple etching. Upon each printing of color the printmaker will then further cut into the lino or woodblock removing more material and then apply another color and reprint. Each successive removal of lino or wood from the block will expose the already printed color to the viewer of the print. Picasso is often cited as the inventor of reduction printmaking, although there is evidence of this method in use 25 years before Picasso's linocuts.<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup>

</p><p>The <a href="Subtractive_color" title="Subtractive color">subtractive color</a> concept is also used in <a href="Offset_printing" title="Offset printing">offset</a> or <a href="Digital_print" class="mw-redirect" title="Digital print">digital print</a> and is present in bitmap or vectorial software in <a href="CMYK_color_model" title="CMYK color model">CMYK</a> or other color spaces.

</p>

<div class="mw-heading mw-heading2"><h2 id="Registration">Registration</h2></div>

<p>In printmaking processes requiring more than one application of ink or other medium, the problem exists as to how to line up properly areas of an image to receive ink in each application. The most obvious example of this would be a multi-color image in which each color is applied in a separate step.

</p><p>The lining up of the results of each step in a multistep printmaking process is called "registration." Proper registration results in the various components of an image being in their proper place. But, for artistic reasons, improper registration is not necessarily the ruination of an image. <a href="Andy_Warhol" title="Andy Warhol">Andy Warhol</a> was known to intentionally employ improper registration.

</p><p>This can vary significantly from process to process. This involves the matrices of different colors (generally three or four) being printed successively on the paper in a correct alignment to provide the print in color.

</p>

<div class="mw-heading mw-heading2"><h2 id="Protective_printmaking_equipment">Protective printmaking equipment</h2></div>

<p>Protective clothing is very important for printmakers who engage in etching and lithography (closed toed shoes and long pants). Whereas in the past printmakers put their plates in and out of acid baths with their bare hands, today printmakers use rubber gloves. They also wear industrial <a href="Respirator" title="Respirator">respirators</a> for protection from caustic vapors. Most acid baths are built with ventilation hoods above them.

</p><p>Protective respirators and masks should have particle filters, particularly for aquatinting. As a part of the aquatinting process, a printmaker is often exposed to <a href="Rosin" title="Rosin">rosin</a> powder. Rosin is a serious health hazard, especially to printmakers who, in the past, simply used to hold their breath<sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> using an aquatinting booth.

</p>

<div class="mw-heading mw-heading2"><h2 id="Print_preservation">Print preservation</h2></div>

<p>Modern prints on paper protected from the sun and moisture will last for centuries. Works on paper are highly sensitive to environmental factors and handling, making them susceptible to various condition issues.<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> Prints made using newer alkaline and <a href="Acid-free_paper" title="Acid-free paper">acid-free paper</a> have a life expectancy of over 1,000 years for the best paper and 500 years for average grades. When it comes to older prints, the condition of a print largely depends on the technique used to make the paper. Prints that are several hundred years old may be in better condition than prints that are less than 50 years old.<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> Many older prints will yellow or brown over time owing to acids in the paper and any <a href="Mat_(picture_framing)" title="Mat (picture framing)">matting</a> or backing papers.<sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup>

</p><p><a href="Foxing" title="Foxing">Foxing</a> is the appearance of brown spots or blotches in the paper, caused either by mold or chemical reactions. To preserve/restore older prints, washing, deacidification and treatment with stain reducing agents may be in order.<sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> Prints in color are especially susceptible to damage from excessive light. Further, if the print is framed, <i>archival</i> or <i>conservation</i> grade picture mats are essential since acids within older or inexpensive matting will attack a print even if the print was produced using acid-free paper. Color prints can be susceptible to <a href="Fading" title="Fading">fading</a> depending on the type of inks used. Lighting of sensitive prints should be limited to 50 <a href="Lux" title="Lux">lux</a> (5 <a href="Foot-candle" title="Foot-candle">foot-candles</a>) or less and artificial lights can be equipped with <a href="UV_filter" title="UV filter">UV-filtering</a> sleeves or tubes.<sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup>

</p><p>Prints onto animal skins (<a href="Vellum" title="Vellum">vellum</a>) should also be maintained at a <a href="Humidity_control" class="mw-redirect" title="Humidity control">humidity</a> level between 25% and 40%.<sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> Prints onto silk are particularly sensitive to any light including camera flashes.<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup>

</p>

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<ul><li><a href="Artist's_proof" title="Artist's proof">Artist's proof</a></li>

<li><a href="Banhua" title="Banhua">Banhua</a>, Chinese printmaking</li>

<li><a href="Carborundum_printmaking" title="Carborundum printmaking">Carborundum printmaking</a></li>

<li><a href="Graphic_design" title="Graphic design">Graphic design</a></li>

<li><a href="Line_engraving" title="Line engraving">Line engraving</a></li>

<li><a href="List_of_printmakers" title="List of printmakers">List of printmakers</a></li>

<li><a href="Old_master_print" title="Old master print">Old master print</a></li>

<li><a href="Shin_hanga" class="mw-redirect" title="Shin hanga">Shin hanga</a></li>

<li><a href="Sosaku_hanga" class="mw-redirect" title="Sosaku hanga">Sosaku hanga</a></li>

<li><a href="Timeline_of_20th_century_printmaking_in_America" title="Timeline of 20th century printmaking in America">Timeline of 20th century printmaking in America</a></li>

<li><a href="Ukiyo-e" title="Ukiyo-e">Ukiyo-e</a></li>

<li><a href="Visual_arts" title="Visual arts">Visual arts</a></li></ul>

</div>

<div class="mw-heading mw-heading3"><h3 id="Printmakers_by_nationality">Printmakers by nationality</h3></div>

<ul><li>Engravers by nationality</li>

<li>Etchers by nationality</li>

<li>Printmakers by nationality</li></ul>

</div>

<div class="mw-heading mw-heading2"><h2 id="References">References</h2></div>

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</style><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.metmuseum.org/about-the-met/collection-areas/drawings-and-prints/materials-and-techniques/printmaking/woodcut">"Woodcut"</a>. <i>www.metmuseum.org</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2023-01-11</span></span>.</cite></span>

</li>

<li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.fineart.cz/about_graphics.aspx?langId=2#:~:text=Woodcuts%20of%20images%20on%20paper,is%20transferred%20to%20the%20wood.">"Printmaking as a fine art"</a>. <i>Fineart.cz</i><span class="reference-accessdate">. Retrieved <span class="nowrap">12 October</span> 2024</span>.</cite></span>

</li>

<li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text"><cite id="CITEREFWatton2019" class="citation web cs1">Watton, Jill (2019-04-26). <a rel="nofollow" class="external text" href="https://www.jacksonsart.com/blog/2019/04/26/relief-printing-japanese-woodblock-printmaking/">"Japanese Woodblock Printmaking Explained"</a>. <i>Jackson's Art Blog</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2021-07-24</span></span>.</cite></span>

</li>

<li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www3.metmuseum.org/about-the-met/collection-areas/drawings-and-prints/materials-and-techniques/printmaking/woodcut">"Woodcut"</a>. <i>The Metropolitan Museum of Art</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2023-02-24</span></span>.</cite></span>

</li>

<li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text">Cohen, Brian D. <a rel="nofollow" class="external text" href="http://artinprint.org/article/freedom-and-resistance-in-the-act-of-engraving-or-why-durer-gave-up-on-etching/">"Freedom and Resistance in the Act of Engraving (or, Why Dürer Gave up on Etching),"</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20200308163224/https://artinprint.org/article/freedom-and-resistance-in-the-act-of-engraving-or-why-durer-gave-up-on-etching/">Archived</a> 2020-03-08 at the <a href="Wayback_Machine" title="Wayback Machine">Wayback Machine</a> <i>Art in Print</i> Vol. 7 No. 3 (September–October 2017), 17.</span>

</li>

<li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://boards.straightdope.com/t/exploding-rosin-box/526753">"Exploding Rosin Box"</a>. <i>Straight Dope Message Board</i>. 2010-01-28<span class="reference-accessdate">. Retrieved <span class="nowrap">2021-07-24</span></span>.</cite></span>

</li>

<li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text">Griffiths, 150–151</span>

</li>

<li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://daniellecreenaune.com/mokulito">"mokulito - Danielle Creenaune"</a>. <i>daniellecreenaune.com</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2021-07-24</span></span>.</cite></span>

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<li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://awt-gpi.com/product148.htm">"Screen Fabric"</a>. <i>A.W.T. World Trade Inc</i>.</cite></span>

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<li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://washingtonprintmakers.com/resources/techniques/monoprint">Washington printmakers' gallery</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20101228183408/http://washingtonprintmakers.com/resources/techniques/monoprint">Archived</a> 2010-12-28 at the <a href="Wayback_Machine" title="Wayback Machine">Wayback Machine</a></span>

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<li id="cite_note-MagnoliaFAQ-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-MagnoliaFAQ_11-0">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://www.magnoliaeditions.com/pages/FAQs.htm">Printmaking FAQ at Magnolia Editions</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20090413021716/http://magnoliaeditions.com/pages/FAQs.htm">Archived</a> 2009-04-13 at the <a href="Wayback_Machine" title="Wayback Machine">Wayback Machine</a></span>

</li>

<li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text"><cite id="CITEREFCarden2015" class="citation book cs1">Carden, Susan (2015). <i>Digital Textile Printing</i>. Bloomsbury Publishing. p. 27. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>9781472535689</bdi>.</cite></span>

</li>

<li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text">Johnson, Harald. <a rel="nofollow" class="external text" href="https://books.google.com/books?id=Dq3Xj8zEYMIC&pg=PA11&dq=giclee+prints+produced+on+epson#PPA11,M1"><i>Mastering Digital Printing</i>, p.11</a> at Google Books</span>

</li>

<li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text">Luong, Q.-Tuan. <a rel="nofollow" class="external text" href="http://www.largeformatphotography.info/digital-printing.html">An overview of large format color digital printing</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20210113213050/http://www.largeformatphotography.info/digital-printing.html">Archived</a> 2021-01-13 at the <a href="Wayback_Machine" title="Wayback Machine">Wayback Machine</a> at largeformatphotography.info</span>

</li>

<li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.printsandprintmaking.gov.au/catalogues/bibliography/136140/bunbury-alisa-not-picassos-invention--a-foray-into.aspx">"Not Picasso's invention - a foray into the history of reductive linoprinting. (2001) by Bunbury, Alisa. · Australian Prints + Printmaking"</a>.</cite></span>

</li>

<li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text"><cite id="CITEREFSmidgeon2014" class="citation web cs1">Smidgeon (2014-09-09). <a rel="nofollow" class="external text" href="https://smidgeonpress.wordpress.com/2014/09/08/printmaking-101-applying-rosin-for-aquatint-using-a-rosin-box/">"Printmaking 101: Applying Rosin for Aquatint (Using a Rosin Box)"</a>. <i>SMIDGEON PRESS</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2019-07-17</span></span>.</cite></span>

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<li id="cite_note-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-17">^</a></b></span> <span class="reference-text"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://geistmc.com/articles/a-condition-guide-to-works-on-paper/">"A Condition Guide to Works on Paper"</a>. <i>Geist</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2025-04-25</span></span>.</cite></span>

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<li id="cite_note-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-18">^</a></b></span> <span class="reference-text"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.loc.gov/preservation/care/deterioratebrochure.html">"The Deterioration and Preservation of Paper: Some Essential Facts - Collections Care - Resources (Preservation, Library of Congress)"</a>. <i>www.loc.gov</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2021-01-03</span></span>.</cite></span>

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<li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://geistmc.com/articles/a-condition-guide-to-works-on-paper/">"A Condition Guide to Works on Paper"</a>. <i>Geist</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2025-04-25</span></span>.</cite></span>

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<li id="cite_note-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-20">^</a></b></span> <span class="reference-text"><cite id="CITEREFMarianne2017" class="citation web cs1">Marianne (2017-12-16). <a rel="nofollow" class="external text" href="http://mariannekelsey.com/2017/12/16/cleaning-stained-yellowed-works-art-paper/">"Cleaning Stained and Yellowed Works of Art On Paper"</a>. <i>Marianne Kelsey Book and Paper Conservator Professional</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2021-01-03</span></span>.</cite></span>

</li>

<li id="cite_note-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-21">^</a></b></span> <span class="reference-text"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.philamuseum.org/conservation/10.html?page=2">"Philadelphia Museum of Art - Research : Conservation"</a>. <i>www.philamuseum.org</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2021-01-04</span></span>.</cite></span>

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<li id="cite_note-22"><span class="mw-cite-backlink"><b><a href="#cite_ref-22">^</a></b></span> <span class="reference-text"><cite id="CITEREFMarianne2020" class="citation web cs1">Marianne (2020-01-10). <a rel="nofollow" class="external text" href="http://mariannekelsey.com/2020/01/10/how-to-care-for-vellum-and-parchment-documents/">"How to Care For Vellum and Parchment Documents"</a>. <i>Marianne Kelsey Book and Paper Conservator Professional</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2021-01-06</span></span>.</cite></span>

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<li id="cite_note-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-23">^</a></b></span> <span class="reference-text"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://americanhistory.si.edu/blog/2013/08/how-do-you-preserve-a-100-year-old-piece-of-silk-and-woman-suffrage-history.html">"How do you preserve a 100-year-old piece of silk and woman suffrage history?"</a>. <i>National Museum of American History</i>. 2013-08-19<span class="reference-accessdate">. Retrieved <span class="nowrap">2021-01-06</span></span>.</cite></span>

</li>

</ol></div></div>

<div class="mw-heading mw-heading3"><h3 id="Sources">Sources</h3></div>

<ul><li><a rel="nofollow" class="external text" href="http://www.moma.org/whatisaprint">What is a Print?</a>, from the <a href="Museum_of_Modern_Art" title="Museum of Modern Art">Museum of Modern Art</a></li>

<li><a href="Bamber_Gascoigne" title="Bamber Gascoigne">Bamber Gascoigne</a>: <i>How to Identify Prints: A Complete Guide to Manual and Mechanical Processes from Woodcut to Inkjet</i> (<a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-500-28480-6</bdi>)</li>

<li>Antony Griffiths, <i>Prints and Printmaking</i>, British Museum Press, 2nd ed, 1996 <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-7141-2608-X</bdi></li></ul>

<div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2></div>

<ul><li><cite id="CITEREFA._Hyatt_Mayor1971" class="citation book cs1">A. Hyatt Mayor (1971). <span class="id-lock-registration" title="Free registration required"><a rel="nofollow" class="external text" href="https://archive.org/details/printspeople00ahya"><i></i>Prints & people: a social history of printed pictures<i> (full PDF)</i></a></span>. New York: The Metropolitan Museum of Art. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>9780870991080</bdi>.</cite></li>

<li>Beth Grabowski and Bill Fick, "Printmaking: A Complete Guide to Materials & Processes." Prentice Hall, 2009. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-205-66453-9</bdi></li>

<li>Donna Anderson <i>Experience Printmaking.</i> Worcester, MA: Davis Publications, 2009. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-87192-982-2</bdi></li>

<li>Gill Saunders and Rosie Miles <i>Prints Now: Directions and Definitions</i> Victoria and Albert Museum (May 1, 2006) <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>1-85177-480-7</bdi></li>

<li>Linda Hults <i>The Print in the Western World: An Introductory History.</i> Madison: University of Wisconsin Press, 1996. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-299-13700-7</bdi></li>

<li><a href="Carol_Wax" title="Carol Wax">Carol Wax</a>, <i>The Mezzotint: History and Technique</i> (Harry N. Abrams, Inc., 1990)</li>

<li><a href="James_Watrous" title="James Watrous">James Watrous</a> <i>A Century of American Printmaking.</i> Madison: University of Wisconsin Press, 1984. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-299-09680-7</bdi></li>

<li><a href="William_Ivins%2C_Jr." class="mw-redirect" title="William Ivins, Jr.">William Ivins, Jr.</a> <i>Prints and Visual Communication.</i> Cambridge: Harvard University Press, 1953. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-262-59002-6</bdi></li>

<li><a href="Donald_Saff" title="Donald Saff">Donald Saff</a> and Deli Sacilotto. <i>Printmaking: History and Process</i>. New York: Holt, Rinehart, and Winston, 1978. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0030856631</bdi></li></ul>

<div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2></div>

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<div class="side-box-text plainlist">Wikimedia Commons has media related to <span style="font-weight: bold; font-style: italic;"><a href="https://commons.wikimedia.org/wiki/Category:Printmaking" class="extiw external" title="commons:Category:Printmaking">printmaking</a></span>.</div></div>

</div>

<div class="side-box-text plainlist">Look up <i><b><a href="https://en.wiktionary.org/wiki/printmaking" class="extiw external" title="wiktionary:printmaking">printmaking</a></b></i> in Wiktionary, the free dictionary.</div></div>

</div>

<div class="side-box-text plainlist"><a href="Wikisource" title="Wikisource">Wikisource</a> has the text of the 1905 <i><a href="New_International_Encyclopedia" class="mw-redirect" title="New International Encyclopedia">New International Encyclopedia</a></i> article "<b><a href="https://en.wikisource.org/wiki/The_New_International_Encyclop%C3%A6dia/Print" class="extiw external" title="s:The New International Encyclopædia/Print">Print</a></b>".</div></div>

</div>

<dl><dt>History of printmaking; glossaries</dt></dl>

<ul><li><a rel="nofollow" class="external text" href="http://www.moma.org/interactives/projects/2001/whatisaprint/flash.html">Museum of Modern Art, New York: What Is a Print?</a></li>

<li><a rel="nofollow" class="external text" href="http://www.metmuseum.org/toah/hd/prnt/hd_prnt.htm">Thompson, Wendy. "The Printed Image in the West: History and Techniques". In Timeline of Art History. New York: The Metropolitan Museum of Art, 2000 – . (October 2003)</a></li>

<li><a rel="nofollow" class="external text" href="http://www.polymetaal.nl/beguin/alfabet.htm">André Béguin's dictionary;enormous dictionary of terms, relating more to the printing than the creation of the image</a></li>

<li><a rel="nofollow" class="external text" href="http://www.meyerovich.com/info/glossary.html">Another glossary – for modern prints</a></li>

<li><a rel="nofollow" class="external text" href="http://www.cycleback.com/printsexamination/">Judging the Authenticity of Prints by The Masters</a> by art historian David Rudd Cycleback</li>

<li><a rel="nofollow" class="external text" href="https://lithographie-collection.com/identifier-estampe/techniques-impression-detail">Printing techniques explained</a></li></ul>

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</style><div id="Visual_arts43" style="font-size:114%;margin:0 4em"><a href="Visual_arts" title="Visual arts">Visual arts</a></div></th></tr><tr><td colspan="2" class="navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Architecture" title="Architecture">Architecture</a></li>

<li><a href="Ceramic_art" title="Ceramic art">Ceramics</a></li>

<li><a href="Comics" title="Comics">Comics</a></li>

<li><a href="Computer_art" title="Computer art">Computer art</a></li>

<li><a href="Craft" title="Craft">Craft</a>

<ul><li><a href="Pallet_crafts" title="Pallet crafts">pallet crafts</a></li></ul></li>

<li><a href="Decorative_arts" title="Decorative arts">Decorative arts</a></li>

<li><a href="Design" title="Design">Design</a></li>

<li><a href="Drawing" title="Drawing">Drawing</a></li>

<li><a href="Digital_art" title="Digital art">Digital art</a></li>

<li><a href="Filmmaking" title="Filmmaking">Filmmaking</a></li>

<li><a href="Light_art" title="Light art">Light art</a></li>

<li><a href="Painting" title="Painting">Painting</a></li>

<li><a href="Photography" title="Photography">Photography</a></li>

<li><a href="Public_art" title="Public art">Public art</a></li>

<li><a href="Sculpture" title="Sculpture">Sculpture</a></li>

<li><a href="Site-specific_art" title="Site-specific art">Site-specific art</a></li>

<li><a href="Street_art" title="Street art">Street art</a></li></ul>

</div></td></tr><tr><td class="navbox-abovebelow" colspan="2"><div>

<ul><li><a href="List_of_artistic_media" class="mw-redirect" title="List of artistic media">List of artistic media</a></li></ul>

</div></td></tr></tbody></table></div>

<div class="navbox-styles"></div><div role="navigation" class="navbox" aria-labelledby="Visual_arts_and_the_art_world208" style="padding:3px"><table class="nowraplinks hlist mw-collapsible mw-collapsed navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><div id="Visual_arts_and_the_art_world208" style="font-size:114%;margin:0 4em"><a href="Visual_arts" title="Visual arts">Visual arts</a> and the <a href="Art_world" title="Art world">art world</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">Artwork</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Appropriation_(art)" title="Appropriation (art)">Appropriation</a></li>

<li><a href="Collage" title="Collage">Collage</a></li>

<li><a href="Conceptual_art" title="Conceptual art">Conceptual art</a></li>

<li><a href="Cultural_artifact" title="Cultural artifact">Cultural artifact</a></li>

<li><a href="Drawing" title="Drawing">Drawing</a></li>

<li><a href="Fine-art_photography" title="Fine-art photography">Fine-art photograph</a></li>

<li><a href="Found_object" title="Found object">Found object</a></li>

<li><a href="Installation_art" title="Installation art">Installation art</a></li>

<li><a href="Kinetic_art" title="Kinetic art">Kinetic art</a></li>

<li><a href="Mixed_media" title="Mixed media">Mixed media</a>

<ul><li><a href="Bricolage" title="Bricolage">bricolage</a></li></ul></li>

<li><a href="Mural" title="Mural">Mural</a>

<ul><li><a href="Fresco" title="Fresco">fresco</a></li>

<li><a href="Graffiti" title="Graffiti">graffiti</a></li></ul></li>

<li><a href="New_media_art" title="New media art">New media art</a>

<ul><li><a href="Media_art_history" title="Media art history">history</a></li>

<li><a href="Digital_art" title="Digital art">digital</a></li>

<li><a href="Virtual_art" title="Virtual art">virtual</a></li></ul></li>

<li><a href="Painting" title="Painting">Painting</a></li>

<li><a href="Performance_art" title="Performance art">Performance art</a></li>

<li><a href="Plastic_arts" title="Plastic arts">Plastic arts</a></li>

<li><a href="Portrait" title="Portrait">Portrait</a></li>

<li><a href="Public_art" title="Public art">Public art</a>

<ul><li><a href="Street_art" title="Street art">street art</a></li></ul></li>

<li><a href="Sculpture" title="Sculpture">Sculpture</a>

<ul><li><a href="Carving" title="Carving">carving</a></li>

<li><a href="Relief" title="Relief">relief</a></li>

<li><a href="Statue" title="Statue">statue</a></li>

<li><a href="List_of_tallest_statues" title="List of tallest statues">tallest</a></li></ul></li>

<li><a href="Site-specific_art" title="Site-specific art">Site-specific art</a></li>

<li><a href="Social_sculpture" title="Social sculpture">Social sculpture</a></li>

<li><a href="Soft_sculpture" title="Soft sculpture">Soft sculpture</a></li>

<li><a href="Stained_glass" title="Stained glass">Stained glass</a></li>

<li><a href="Artwork_title" title="Artwork title">Artwork title</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Roles</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Artist" title="Artist">Artist</a></li>

<li><a href="Private_collection" title="Private collection">Collector</a></li>

<li><a href="Conservator-restorer" title="Conservator-restorer">Conservator-restorer</a>

<ul><li><a href="Paintings_conservator" title="Paintings conservator">paintings</a></li>

<li><a href="Conservation_and_restoration_of_frescos" title="Conservation and restoration of frescos">frescos</a></li></ul></li>

<li><a href="Art_critic" title="Art critic">Critic</a></li>

<li><a href="Curator" title="Curator">Curator</a></li>

<li><a href="Art_dealer" title="Art dealer">Dealer</a></li>

<li><a href="Model_(art)" title="Model (art)">Model</a></li>

<li><a href="Patronage" title="Patronage">Patron</a></li>

<li><a href="Visual_arts_education" title="Visual arts education">Visual arts education</a>

<ul><li><a href="List_of_art_universities_and_colleges_in_Europe" title="List of art universities and colleges in Europe">Europe</a></li></ul></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Places<br>and events</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Art_auction" title="Art auction">Art auction</a></li>

<li><a href="Art_colony" title="Art colony">Art colony</a></li>

<li><a href="Art_commune" class="mw-redirect" title="Art commune">Art commune</a></li>

<li><a href="Art_exhibition" title="Art exhibition">Art exhibition</a>

<ul><li><a href="Alternative_exhibition_space" title="Alternative exhibition space">alternative exhibition space</a></li></ul></li>

<li><a href="Art_gallery" title="Art gallery">Art gallery</a>

<ul><li><a href="Contemporary_art_gallery" title="Contemporary art gallery">Contemporary art gallery</a></li></ul></li>

<li><a href="Art_museum" title="Art museum">Art museum</a>

<ul><li><a href="Single-artist_museum" title="Single-artist museum">Single-artist museum</a></li></ul></li>

<li><a href="Art_school" title="Art school">Art school</a>

<ul><li><a href="List_of_art_schools_in_Europe" title="List of art schools in Europe">Europe</a></li></ul></li>

<li><a href="Arts_centre" title="Arts centre">Arts centre</a></li>

<li><a href="Arts_festival" title="Arts festival">Arts festival</a></li>

<li><a href="Artist_collective" title="Artist collective">Artist collective</a></li>

<li><a href="Artist_cooperative" title="Artist cooperative">Artist cooperative</a></li>

<li><a href="Artist-in-residence" title="Artist-in-residence">Artist-in-residence program</a></li>

<li><a href="Artist-run_initiative" class="mw-redirect" title="Artist-run initiative">Artist-run initiative</a></li>

<li><a href="Artist-run_space" title="Artist-run space">Artist-run space</a></li>

<li><a href="Biennale" title="Biennale">Biennale</a></li>

<li><a href="Commission_(art)" title="Commission (art)">Commission</a></li>

<li><a href="Sculpture_garden" title="Sculpture garden">Sculpture garden</a></li>

<li><a href="Sculpture_trail" title="Sculpture trail">Sculpture trail</a></li>

<li><a href="Virtual_museum" title="Virtual museum">Virtual museum</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="History_of_art" title="History of art">History of art</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Timeline_of_art" title="Timeline of art">Timeline of art</a></li>

<li><a href="Art_history" title="Art history">Art history (academic study)</a></li>

<li><a href="Art_manifesto" title="Art manifesto">Art manifesto</a></li>

<li><a href="Art_movement" title="Art movement">Art movements</a></li>

<li><a href="Art_criticism" title="Art criticism">Criticism</a>

<ul><li><a href="Feminist_art_criticism" title="Feminist art criticism">feminist</a></li></ul></li>

<li><a href="History_of_painting" title="History of painting">History of painting</a>

<ul><li><a href="Outline_of_painting_history" title="Outline of painting history">outline</a></li></ul></li>

<li><a href="Periods_in_Western_art_history" title="Periods in Western art history">Periods in Western art history</a></li>

<li><a href="Timeline_of_20th_century_printmaking_in_America" title="Timeline of 20th century printmaking in America">Timeline of 20th century printmaking in America</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Art_market" title="Art market">Art market</a></li>

<li><i><a href="Catalogue_raisonn%C3%A9" title="Catalogue raisonné">Catalogue raisonné</a></i></li>

<li><a href="Classificatory_disputes_about_art" title="Classificatory disputes about art">Classificatory disputes</a></li>

<li><a href="Collection_Management_Policy" class="mw-redirect" title="Collection Management Policy">Museum collection management</a>

<ul><li><a href="Deaccessioning_(museum)" class="mw-redirect" title="Deaccessioning (museum)">deaccessioning</a></li></ul></li>

<li><a href="Conservation_and_restoration_of_cultural_heritage" class="mw-redirect" title="Conservation and restoration of cultural heritage">Conservation-restoration</a>

<ul><li><a href="Conservation_and_restoration_of_paintings" title="Conservation and restoration of paintings">paintings</a></li></ul></li>

<li><a href="Cultural_policy" title="Cultural policy">Cultural policy</a></li>

<li><a href="Depiction" title="Depiction">Depiction</a></li>

<li><a href="Destination_painting" title="Destination painting">Destination painting</a></li>

<li><a href="Eclecticism_in_art" title="Eclecticism in art">Eclecticism in art</a></li>

<li><a href="Economics_of_the_arts_and_literature" title="Economics of the arts and literature">Economics of art</a>

<ul><li><a href="Art_finance" title="Art finance">art finance</a></li>

<li><a href="Art_valuation" title="Art valuation">art valuation</a></li></ul></li>

<li><a href="Elements_of_art" title="Elements of art">Elements of art</a></li>

<li><a href="Art_forgery" title="Art forgery">Forgery</a></li>

<li><a href="Index_of_painting-related_articles" title="Index of painting-related articles">Index of painting-related articles</a></li>

<li><a href="Outline_of_the_visual_arts" title="Outline of the visual arts">Outline of the visual arts</a>

<ul><li><a href="Outline_of_painting" title="Outline of painting">painting</a></li>

<li><a href="Outline_of_sculpture" title="Outline of sculpture">sculpture</a></li></ul></li>

<li><a href="Provenance" title="Provenance">Provenance</a></li>

<li><a href="Sociology_of_art" title="Sociology of art">Sociology of art</a></li>

<li><a href="Style_(visual_arts)" title="Style (visual arts)">Style</a></li>

<li><a href="Unfinished_creative_work" title="Unfinished creative work">Unfinished work</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Lists</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="List_of_art_magazines" title="List of art magazines">Art magazines</a></li>

<li><a href="List_of_art_media" title="List of art media">Art media</a></li>

<li><a href="List_of_art_techniques" title="List of art techniques">Art techniques</a></li>

<li><a href="List_of_art_movements" title="List of art movements">Art movements</a></li>

<li><a href="List_of_art_museums" title="List of art museums">Art museums</a>

<ul><li><a href="List_of_largest_art_museums" title="List of largest art museums">largest</a></li>

<li><a href="List_of_most-visited_art_museums" title="List of most-visited art museums">most visited</a></li>

<li><a href="List_of_sculpture_parks" title="List of sculpture parks">sculpture parks</a></li>

<li><a href="List_of_single-artist_museums" title="List of single-artist museums">single artist</a></li></ul></li>

<li><a href="List_of_art_reference_books" title="List of art reference books">Art reference books</a></li>

<li><a href="List_of_colossal_sculptures_in_situ" title="List of colossal sculptures in situ">Colossal sculptures in situ</a></li>

<li><a href="List_of_contemporary_artists" title="List of contemporary artists">Contemporary artists</a></li>

<li><a href="List_of_contemporary_art_galleries" title="List of contemporary art galleries">Contemporary art galleries</a></li>

<li><a href="List_of_modern_artists" title="List of modern artists">Modern artists</a></li>

<li><a href="List_of_national_galleries" title="List of national galleries">National galleries</a></li>

<li><a href="Lists_of_painters" title="Lists of painters">Painters</a>

<li><a href="Lists_of_painters_by_nationality" title="Lists of painters by nationality">by nationality</a></li></ul></li>

<li><a href="List_of_photographers" title="List of photographers">Photographers</a></li>

<li><a href="List_of_sculptors" title="List of sculptors">Sculptors</a>

<ul><li><a href="List_of_female_sculptors" title="List of female sculptors">female</a></li></ul></li>

<li><a href="List_of_stolen_paintings" title="List of stolen paintings">Stolen paintings</a></li>

<li><a href="List_of_most_expensive_paintings" title="List of most expensive paintings">Most expensive paintings</a>, <a href="List_of_most_expensive_sculptures" title="List of most expensive sculptures">sculptures</a>, <a href="List_of_most_expensive_artworks_by_living_artists" title="List of most expensive artworks by living artists">works by living artists</a></li></ul>

</div></td></tr><tr><td class="navbox-abovebelow" colspan="2"><div>

<ul><li><a href="Portal%3APainting" title="Portal:Painting">Painting portal</a></li>

<li><a href="Portal%3AVisual_arts" title="Portal:Visual arts">Visual arts portal</a></li>

<li><a href="Portal%3AArts" class="mw-redirect" title="Portal:Arts">Arts portal</a></li></ul>

</div></td></tr></tbody></table></div>

<div class="navbox-styles"></div><div role="navigation" class="navbox authority-control" aria-label="Navbox432" style="padding:3px"><table class="nowraplinks hlist navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="row" class="navbox-group" style="width:1%">Authority control databases </th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://lux.collections.yale.edu/view/concept/64abb085-985c-4bef-a6ed-6cb3fefae754">Yale LUX</a></span></li></ul></div></td></tr></tbody></table></div></div><div><div class="zim-footer">

This article is issued from <a class="external text" title="Last edited on 2025-07-09" href="https://en.wikipedia.org/wiki/?title=Printmaking&oldid=1299670315">Wikipedia</a>. The text is available under <a class="external text" href="https://creativecommons.org/licenses/by-sa/4.0/deed.en">Creative Commons Attribution-Share Alike 4.0</a> unless otherwise noted. Additional terms may apply for the media files.

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