2. is the process of
making by ,
normally on .
it gives multiple .
Print is a shape made from a or
or other object that is covered
with ink and then it is pressed on to a
flat surface like paper.

3. Known as IMPRESSION.
Created by transferring ink
from a matrix or through a
prepared screen to a sheet of paper
or other material.
May also be printed in book
form.

4. seems to
have originated in China
and started in Europe
started around the
6th century.

5. In the early stages of print
making, it was not considered an
art form but by the 18th century
art prints began to be considered
as originals and in 19th century
artists began to produce limited
editions along with the technical
information to authenticate the
work.

7. Intaglio

8. where ink is applied
beneath the original surface of
the matrix. Opposite of relief.
Engraving Etching
Mezzotint Aquatint
Dry point

10. This is done using a tool called
burin. It is a harder skill to learn.
the metal burin is pushed through
the metal to make the image. The
deeper the burin is pushed the
wider the lines get. The lines
formed above the surface are then
scraped off.

11. To make a print, the
engraved plate is inked all over,
then the ink is wiped off the
surface, leaving only ink 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).

12. This 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, is
used.

13. The process was developed
in Germany in the 1430s from
the engraving used
by to decorate
metalwork. The burin produces
a unique and recognizable
quality of line that is
characterized by its steady,
deliberate appearance and clean
edges.

14. In the 20th century, true
engraving was revived as a serious
art form by artists
including Stanley William Hayter
whose Studio 17 in Paris and New
York City became the magnet for
such artists as Pablo Picasso,
Alberto Giacometti,
Mauricio Lasansky and Joan Miró.

16. "Melencolia I",
engraving
by Albrecht
Dürer, one of
the most
important
printmakers.

19. Is a method of engraving areas
of tone rather than lines. It is the
first tonal method to be used.
Mezzotint achieves tonality by
roughening the plate with
thousands of little dots through a
metal tool with small teeth called a
rocker. A good quality and richness
in the print can be achieved.

20. An intaglio variant of engraving in
which the image is formed from
subtle gradations of light and shade.
— from the Italian
mezzo ("half") and tinta ("tone")—is a
"dark manner" form of printmaking,
which requires artists to work from
dark to light.

21. 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.

22. The mezzotint
printmaking method 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
portraits.

24. The Fruit Peeler, Waller ant
Valliant

25. Head of a Man
Wearing a
Turban, 1760
by Thomas Frye

27. The process is believed to
have been invented by Daniel
Hopfer (circa 1470-1536) of
Augsburg, Germany, who
decorated armour in this way,
and applied the method to
printmaking.

28. An etching is opposite of a
woodcut in that the raised portions of
an etching remain blank while the
crevices hold ink. In pure etching, a
metal (usually copper, zinc or steel)
plate is covered with a waxy or acrylic
ground. The artist then draws through
the ground with a pointed etching
needle.

29. The plate itself is covered
with wax and the artist
draw with a sharp needle
like instrument. This is then
exposed to acid which then
eats through the metal
leaving lines in the plate.

30. The plate is then dipped
into acid (e.g. nitric acid or ferric
chloride). The acid bites into the
surface of the plate where it was
exposed. Biting is a printmaking
term to describe the acid’s
etching. After plate is
sufficiently bitten, the plate is
removed from acid bath, and
ground is removed to prepare
for the next step in printing.

31. Artists using this technique include
Albrecht Dürer,
Rembrandt, Francisco Goya,
Whistler, Otto Dix,
James Ensor, Edward Hopper,
Käthe Kollwitz, Pablo Picasso,
Cy Twombly,
Lucas van Leyden,
Carlos Alvarado Lang.

33. The Three
Crosses,
etching
by
Rembrandt

35. Aquatint is a form of engraving
with acid on a plate to some extent
covered with varnish that produces
a print somewhat similar to a
watercolor. The plate is capable of
holding ink and it is passed
through printing press along with a
sheet of paper which leaves an
engraved image on the paper.

36. 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, 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.

37. At this time the rosin can be
burnished or scratched out to affect
its tonal qualities. The 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.
Francisco Goya used aquatint for
most of his prints.

38. "The sleep
of Reason
creates
monsters",
aquatint and
etching
by Francisco
Goya

39. The Giant, Francisco de Goya
y Lucientes

40. The Russian
Dance, 1769
Jean-Baptiste
Le Prince

42. 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.

43. 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 the most
famous artists of the old master print:
Albrecht Dürer produced 3 drypoints
before abandoning the technique;
Rembrandt used it frequently, but
usually in conjunction with etching
and engraving.

45. Maternal
Caress, 1891
Mary Cassatt

46. The Three
Tress,
Rembrandt
(Rembrandt
van Rijn)

48. where ink or paint is
pressed through a prepared
screen.
Screen printing Pochoir

50. Screen printing (occasionally
known as
or )
creates prints by using a fabric
stencil technique.

51. It is generally originated
in China. It involves the
process of allowing ink to pass
through different areas until
the final composite image is
achieved.

52. The 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.

53. The fabric can be ,
,
, or
even . Unlike
many other printmaking
processes, a printing press is
not required, as screen
printing is essentially stencil
printing.

57. Cracking ink effect
is when the ink
procedures an
intentional cracked
surface after drying.

59. Is the use to printed
colors onto dark
background fabrics, they
work by removing the dye
of the garments , this
means they leave a much
softer texture.

61. Is an additive to plastic
inks which raises the print
of the garment, creating a
3D feel and look to the
design. Mostly used when
printing on apparel.

63. Consist of a glue
printed onto the fabric
and then flock material
is applied for a velvet
touch.

65. Is much like flock,
but instead of a velvet
touch and look it has a
reflective/mirror look
to it.

67. Is when the art work
is created and then
separated into four colors
(CMYK) which combine to
create the full spectrum of
colors needed for
photographic prints.

69. Is when metallic flakes
become an additive in the
ink base to create this
sparkle effect- Usually
available in gold or silver
but can be mixed to make
most colours.

71. Is when a clear base laid
over previously printed inks
to create a shiny finish.

73. Is similar to glitter, but
smaller particles
suspended in the ink.
A glue is printed onto
the fabric, then nano-scale
fibers applied on it.

75. Is highly reflective,
solvent based ink.

77. Is a special ink
additive for printing onto
technical or water proof
fabrics.

79. Is the most common
ink used in coomercial
garment decoration.
Plastisol inks require
heat (approximately 150 o
C
(300 o
F )

82. Is relatively new breed
of ink and printing with the
benefits of plastirol but
without the two main toxic
components. It also has a soft
texture.

84. Is a milky colored
additive that is added to
plastisol have a suede feel.

86. These penetrate the
fabric more than the
plastisol inks and
create a much colored
garments.

89. T-shirt,
1975–77
Vivienne
Westwood
Example of
sreen print

92. Roofs and Sky, 1939
Louis Lozowick

95. is a direct method of hand
coloring throughout a stencil. This
technique involves spray-painting
which is done around a three-
dimensional object to create a
pessimistic of the object instead of
an activist of a stencil design.

98. Illustration
(plate 4) by
E. A.
Séguy
(1889-1985)

101. A printmaking technique
made using the Iowa Foil
Printer, developed by Virginia
A. Myers from the commercial
foil stamping process.
This uses gold leaf and
acrylic foil in the printmaking
process.

102. Shoot for the moon
by Stephanie Stein

104. where the matrix retains
its original surface, but is
specially prepared and/or
inked to allow for the
transfer of the image. .

105. Lithography mono typing
digital techniques

107. is a process of printing an
image using a stone or metal
plate with a smooth flat
surface. An image is drawn
on the flat surface of
limestone or metal plate using
a greasy medium.

108. A technique invented in 1798 by
Alois Senefelder and based on the
chemical repulsion of oil and water.
Some of the artists who used the
technique:
 Honoré Daumier
 Vincent van Gogh
 George Bellows
 Pierre Bonnard

110. The
Boxer,
Théodore
Gericault

112. La Goulue,
Lithograph
poster
byToulouse-
Lautrec

115. is done by drawing an image on
a smooth and non-absorbent
surface. Using a printing press
which holds up the ink the
image is transferred on to
the paper .

116. 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.

121. may include :
* digital printing,
*photographic mediums,
or a * combination of digital,
*photographic, and
* traditional processes.

123. Refers to images printed
using a digital printer instead of a
traditional printing press.
These images can be printed
to a variety of substrates including
paper, cloth, or plastic canvas.

124. Istvan Horkay,
Ralph Goings,
Enrique Chagoya

126. Pigment- based Ink Printing
Dye- based Ink Printing
Giclée – a neologism coined in
1991 by printmaker Jack
Duganne for digital prints made
on inkjet printers.

128.  Line - the most basic element for
artistic creation. It can be created as
a mark that connects two dots and
comes in all shapes, sizes, and is
infinitely manipulable.

129.  Shape - the form that a
combination of lines take,
resulting in the subject of the
image.

130.  Form - the 3-D version of a shape
and can be measured by height,
width and depth.

131.  Space- determines the way that
objects relate to each other within
the artwork, it’s the location on
which the elements are placed.

132.  Color- created by the way our eye
interprets light and has a huge
impact on the way a piece is
interpreted by the audience.

133.  Texture -the illusion of a tactile surface
that is achieved in 2-D format.