Numerous methods are used to reproduce art, and new technology is being introduced every year. The most traditional methods are described here and illustrate why the lower numbers in any edition are the most sought after. Each time a print is pulled or pressed, the plate (or block, etc.) is worn or dulled. Therefore, the lower numbers of the first-run prints are thought to have the sharpest images while the later versions may show a loss in detail.

Etching
A sheet of copper or zinc, used to form the plate, is first coated with an acid-resistant covering called "the ground." The artist then draws the image with etching tools, careful to imprint the ground and expose the metal without scratching the plate. Wherever lines appear on the ground, there will be lines on the final print. The plate is then placed in a solution of diluted acid, which eats into the exposed metal and "etches" grooves into the plate's surface. When the artist is satisfied with the depth of the grooves, the plate is taken from the acid and the remaining ground is removed. Heavy ink is rubbed into the etched grooves using a dauber or lint-free cloth (tarlatan). The artist then wipes the surface of the plate clean, leaving the ink in the grooves. A sheet of damp paper is placed on the inked side of the plate, and both are run through a press. The pressure from the rollers forces the porous paper into the inked grooves, printing the image in reverse and embossing the paper in the process.

Lithography
Traditional lithography operates under the principle that oil and water do not mix. An image is drawn with greasy crayons on a surface such as stone, paper, or treated aluminum. The printmaker then treats this surface with a special solution and wets it with water, which is absorbed into all areas except the greasy image. When oil-based ink is rolled across the surface, it's repelled by the water and attracted only to the grease-based drawing. A sheet of paper is placed on the treated surface and pressure is applied to the back of the paper (by a mechanical press or a number of hand devices). The image is printed in reverse.

Intaglio
In this process - which is used with mezzotint, engraving, drypoint, etching, and aquatint - images are cut below the surface of the plate. As in the etching process, ink is forced into the grooves, then the surface is wiped clean. With a press, the dampened paper is forced into the grooves to pick up the ink, which prints the image in reverse. Intaglio is distinguished from other methods of printing because the finished image appears embossed and the print normally bears a platemark.

Monoprint
This technique combines painting and printing. The image drawn, using oil-based or water-based mediums, onto a flat plate consisting of metal, glass, wood, plastic or other material. Damp paper is laid directly on the plate and rubbed or pressed. When the paper is lifted, the image is revealed in reverse. This is a one-time process.

Serigraph
A screen of finely woven material, such as silk, is stretched taut on a frame. The artist can paint the design directly on the screen or place on top of it a stencil cut to the desired shape. Areas in the design meant to receive color are left unpainted or open, allowing ink to pass through. A sheet of paper or other suitable material (the final canvas) is placed under the frame. When the ink or paint is wiped across the surface of the screen with a squeegee, it penetrates to the surface below and imprints on the final canvas. By making additional screens for the same design and applying color upon color, the artist can build intricate prints and simulate original paintings. This direct method results in a positive image.

For a more complete explanation of the various processes outlined below and
additional bonus coverage of other printing techniques, please select from
the following menu of options:

Intaglio:(Etching, Engraving, Drypoint, Aquatint, and Mezzotint)

Planographic: (Lithograph, Chromolithograph, Monotype, and Glass Print)

Relief: (Woodcut, Metal Cut, and Wood Engraving)

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