The paper is removed to reveal the finished print, or impression. After the bed comes to rest at the other end of the press, the blankets are lifted off.
The bed is then cranked between two steel rollers, pressing the blankets into the softened paper and forcing the paper down into the recessed areas of the metal plate, where it grabs the ink. Two felt blankets are placed on top of the paper. A dampened sheet of etching paper, larger than the plate itself, is laid on top. The plate is then placed onto the bed of an etching press, a rectangular steel slab. This removes the ink from the raised portions of the plate, leaving only the ink in the recessed areas to be printed. The plate is then wiped with a rag called a tarlatan. The ink is then squeegeed across the plate, forcing the ink into every recessed line and area. But once the plate itself is complete, all five processes share the following steps to produce the finished intaglio print.įirst, the artist applies ink to the entire surface of the finished plate, often using a roller. The method of creating the recessed areas differs with the technique, and in a moment we’ll learn how each one works. The plates are most often made of copper, but zinc, brass and other materials are also used. Originating in Italy, the word “intaglio,” with a silent “g,” refers to prints made from plates in which the areas that carry the ink are recessed below the surface of the plate. 1885, etchingįor starters, there are four traditional printmaking categories: relief (which includes such processes as woodcut and linocut), planography (lithography), serigraphy (silkscreen) and, finally, intaglio.īelow, artist Richard Pantell walks us through the last of these categories, intaglio, and its five principle processes. What’s the difference between a drypoint and an aquatint? Between a monotype and a monoprint? Between a lithograph and a linocut?
Often, when viewing an exhibition of prints, we’ll look at the labels and discover the names of printing media we don’t fully understand.
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