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indentations. Also, because of the characteristics of the way the burrs catch ink, the direction of the wiping matters. Ink tends to pile up in the lee of the burr during the application of the ink and wiping with the tarlatan, so if the printer wipes in the direction of the lines with their hand, they may remove most of the ink, leaving a light gray line. However, if they wipe perpendicularly to the line, they can actually increase the pile of ink on the other side of the line, darkening the printed line.
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deepest drypoint lines leave enough burr on either side of them that they prevent the paper from pushing down into the center of the stroke, creating a feathery black line with a fine, white center. A lighter line may have no burr at all, creating a very fine line in the final print by holding very little ink. This technique is different from
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Printing is essentially the same as for the other intaglio techniques, but extra care is taken to preserve the burr. After the image is finished, or at least ready to proof, the artist applies ink to the plate with a dauber. Too much pressure will flatten the burrs and ruin the image. Once the plate
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A dampened paper may be produced by soaking a piece of printing paper, or any other papers that are slightly water-absorbent but are not water soluble, into a tray of water for about 5 minutes. Afterwards, the paper is laid onto a towel and dabbed dry. The moist paper allows ink to be drawn out from
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thrown up at the edge of the incised lines, in addition to the depressions formed in the surface of the plate. A larger burr, formed by a steep angle of the tool, will hold a lot of ink, producing a characteristically soft, dense line that differentiates drypoint from other intaglio methods such as
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which produce a smooth, hard-edged line. The size or characteristics of the burr usually depend not on how much pressure is applied, but on the angle of the needle. A perpendicular angle will leave little to no burr, while the smaller the angle gets to either side, the larger the burr pileup. The
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often did. Because the recurring pressure of printing soon destroys the burr, drypoint is useful only for comparatively small editions; as few as ten or twenty impressions with burr can be made, and after the burr has gone, the comparatively shallow lines will wear out relatively quickly. Most
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cloth tightly wrapped in a spherical shape will be used to wipe away excess ink, by slowly yet firmly rubbing the smooth side of the sphere on the plate in small circular motions. Paper (typically pages from old phone books) may be used for a final wipe of the lightest areas of the image. Some
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Drypoint wiping techniques vary slightly from other intaglio techniques. Less pressure is applied to achieve desirable lines, because the burrs forming the image are more fragile than etched or engraved lines, but also because the ink rests on the plate surface, instead of pressed down into
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Any sharp object can theoretically be used to make a drypoint, as long as it can be used to carve lines into metal. Dentistry tools, nails, and metal files can all be used to produce drypoints. However, certain types of needles are created specifically for drypoints:
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impressions of
Rembrandt prints on which drypoint was used show no burr, and often the drypoint lines are very weak, leaving the etched portions still strong. To counter this and allow for longer print runs,
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family, in which an image is incised into a plate (or "matrix") with a hard-pointed "needle" of sharp metal or diamond point. In principle, the method is practically identical to
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can also be used to great effect, and are cheaper than diamond-tipped needles, but they need frequent sharpening to maintain a sharp point. Steel needles were traditionally used.
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is credited as the first to produce coloured drypoints by the use of multiple plates, one for each colour. On the West Coast of the United States the respected printmaker
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166:(called steelfacing by printmakers) can harden the surface of a plate and allow the same edition size as produced by etchings and engravings.
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printmakers will use their bare hand instead to wipe these areas. Once the desired amount of ink is removed, the plate is run through an
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447:, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on drypoint
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196:, a south German 15th-century artist, all of whose prints are in drypoint only. Among the most famous artists of the
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for an artist trained in drawing because the technique of using the needle is closer to using a pencil than the
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is completely covered with a thin layer, a small scraper or card is gently used to remove excess ink. Then, a
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324:), steel-faced drypoint on Arches laid paper, 13 x 11 cm, printed by Delâtre, Paris, published by
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used this process to create several of his famous works, such as "Sunny" and "The
Swimmer".
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The term is also used for inkless scratched inscriptions, such as glosses in manuscripts.
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carve easily through any metal and never need sharpening, but they are expensive.
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401:. Worcester, Mass.: Davis Publications Inc. pp. 66–67, 91 notes 353–354.
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work on the plate and inking with various colours, artists such as
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Contemporary artists who have extensively used drypoint include
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simplified the methods for producing drypoints in art schools.
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In the 20th century many artists produced drypoints, including
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The lines produced by printing a drypoint are formed by the
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the burred lines of the plate when it is pressed into it.
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Prints & People: A Social
History of Printed Pictures
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along with a piece of dampened paper to produce a print.
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produced 3 drypoints before abandoning the technique;
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techniques, they can all be used on the same plate.
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used it frequently, but usually in conjunction with
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192:The technique appears to have been invented by the
251:have produced colour drypoints. Canadian artist
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47:Surlingham Ferry - looking towards Norwich
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432:The Mezzotint: History and Technique
101:, drypoint is easier to master than
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97:are also commonly used. Like
16:Intaglio printmaking technique
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434:(Harry N. Abrams, Inc., 1990)
371:Glossary of Printmaking Terms
298:Carbide-tipped steel needles
397:Edwards, Robert W. (2015).
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424:(Free Press, 1990), 82–88.
386:The Canadian Encyclopedia
187:National Museum in Warsaw
185:, drypoint, 11.5x7.7 cm,
183:Portrait of Artist's Wife
131:, drypoint combined with
422:The Complete Printmaker,
326:Daniel-Henry Kahnweiler
349:Hand-wiping techniques
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292:Diamond-tipped needles
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257:Pedro Joseph de Lemos
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55:Edward Thomas Daniell
462:http://drypoint.art
179:Stanisław Masłowski
456:http://drypoint.no
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305:Printing processes
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272:William Kentridge
253:David Brown Milne
73:technique of the
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452:Arne Bendik Sjur
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318:Two Nude Figures
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476:Printmaking
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382:David Milne
181:, ca 1905,
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358:References
85:, but now
51:Lesser Ury
428:Carol Wax
222:Alex Katz
214:engraving
206:Rembrandt
159:Rembrandt
155:engraving
150:engraving
135:, 1890–01
103:engraving
95:plexiglas
79:engraving
470:Category
334:tarlatan
316:, 1909,
245:aquatint
218:intaglio
133:aquatint
75:intaglio
67:Drypoint
210:etching
170:History
146:etching
99:etching
87:acetate
59:burring
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83:copper
216:. As
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