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385:-makers' varnish rather than a wax-based formula. This enabled lines to be more deeply bitten, prolonging the life of the plate in printing, and also greatly reducing the risk of "foul-biting", where acid gets through the ground to the plate where it is not intended to, producing spots or blotches on the image. Previously the risk of foul-biting had always been at the back of an etcher's mind, preventing too much time on a single plate that risked being ruined in the biting process. Now etchers could do the highly detailed work that was previously the monopoly of engravers, and Callot made full use of the new possibilities.
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1388:, which was first published in 1891. Alger was an immensely popular author in the 19th century—especially with young people—and his books were widely quoted. In chapter XXII of the book, a woman writes to her boyfriend, "I have a new collection of etchings that I want to show you. Won't you name an evening when you will call, as I want to be certain to be at home when you really do come." The boyfriend then writes back "I shall no doubt find pleasure in examining the etchings which you hold out as an inducement to call."
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chemicals according to the plate manufacturers' instructions. Areas of the photo-etch image may be stopped-out before etching to exclude them from the final image on the plate, or removed or lightened by scraping and burnishing once the plate has been etched. Once the photo-etching process is complete, the plate can be worked further as a normal intaglio plate, using
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copper plates show extreme wear after only ten prints. Steel, on the other hand, is incredibly durable. This wearing out of the image over time is one of the reasons etched prints created early in a numbered series tend to be valued more highly. An artist thus takes the total number of prints he or she wishes to produce into account whenever choosing the metal.
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covered in ground and then the strip is redipped into the acid and the process repeated. The ground will then be removed from the strip and the strip inked up and printed. This will show the printmaker the different degrees or depths of the etch, and therefore the strength of the ink color, based upon how long the plate is left in the acid.
302:–1536) of Augsburg, Germany. Hopfer was a craftsman who decorated armour in this way, and applied the method to printmaking, using iron plates (many of which still exist). Apart from his prints, there are two proven examples of his work on armour: a shield from 1536 now in the Real Armeria of Madrid and a sword in the
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line more attractive than a ballpoint's: The slight swelling variation caused by the natural movement of the hand "warms up" the line, and although hardly noticeable in any individual line, has a very attractive overall effect on the finished plate. It can be drawn with in the same way as an ordinary needle.
466:, so it is the "white" background areas which are exposed to the acid, and the areas to print "black" which are covered with ground. Blake's exact technique remains controversial. He used the technique to print texts and images together, writing the text and drawing lines with an acid-resistant medium.
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The type of metal used for the plate impacts the number of prints the plate will produce. The firm pressure of the printing press slowly rubs out the finer details of the image with every pass-through. With relatively soft copper, for example, the etching details will begin to wear very quickly, some
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The traditional aquatint, which uses either powdered rosin or enamel spray paint, is replaced with an airbrush application of the acrylic polymer hard ground. Again, no solvents are needed beyond the soda ash solution, though a ventilation hood is needed due to acrylic particulates from the air brush
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Spit-biting is a process whereby the printmaker will apply acid to a plate with a brush in certain areas of the plate. The plate may be aquatinted for this purpose or exposed directly to the acid. The process is known as "spit"-biting due to the use of saliva once used as a medium to dilute the acid,
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The detritus is powdery dissolved metal that fills the etched grooves and can also block the acid from biting evenly into the exposed plate surfaces. Another way to remove detritus from a plate is to place the plate to be etched face down within the acid upon plasticine balls or marbles, although the
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plate is good for, at most, a few hundred printings of a strongly etched imaged before the degradation is considered too great by the artist. At that point, the artist can manually restore the plate by re-etching it, essentially putting ground back on and retracing their lines; alternatively, plates
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The traditional soft ground, requiring solvents for removal from the plate, is replaced with water-based relief printing ink. The ink receives impressions like traditional soft ground, resists the ferric chloride etchant, yet can be cleaned up with warm water and either soda ash solution or ammonia.
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therefore white in the print. If steel plate is used, then the plate's natural tooth gives the print a grey background similar to the effects of aquatinting. As a result, steel plates do not need aquatinting as gradual exposure of the plate via successive dips into acid will produce the same result.
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After the ground has hardened the artist "smokes" the plate, classically with 3 beeswax tapers, applying the flame to the plate to darken the ground and make it easier to see what parts of the plate are exposed. Smoking not only darkens the plate but adds a small amount of wax. Afterwards the artist
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grit and run through an etching press; then a design is drawn on the roughened plate using an acid-resistant medium. After immersion in an acid bath, the resulting plate is printed as a relief print. The roughened surface of the relief permits considerable tonal range, and it is possible to attain a
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Callot also made more extensive and sophisticated use of multiple "stoppings-out" than previous etchers had done. This is the technique of letting the acid bite lightly over the whole plate, then stopping-out those parts of the work which the artist wishes to keep light in tone by covering them with
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together with a sheet of paper (often moistened to soften it). The paper picks up the ink from the etched lines, making a print. The process can be repeated many times; typically several hundred impressions (copies) could be printed before the plate shows much sign of wear. The work on the plate can
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reaction) to a depth depending on time and acid strength, leaving behind the drawing (as carved into the wax) on the metal plate. The remaining ground is then cleaned off the plate. For first and renewed uses the plate is inked in any chosen non-corrosive ink all over and the surface ink drained and
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which is resistant to acid. The artist then scratches off the ground with a pointed etching needle where the artist wants a line to appear in the finished piece, exposing the bare metal. The Ă©choppe, a tool with a slanted oval section, is also used for "swelling" lines. The plate is then dipped in a
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requires special skill in metalworking, the basic technique for creating the image on the plate in etching is relatively easy to learn for an artist trained in drawing. On the other hand, the handling of the ground and acid need skill and experience, and are not without health and safety risks, as
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Hard ground can be applied in two ways. Solid hard ground comes in a hard waxy block. To apply hard ground of this variety, the plate to be etched is placed upon a hot-plate (set at 70 °C, 158 °F), a kind of metal worktop that is heated up. The plate heats up and the ground is applied by
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or "over-biting" is common in etching, and is the effect of minuscule amounts of acid leaking through the ground to create minor pitting and burning on the surface. This incidental roughening may be removed by smoothing and polishing the surface, but artists often leave faux-bite, or deliberately
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During the etching process the printmaker uses a bird feather or similar item to wave away bubbles and detritus produced by the dissolving process, from the surface of the plate, or the plate may be periodically lifted from the acid bath. If a bubble is allowed to remain on the plate then it will
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The design is then drawn (in reverse) with an etching-needle or échoppe. An "echoppe" point can be made from an ordinary tempered steel etching needle, by grinding the point back on a carborundum stone, at a 45–60 degree angle. The "echoppe" works on the same principle that makes a fountain pen's
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Growing concerns about the health effects of acids and solvents led to the development of less toxic etching methods in the late 20th century. An early innovation was the use of floor wax as a hard ground for coating the plate. Others, such as printmakers Mark
Zaffron and Keith Howard, developed
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Soft ground also comes in liquid form and is allowed to dry but it does not dry hard like hard ground and is impressionable. After the soft ground has dried the printmaker may apply materials such as leaves, objects, hand prints and so on which will penetrate the soft ground and expose the plate
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Anodic etching has been used in industrial processes for over a century. The etching power is a source of direct current. The item to be etched (anode) is connected to its positive pole. A receiver plate (cathode) is connected to its negative pole. Both, spaced slightly apart, are immersed in a
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at least, and may go back to antiquity. The elaborate decoration of armour, in
Germany at least, was an art probably imported from Italy around the end of the 15th century—little earlier than the birth of etching as a printmaking technique. Printmakers from the German-speaking lands and Central
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For aquatinting a printmaker will often use a test strip of metal about a centimetre to three centimetres wide. The strip will be dipped into the acid for a specific number of minutes or seconds. The metal strip will then be removed and the acid washed off with water. Part of the strip will be
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is a variation giving only tone rather than lines when printed. Particulate resin is evenly distributed on all or parts of the plate, then heated to form a screen ground of uniform, but less than perfect, density. After etching, any exposed surface will result in a roughened (i.e., darkened)
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Light sensitive polymer plates allow for photorealistic etchings. A photo-sensitive coating is applied to the plate by either the plate supplier or the artist. Light is projected onto the plate as a negative image to expose it. Photopolymer plates are either washed in hot water or under other
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In the patented
Electroetch system, invented by Marion and Omri Behr, in contrast to certain nontoxic etching methods, an etched plate can be reworked as often as the artist desires The system uses voltages below 2 volts which exposes the uneven metal crystals in the etched areas resulting in
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paper; some printmakers prefer to use the blade part of their hand or palm at the base of their thumb. The wiping leaves ink in the incisions. You may also use a folded piece of organza silk to do the final wipe. If copper or zinc plates are used, then the plate surface is left very clean and
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Soft-ground etching uses a special softer ground. The artist places a piece of paper (or cloth etc. in modern uses) over the ground and draws on it. The print resembles a drawing. Soft ground can also be used to capture the texture or pattern of fabrics or furs pressed into the soft surface.
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Metallographic etching is a method of preparing samples of metal for analysis. It can be applied after polishing to further reveal microstructural features (such as grain size, distribution of phases, and inclusions), along with other aspects such as prior mechanical deformation or thermal
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ground before bathing the plate in acid again. He achieved unprecedented subtlety in effects of distance and light and shade by careful control of this process. Most of his prints were relatively small—up to about six inches or 15 cm on their longest dimension, but packed with detail.
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suitable aqueous solution of a suitable electrolyte. The current pushes the metal out from the anode into solution and deposits it as metal on the cathode. Shortly before 1990, two groups working independently developed different ways of applying it to creating intaglio printing plates.
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The phrase "Want to come up and see my etchings?" is a romantic euphemism by which a person entices someone to come back to their place with an offer to look at something artistic, but with ulterior motives. The phrase is a corruption of some phrases in a novel by
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is growing in popularity as an etching substrate. Increases in the prices of copper and zinc have steered steel to an acceptable alternative. The line quality of steel is less fine than copper, but finer than zinc. Steel has a natural and rich aquatint.
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surface. Areas that are to be light in the final print are protected by varnishing between acid baths. Successive turns of varnishing and placing the plate in acid create areas of tone difficult or impossible to achieve by drawing through a wax ground.
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stop the acid biting into the plate where the bubble touches it. Zinc produces more bubbles much more rapidly than copper and steel and some artists use this to produce interesting round bubble-like circles within their prints for a Milky Way effect.
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superior ink retention and printed image appearance of quality equivalent to traditional acid methods. With polarity reversed the low voltage provides a simpler method of making mezzotint plates as well as the "steel facing" copper plates.
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Other materials that are not manufactured specifically for etching can be used as grounds or resists. Examples including printing ink, paint, spray paint, oil pastels, candle or bees wax, tacky vinyl or stickers, and permanent markers.
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hand, melting onto the plate as it is applied. The ground is spread over the plate as evenly as possible using a roller. Once applied the etching plate is removed from the hot-plate and allowed to cool which hardens the ground.
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are painted onto the metal surface prior to it being coated in a liquid etching ground or 'stop out' varnish. When the plate is placed in hot water the sugar dissolves, leaving the image. The plate can then be etched.
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The second way to apply hard ground is by liquid hard ground. This comes in a can and is applied with a brush upon the plate to be etched. Exposed to air the hard ground will harden. Some printmakers use oil/tar based
236:, as these precious and unique manufactured items circulated in great numbers between these geographical areas during the 3rd millennium BCE, and have been found in numerous tomb deposits. Sumerian kings, such as
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British Museum notice: "Gold and carnelians beads. The two beads etched with patterns in white were probably imported from the Indus Valley. They were made by a technique developed by the
Harappan civilization"
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Some of the earliest printmaking workshops experimenting with, developing and promoting nontoxic techniques include
Grafisk Eksperimentarium, in Copenhagen, Denmark, Edinburgh Printmakers, in Scotland, and
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1089:(washing soda) solution, rather than solvents. When used for etching, ferric chloride does not produce a corrosive gas, as acids do, thus eliminating another danger of traditional etching.
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The ground can also be applied in a fine mist, using powdered rosin or spraypaint. This process is called aquatint, and allows for the creation of tones, shadows, and solid areas of color.
318:, but this is no evidence that Hopfer himself worked on it, as his decorative prints were largely produced as patterns for other craftsmen in various media. The oldest dated etching is by
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culture independently utilized the technique of acid etching in marine shell designs. The shells were daubed in pitch and then bathed in acid probably made from fermented cactus juice.
224:, and vast quantities of these beads were found in the archaeological sites of the Indus Valley civilization. They are considered as an important marker of ancient trade between the
1434:, when he lets the dandy Johannes Hall lure the main character's younger sister Greta into his room under the pretence that they browse through his etchings and engravings (e.g.,
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A piece of matte board, a plastic "card", or a wad of cloth is often used to push the ink into the incised lines. The surface is wiped clean with a piece of stiff fabric known as
462:. However, from 1880 to 1950 a photo-mechanical ("line-block") variant was the dominant form of commercial printing for images. A similar process to etching, but printed as a
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627:. Turpentine is often removed from the plate using methylated spirits since turpentine is greasy and can affect the application of ink and the printing of the plate.
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is a traditional metal, and is still preferred, for etching, as it bites evenly, holds texture well, and does not distort the color of the ink when wiped.
1251:'ground' that resists acid. The printmaker then scratches through the ground with a sharp point, exposing lines of metal which the mordant acid attacks.
1405:, in which the narrator answers his wife asking him about a lady he had wandered off with by saying: "She just wanted to show me some French etchings."
396:, spread Callot's innovations all over Europe with the first published manual of etching, which was translated into Italian, Dutch, German and English.
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is also used, because as a softer metal, etching times are shorter; however, that softness also leads to faster degradation of the image in the press.
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1296:(or, very rarely, saliva) which can be dripped, spattered or painted onto a metal surface giving interesting results. A mixture of nitric acid and
2043:, Behr, Omri & Behr, Marion, "Method and apparatus for producing etched plates for graphic printing", published 1992-05-12
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is cheaper than copper, so preferable for beginners, but it does not bite as cleanly as copper does, and it alters some colors of ink.
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Carborundum etching (sometimes called carbograph printing) was invented in the mid-20th century by
American artists who worked for the
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cartoon in which a man tells a woman in a building lobby: "You wait here and I'll bring the etchings down". It was also referenced in
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and other metal-workers in order to decorate metal items such as guns, armour, cups and plates has been known in Europe since the
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2023:, Behr, Marion & Behr, Omri, "Electrolytic etching process and apparatus therefor", published 1992-04-07
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cloth or newsprint, leaving ink in the roughened areas and lines. Damp paper is placed on the plate, and both are run through a
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The plate is removed from the acid and washed over with water to remove the acid. The ground is removed with a solvent such as
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to 1 part water and 1 part nitric to 3 parts water. The strength of the acid determines the speed of the etching process.
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78:(incised) in the metal. In modern manufacturing, other chemicals may be used on other types of material. As a method of
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be added to or repaired by re-waxing and further etching; such an etching (plate) may have been used in more than one
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plate is another medium with different qualities. There are two common types of ground: hard ground and soft ground.
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Nick, Semenoff; Christof, C. (1999). "Using Dry Copier Toners in
Intaglio and Electro-Etching of metal Plates".
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was accused of inviting a young woman to his hotel room to view some French etchings, but instead seducing her.
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1338:). The pressure subtly degrades the image in the plate, smoothing the roughened areas and closing the lines; a
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as hard ground, although often bitumen is used to protect steel plates from rust and copper plates from aging.
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There are some new non-toxic grounds on the market that work differently than typical hard or soft grounds.
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during the 3rd millennium BCE. They were made according to a technique of alkaline etching developed by the
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1890:"Welcome to the Office of Environmental Health and Safety | Office of Environmental Health and Safety"
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Callot also appears to have been responsible for an improved, harder, recipe for the etching ground, using
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produced a host of lesser artists, but no really major figures. Etching is still widely practiced today.
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The switch to copper plates was probably made in Italy, and thereafter etching soon came to challenge
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In traditional pure etching, a metal plate (usually of copper, zinc or steel) is covered with a waxy
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Behr, Marion; Behr, Omri (1993), "Etching and Tone
Creation Using Low-Voltage Anodic Electrolysis",
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court it by handling the plate roughly, because it is viewed as a desirable mark of the process.
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drawback of this technique is the exposure to bubbles and the inability to remove them readily.
2329:, an exhibition catalog from The Metropolitan Museum of Art, which contains material on etching
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in 1515, although he returned to engraving after six etchings instead of developing the craft.
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Art of the first cities : the third millennium B.C. from the
Mediterranean to the Indus
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The
Wenceslaus Hollar Collection of digitized books and images at the University of Toronto
1938:"Traditional intaglio printmaking methods, their health hazards, new non-toxic substitutes"
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were the best of a smaller number of fine etchers. In the 19th and early 20th century, the
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The plate is then completely submerged in a solution that eats away at the exposed metal.
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Europe perfected the art and transmitted their skills over the Alps and across Europe.
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1770:"Freedom and Resistance in the Act of Engraving (or, Why DĂĽrer Gave up on Etching),"
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2250:"Metallographic Etching - The Processes, Reasons to Etch and What Etching Achieves"
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The phrase was given new popularity in 1937: in a well publicized case, violinist
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A damp piece of paper is placed over the plate and it is run through the press.
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Behr, Omri (1997), "An improved method for steelfacing copper etching plates",
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may be used for etching zinc or steel plates. Typical solutions are 1 part FeCl
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A waxy acid-resist, known as a ground, is applied to a metal plate, most often
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55:, who is believed to have been the first to apply the technique to printmaking.
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Museum of Modern Art information on printing techniques and examples of prints
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2304:, (1934) in Five Complete Novels, New York: Avanel Books, 1980, p. 592.
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Medley-Buckner, C. (1999). "Carborundum Mezzotint and Carborundum Etching".
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The process as applied to printmaking is believed to have been invented by
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Billard, Jules B. (1989). "Jess D. Jennings, "Across an Arctic Bridge"".
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with an etched design in white, which were probably manufactured by the
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Prints and their makers: essays on engravers and etchers old and modern
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The longer the plate remains in the acid the deeper the "bites" become.
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The World of the American Indian, A volume in the Story of Man Library
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There are many ways for the printmaker to control the acid's effects.
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The Journal of the Royal Asiatic Society of Great Britain and Ireland
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in about 1788, and he has been almost the only artist to use it in
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uses a sharp tool to scratch into the ground, exposing the metal.
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Behr, Marion; Behr, Omri (1991), "Environmentally safe Etching",
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MacKay, Ernest (1925). "Sumerian Connexions with Ancient India".
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Behr, Marion; Behr, Omri (1998), "Setting the record straight",
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Most typically, the surface of the plate is covered in a hard,
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246:, also created etched carnelian beads for dedication purposes.
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Etching was already used in antiquity for decorative purposes.
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before printing with a harder metal to preserve the surface.
2228:. Washington D.C.: National Geographic Society. p. 47.
98:, it is a crucial technique in modern technology, including
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Behr, Marion (1993), "Electroetch, a safe etching system",
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from biting the parts of the plate which have been covered.
1869:"Glossary | Magical-Secrets: A Printmaking Community"
2327:
Prints & People: A Social History of Printed Pictures
1731:. The Metropolitan Museum of Art. 2003. pp. 395–396.
1510:"Etching | Definition of etching by Merriam-Webster"
473:. In this technique, a metal plate is first covered with
1316:
Printing the plate is done by covering the surface with
342:
Callot's innovations: Ă©choppe, hard ground, stopping-out
2364:. United States: The Century Co., 1911, copyright 1912.
573:
may be used for etching copper or zinc plates, whereas
2343:
Metropolitan Museum, materials-and-techniques: etching
1846:
1844:
1705:(in French). FeniXX réédition numérique. p. 355.
1702:
Les Cités oubliées de l'Indus: Archéologie du Pakistan
478:
high relief that results in strongly embossed prints.
631:
although gum arabic or water are now commonly used.
434:
uses acid-resistant resin to achieve tonal effects.
399:
The 17th century was the great age of etching, with
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Förvillelser, Lind & Co., 2012, p. 158—163
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284:Selection of early etched printing plates from the
521:Relief etching by William Blake, frontispiece to
212:are a type of ancient decorative beads made from
189:(2600-2500 BCE) were probably imported from the
2333:The Print Australia Reference Library Catalogue
37:"Etcher" redirects here. For the software, see
1657:
1655:
1536:. Cairnsregionalgallery.com.au. Archived from
306:of Nuremberg. An Augsburg horse armour in the
132:The plate is then put through a high-pressure
129:wiped clean, leaving ink in the etched forms.
2383:
1785:
1646:"Printmaking - Lithography | Britannica"
1531:"The Artist's Studio : What Is Etching?"
1184:Etching is also used in the manufacturing of
1057:
407:and many other masters. In the 18th century,
62:is traditionally the process of using strong
8:
2338:Etching from the MMA Timeline of Art History
1320:, then rubbing the ink off the surface with
1085:for etching. The polymers are removed with
144:Etching has often been combined with other
2390:
2376:
2368:
1775:Vol. 7 No. 3 (September–October 2017), 17.
1745:The Ancient Indus Valley: New Perspectives
1258:Example of sugar lift and spit bite effect
1064:
1050:
697:
681:
329:as the most popular medium for artists in
2212:The Hohokam: Desert Farmers and Craftsmen
1279:Designs in a syrupy solution of sugar or
276:Self-portrait etched by Wenceslaus Hollar
2120:Behr, Marion (1995), "Electroetch II",
1501:
689:
70:to cut into the unprotected parts of a
1916:"Intaglio Health and Safety: Overview"
1664:Photograph of the necklace in question
1208:treatments. Metal can be etched using
711:
1195:Prior to 1100 AD, the New World
670:Colored etching and aquatint on paper
7:
2275:Robert Mankoff (14 September 2011).
1363:Example of foul bite in acid etching
1312:Cylinder press for printing etchings
338:well as the risk of a ruined plate.
148:techniques such as engraving (e.g.,
1892:. Web.princeton.edu. Archived from
1229:Young Girl in cafe with street-view
450:William Blake § Relief etching
392:One of his followers, the Parisian
86:, the most important technique for
25:
2972:Bronze and brass ornamental work
1914:Babin, Angela; McCann, Michael.
585:The etching process is known as
1674:For the etching technique, see
1627:(in French). Expositions.bnf.fr
1606:(in French). Expositions.bnf.fr
1585:(in French). Expositions.bnf.fr
1564:(in French). Expositions.bnf.fr
482:Printmaking technique in detail
454:Relief etching was invented by
1391:This was referenced in a 1929
1220:Controlling the acid's effects
1113:, in Albuquerque, New Mexico.
490:Steps in the typical technique
405:Giovanni Benedetto Castiglione
74:surface to create a design in
27:Intaglio printmaking technique
1:
1807:. 8 June 2015. Archived from
1481:for the history of the method
1469:List of etchings by Rembrandt
1292:A mixture of nitric acid and
1216:, or heat (thermal etching).
990:
765:
750:
592:The waxy resist prevents the
589:(see also spit-biting below).
372:
296:
240:
2166:(#1), The MIT Press: 47–48,
1940:. Greenart.info. 2013-03-14
1419:used the reference in his "
304:Germanisches Nationalmuseum
110:bath of acid, known as the
3209:
2204:Man's Rise to Civilization
1176:Etching (microfabrication)
1169:
1139:
1120:
1111:New Grounds Print Workshop
447:
253:
201:
181:in this necklace from the
36:
29:
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1985:(4). MIT Press: 389–394.
1748:. ABC-CLIO. p. 185.
1011:Thermal-transfer printing
218:Indus Valley civilization
49:The Soldier and his Wife.
1920:Chicago Artists Resource
886:Photostat and rectigraph
308:German Historical Museum
92:microfabrication etching
32:Etching (disambiguation)
3107:Painting in Hälsingland
1742:McIntosh, Jane (2008).
1219:
1142:Photochemical machining
1123:Photochemical machining
685:Part of a series on the
2277:"My Sexual Revolution"
1823:"Illuminated Printing"
1786:
1699:Guimet, Musée (2016).
1464:List of art techniques
1364:
1313:
1259:
1236:
1203:Metallographic etching
1186:printed circuit boards
736:Intaglio (printmaking)
671:
649:
608:
543:
540:Paula Modersohn-Becker
528:
527:(Copy A, printed 1795)
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378:
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210:Etched carnelian beads
204:Etched carnelian beads
194:
179:etched carnelian beads
56:
2206:(1978) p.205, citing
1827:William Blake Archive
1512:. Merriam-webster.com
1362:
1311:
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1227:
1190:semiconductor devices
1136:Types of metal plates
856:Hot metal typesetting
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536:Landscape under Trees
534:
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489:
448:Further information:
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283:
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96:photochemical milling
47:
3127:Pressed flower craft
1784:the Italian term is
1375:"Etchings" euphemism
876:Daisy wheel printing
658:and then wiped with
370:Gardener with basket
198:Etching in antiquity
183:Royal Cemetery of Ur
82:, it is, along with
30:For other uses, see
2544:Spinning (textiles)
2462:Friendship bracelet
2358:Carrington, Fitzroy
2300:Hammett, Dashiell,
1926:on August 25, 2012.
1474:List of printmakers
916:Dot matrix printing
691:History of printing
187:First Dynasty of Ur
3193:Chemical processes
1811:on 12 August 2018.
1415:As early as 1895,
1386:The Erie Train Boy
1365:
1314:
1300:may also be used.
1260:
1237:
1001:Solid ink printing
716:Woodblock printing
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607:Example of etching
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524:America a Prophecy
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417:Daniel Chodowiecki
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3050:Hardstone carving
2998:Balloon modelling
2512:Ribbon embroidery
2208:Emil Walter Haury
2141:Printmaking Today
2122:Printmaking Today
2103:Printmaking Today
1871:. Magical-Secrets
1805:Kristen Necessary
1801:"BIG Experiments"
1755:978-1-57607-907-2
1479:Old master prints
1417:Hjalmar Söderberg
1382:Horatio Alger Jr.
1074:
1073:
1039:
1038:
906:Spirit duplicator
816:Chromolithography
460:its original form
349:(1592–1635) from
120:for "biting") or
88:old master prints
39:Etcher (software)
16:(Redirected from
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2937:Chemical milling
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1454:Acid test (gold)
1397:Dashiell Hammett
1172:Chemical milling
1087:sodium carbonate
1081:as a ground and
1079:acrylic polymers
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946:Phototypesetting
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678:Nontoxic etching
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366:Jacques Bellange
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1083:ferric chloride
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956:Inkjet printing
896:Screen printing
846:Offset printing
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1410:David Rubinoff
1399:'s 1934 novel
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286:British Museum
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2432:Banner-making
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2254:AZO Materials
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1996:
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1896:on 2012-08-26
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1712:9782402052467
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1543:on 2015-09-06
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1393:James Thurber
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1180:Photo etching
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1117:Photo-etching
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293:Daniel Hopfer
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53:Daniel Hopfer
50:
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40:
33:
19:
3188:Metalworking
3090:Glass mosaic
3008:Bone carving
2951:
2808:Wood carving
2803:Wood burning
2778:Chip carving
2735:Scrapbooking
2720:Papier-mâché
2686:Papercutting
2639:Iris folding
2627:Photomontage
2622:Papier collé
2587:Altered book
2447:Cross-stitch
2309:
2302:The Thin Man
2301:
2296:
2285:. Retrieved
2280:
2270:
2260:18 September
2258:. Retrieved
2256:. AZO Nework
2253:
2244:
2225:
2219:
2211:
2203:
2195:
2163:
2159:
2153:
2144:
2140:
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2096:
2064:
2060:
2054:
2035:
2015:
1982:
1978:
1972:
1963:
1959:
1953:
1942:. Retrieved
1932:
1924:the original
1919:
1909:
1898:. Retrieved
1894:the original
1884:
1873:. Retrieved
1863:
1855:
1851:
1831:. Retrieved
1817:
1809:the original
1804:
1795:
1780:
1773:Art in Print
1772:
1764:
1744:
1737:
1727:
1721:
1701:
1694:
1677:
1670:
1640:
1629:. Retrieved
1619:
1608:. Retrieved
1598:
1587:. Retrieved
1577:
1566:. Retrieved
1556:
1545:. Retrieved
1538:the original
1525:
1514:. Retrieved
1504:
1435:
1431:
1427:
1414:
1407:
1402:The Thin Man
1400:
1390:
1385:
1378:
1367:
1366:
1331:
1321:
1318:printing ink
1315:
1291:
1278:
1266:
1246:
1243:Hard grounds
1238:
1228:
1214:electrolysis
1206:
1194:
1183:
1160:
1145:
1126:
1107:
1103:
1099:
1095:
1091:
1075:
826:Rotary press
760:
726:Movable type
673:
653:
651:
638:
629:
622:
618:
614:
610:
586:
568:
564:
561:
559:underneath.
557:
545:
535:
522:
512:
508:
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468:
464:relief print
453:
444:
440:
436:
430:
398:
391:
387:
380:
369:
345:
324:
290:
259:
226:Indus Valley
207:
191:Indus Valley
143:
131:
121:
111:
104:
59:
58:
48:
3178:Printmaking
3117:Pietra dura
3080:Micromosaic
3013:Doll making
2967:Silversmith
2884:Cameo glass
2841:Earthenware
2813:Woodturning
2725:Pop-up book
2710:Papermaking
2597:Calligraphy
2592:Bookbinding
2522:Rug hooking
2492:Needlepoint
2472:Lace-making
2437:Canvas work
2067:(#1): 53–,
1858:(1): 34–49.
1833:January 31,
1442:Franz Stuck
1425:début novel
1336:chine-collé
1281:Camp Coffee
1021:3D printing
994: 1972
806:Lithography
769: 1515
754: 1440
639:Pornocrates
575:nitric acid
376: 1612
364:Etching by
331:printmaking
300: 1470
266:Middle Ages
260:Etching by
230:Mesopotamia
80:printmaking
51:Etching by
3167:Categories
3152:Wall decal
3075:Miniatures
2993:Assemblage
2861:Terracotta
2836:Bone china
2715:Paper toys
2681:Papercraft
2607:Cast paper
2602:Cardmaking
2549:String art
2539:Shoemaking
2527:Rug making
2497:Needlework
2452:Embroidery
2442:Crocheting
2403:handicraft
2287:2015-08-12
2235:0870447998
2200:Peter Farb
2147:(4): 31–32
2041:US 5112453
2021:US 5102520
1944:2015-08-11
1900:2015-08-11
1875:2015-08-11
1787:acquaforte
1680:(4): 699.
1631:2015-08-11
1610:2015-08-11
1589:2015-08-11
1568:2015-08-11
1547:2015-08-12
1516:2015-08-11
1496:References
1294:gum arabic
1275:Sugar lift
1233:Lesser Ury
1170:See also:
926:Xerography
866:Mimeograph
836:Hectograph
708:Techniques
625:turpentine
262:goldsmiths
3147:Taxidermy
3137:Scrimshaw
3112:Pargeting
3038:Grotesque
3018:Dollhouse
2962:Goldsmith
2957:Jewellery
2947:Engraving
2904:Glassware
2889:Chip work
2856:Stoneware
2846:Porcelain
2798:Marquetry
2773:Carpentry
2768:Cabinetry
2745:Wallpaper
2671:Embossing
2664:Moneygami
2617:Decoupage
2502:Patchwork
2487:Millinery
2188:139028601
2128:(#4): 24–
2109:(#1): 18–
2089:100716855
2007:191386942
1437:Die SĂĽnde
1428:Delusions
1368:Foul-bite
1288:Spit bite
1210:chemicals
776:Mezzotint
660:newsprint
549:asphaltum
401:Rembrandt
327:engraving
232:and even
222:Harappans
214:carnelian
150:Rembrandt
84:engraving
3102:Ornament
3065:Lapidary
3060:Lath art
3043:Gargoyle
3003:Beadwork
2977:Ironwork
2793:Intarsia
2788:Fretwork
2783:Ébéniste
2763:Bentwood
2740:Stamping
2730:Quilling
2676:Marbling
2659:Kirigami
2649:Kamikiri
2554:Tapestry
2507:Quilting
2467:Knitting
2160:Leonardo
2061:Leonardo
1979:Leonardo
1966:(4): 210
1960:Chemtech
1686:25220818
1448:See also
1421:decadent
1323:tarlatan
1304:Printing
1268:Aquatint
1263:Aquatint
1130:drypoint
796:Aquatint
655:tarlatan
647:aquatint
432:Aquatint
427:Variants
409:Piranesi
355:Lorraine
316:woodcuts
154:aquatint
146:intaglio
76:intaglio
18:Etchings
3173:Etching
3097:Netsuke
2952:Etching
2932:Andiron
2851:Pottery
2831:Azulejo
2823:Ceramic
2691:Chinese
2654:Origami
2644:Jianzhi
2612:Collage
2569:Weaving
2564:Tie-dye
2559:Tatting
2482:Macrame
2457:Felting
2424:Textile
2414:History
2180:1576375
2081:1575781
1999:1575513
1384:called
1343:can be
1197:Hohokam
1093:spray.
761:Etching
553:bitumen
413:Tiepolo
164:History
156:(e.g.,
122:etchant
113:mordant
68:mordant
60:Etching
3085:Mosaic
2942:Enamel
2909:Mirror
2701:Slavic
2696:Jewish
2534:Sewing
2517:Carpet
2232:
2214:(1976)
2186:
2178:
2087:
2079:
2047:
2027:
2005:
1997:
1829:. 2003
1752:
1709:
1684:
1430:(swe:
1355:Faults
1340:copper
1235:, 1924
1178:, and
1147:Copper
587:biting
496:copper
312:Berlin
238:Shulgi
169:Origin
118:French
107:ground
2986:Other
2924:Metal
2876:Glass
2634:Decal
2579:Paper
2477:Lucet
2184:S2CID
2176:JSTOR
2085:S2CID
2077:JSTOR
2003:S2CID
1995:JSTOR
1682:JSTOR
1541:(PDF)
1534:(PDF)
1298:rosin
1155:Steel
504:steel
351:Nancy
335:burin
152:) or
139:state
126:redox
72:metal
3055:Inro
2866:Tile
2755:Wood
2401:and
2262:2024
2230:ISBN
1835:2013
1750:ISBN
1707:ISBN
1349:Zinc
1332:c.f.
1249:waxy
1188:and
1151:Zinc
1035:1991
1025:1986
1015:1981
1005:1972
980:1969
970:1957
960:1950
950:1949
940:1940
930:1938
920:1925
910:1923
900:1911
890:1907
880:1889
870:1885
860:1884
850:1875
840:1860
830:1843
820:1837
810:1796
800:1772
790:1690
780:1642
740:1430
730:1040
594:acid
502:but
500:zinc
415:and
383:lute
177:The
94:and
64:acid
2168:doi
2069:doi
1987:doi
1444:).
1440:by
720:200
641:by
551:or
498:or
471:WPA
353:in
160:).
66:or
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2279:.
2252:.
2210:,
2202:,
2182:,
2174:,
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2162:,
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2083:,
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2063:,
2001:.
1993:.
1983:24
1981:.
1964:21
1962:,
1918:.
1856:16
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1843:^
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1803:.
1654:^
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411:,
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297:c.
241:c.
228:,
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2264:.
2238:.
2170::
2145:7
2126:4
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2009:.
1989::
1947:.
1903:.
1878:.
1837:.
1758:.
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295:(
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116:(
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20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
