Printmaking - Knowledge (XXG)

1441: 800: 1218: 1199:(occasionally known as "silkscreen", or "serigraphy") creates prints by using a fabric stencil technique; 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. The fabric can be silk, nylon monofilament, multifilament polyester, or even stainless steel. While commercial screen printing often requires high-tech, mechanical apparatuses and calibrated materials, printmakers value it for the "Do It Yourself" approach, and the low technical requirements, high quality results. The essential tools required are a squeegee, a mesh fabric, a frame, and a stencil. Unlike many other printmaking processes, a printing press is not required, as screen printing is essentially stencil printing. 1104: 1548: 1241: 1095:, a water-soluble substance, is then applied, sealing the surface of the stone not covered with the drawing medium. The stone is wetted, with water staying only on the surface not covered in grease-based residue of the drawing; the stone is then 'rolled up', meaning oil ink is applied with a roller covering the entire surface; since water repels the oil in the ink, the ink adheres only to the greasy parts, perfectly inking the image. A sheet of dry paper is placed on the surface, and the image is transferred to the paper by the pressure of the printing press. Lithography is known for its ability to capture fine gradations in shading and very small detail. 49: 76: 31: 614: 1499: 1052: 962:. 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. Because the pressure of printing quickly destroys the burr, drypoint is useful only for very small editions; as few as ten or twenty impressions. To counter this, and allow for longer print runs, electro-plating (here called steelfacing) has been used since the nineteenth century to harden the surface of a plate. 1267:, monotyping produces a unique print, or monotype, because most of the ink is removed during the initial pressing. Although subsequent reprintings are sometimes possible, they differ greatly from the first print and are generally considered inferior. A second print from the original plate is called a "ghost print" or "cognate". Stencils, watercolor, solvents, brushes, and other tools are often used to embellish a monotype print. Monotypes are often spontaneously executed and with no preliminary sketch. 678: 453: 939: 428: 1260:

pressing the two together, usually using a printing-press. Monotypes can also be created by inking an entire surface and then, using brushes or rags, removing ink to create a subtractive image, e.g. creating lights from a field of opaque color. The inks used may be oil based or water based. With oil based inks, the paper may be dry, in which case the image has more contrast, or the paper may be damp, in which case the image has a 10 percent greater range of tones.

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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. When inked, the roughened areas of the plate will hold more ink and print more darkly, while smoother areas of the plate hold less or no ink, and will print more lightly or not at all. It is, however, possible to create the image by only roughening the plate selectively, so working from light to dark.

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applied in a particular sequence to produce the entire picture. On average about three to four plates are produced, but there are occasions where a printmaker may use up to seven plates. Every application of another plate of color will interact with the color already applied to the paper, and this must be kept in mind when producing the separation of colors. The lightest colors are often applied first, and then darker colors successively until the darkest.

536: 218: 1294:, hand-painted additions, and a form of tracing by which thick ink is laid down on a table, paper is placed on the ink, and the back of the paper is drawn on, transferring the ink to the paper. Monoprints can also be made by altering the type, color, and viscosity of the ink used to create different prints. Traditional printmaking techniques, such as lithography, woodcut, and intaglio, can be used to make monoprints. 449:, is the earliest printmaking technique. It was probably first developed as a means of printing patterns on cloth, and by the 5th century was used in China for printing text and images on paper. Woodcuts of images on paper developed around 1400 in Japan, and slightly later in Europe. These are the two areas where woodcut has been most extensively used purely as a process for making images without text. 185:, all printmaking processes have the capacity to produce identical multiples of the same artwork, which is called a print. Each print produced is considered an "original" work of art, and is correctly referred to as an "impression", not a "copy" (that means a different print copying the first, common in early printmaking). However, impressions can vary considerably, whether intentionally or not. 1381:(pron.: /ʒiːˈkleɪ/ zhee-KLAY or /dʒiːˈkleɪ/), is a neologism coined in 1991 by printmaker Jack Duganne for digital prints made on inkjet printers. Originally associated with early dye-based printers it is now more often refers to pigment-based prints. The word is based on the French word gicleur, which means "nozzle". Today fine art prints produced on large format ink-jet machines using the 862: 405: 1611: 1357:, they can be made from vegetable or animal sources. Dyes are well suited for textiles where the liquid dye penetrates and chemically bonds to the fiber. Because of the deep penetration, more layers of material must lose their color before the fading is apparent. Dyes, however, are not suitable for the relatively thin layers of ink laid out on the surface of a print. 747:) of Augsburg, Germany, who decorated armor in this way, and applied the method to printmaking. Etching soon came to challenge engraving as the most popular printmaking medium. Its great advantage was that, unlike engraving which requires special skill in metalworking, etching is relatively easy to learn for an artist trained in drawing. 470:, or transfers a drawing done on paper to a plank of wood. Traditionally, the artist then handed the work to a technician, who then uses sharp carving tools to carve away the parts of the block that will not receive ink. In the Western tradition, the surface of the block is then inked with the use of a 1506:

In printmaking processes requiring more than one application of ink or other medium, the problem exists as to how to line up properly areas of an image to receive ink in each application. The most obvious example of this would be a multi-color image in which each color is applied in a separate step.

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underground community in Java, Indonesia. Taring Padi Posters usually resemble intricately printed cartoon posters embedded with political messages. Images—usually resembling a visually complex scenario—are carved unto a wooden surface called cukilan, then smothered with printer's ink before pressing

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is applied by either using separate plates, blocks or screens or by using a reductionist approach. In multiple plate color techniques, a number of plates, screens or blocks are produced, each providing a different color. Each separate plate, screen, or block will be inked up in a different color and

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variant of engraving in which the image is formed from subtle gradations of light and shade. Mezzotint—from the Italian mezzo ("half") and tinta ("tone")—is a "dark manner" form of printmaking, which requires artists to work from dark to light. To create a mezzotint, the surface of a copper printing

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Screen printing may be adapted to printing on a variety of materials, from paper, cloth, and canvas to rubber, glass, and metal. Artists have used the technique to print on bottles, on slabs of granite, directly onto walls, and to reproduce images on textiles which would distort under pressure from

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Gravers come in a variety of shapes and sizes that yield different line types. The burin produces a unique and recognizable quality of line that is characterized by its steady, deliberate appearance and clean edges. Other tools such as mezzotint rockers, roulettes (a tool with a fine-toothed wheel)

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can employ reduction printing. This usually involves cutting a small amount of the block away, and then printing the block many times over on different sheets before washing the block, cutting more away and printing the next color on top. This allows the previous color to show through. This process

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have a life expectancy of over 1,000 years for the best paper and 500 years for average grades. When it comes to older prints, the condition of a print largely depends on the technique used to make the paper. Prints that are several hundred years old may be in better condition than prints that are

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Mixed-media prints may use multiple traditional printmaking processes such as etching, woodcut, letterpress, silkscreen, or even monoprinting in the creation of the print. They may also incorporate elements of chine colle, collage, or painted areas, and may be unique, i.e. one-off, non-editioned,

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Monoprinting is a form of printmaking that uses a matrix such as a woodblock, litho stone, or copper plate, but produces impressions that are unique. Multiple unique impressions printed from a single matrix are sometimes known as a variable edition. There are many techniques used in monoprinting,

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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. At this time the rosin can be burnished or scratched out to affect its tonal qualities. The tonal variation is controlled by the

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Mezzotint is known for the luxurious quality of its tones: first, because an evenly, finely roughened surface holds a lot of ink, allowing deep solid colors to be printed; secondly because the process of smoothing the texture with burin, burnisher and scraper allows fine gradations in tone to be

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Monotyping is a type of printmaking made by drawing or painting on a smooth, non-absorbent surface. 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

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To make a print, the engraved plate is inked all over, then the ink is wiped off the surface, leaving ink only 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). The paper picks up the ink from the

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The lining up of the results of each step in a multistep printmaking process is called "registration." Proper registration results in the various components of an image being in their proper place. But, for artistic reasons, improper registration is not necessarily the ruination of an image.

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The reductionist approach to producing color is to start with a lino or wood block that is either blank or with a simple etching. Upon each printing of color the printmaker will then further cut into the lino or woodblock removing more material and then apply another color and reprint. Each

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Protective clothing is very important for printmakers who engage in etching and lithography (closed toed shoes and long pants). Whereas in the past printmakers put their plates in and out of acid baths with their bare hands, today printmakers use rubber gloves. They also wear industrial

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can be repeated many times over. The advantages of this process is that only one block is needed, and that different components of an intricate design will line up perfectly. The disadvantage is that once the artist moves on to the next layer, no more prints can be made.

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successive removal of lino or wood from the block will expose the already printed color to the viewer of the print. Picasso is often cited as the inventor of reduction printmaking, although there is evidence of this method in use 25 years before Picasso's linocuts.

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Monotypes are the most painterly method among the printmaking techniques, a unique print that is essentially a printed painting. The principal characteristic of this medium is found in its spontaneity and its combination of printmaking, painting, and drawing media.

131:, and other surfaces. "Traditional printmaking" normally covers only the process of creating prints using a hand processed technique, rather than a photographic reproduction of a visual artwork which would be printed using an electronic machine ( 1518:

This can vary significantly from process to process. This involves the matrices of different colors (generally three or four) being printed successively on the paper in a correct alignment to provide the print in color.

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etchings. 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, traditional aquatint relies on powdered

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Pigment is a finely ground, particulate substance which, when mixed or ground into a liquid to make ink or paint, does not dissolve, but remains dispersed or suspended in the liquid. Pigments are categorized as either

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Many of these techniques can also be combined, especially within the same family. For example, Rembrandt's prints are usually referred to as "etchings" for convenience, but very often include work in engraving and

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engraved lines, making a print. The 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

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grade picture mats are essential since acids within older or inexpensive matting will attack a print even if the print was produced using acid-free paper. Color prints can be susceptible to

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are technicians who are capable of printing identical "impressions" by hand. A print that copies another work of art, especially a painting, is known as a "reproductive print".

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or backing papers. To preserve/restore older prints, washing, deacidification and treatment with stain reducing agents may be in order. Further, if the print is framed,

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Thompson, Wendy. "The Printed Image in the West: History and Techniques". In Timeline of Art History. New York: The Metropolitan Museum of Art, 2000 – . (October 2003)

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Preservation of this 140+ year-old print protected under glass required removal of the old matting, deacidification of the print, and conservation grade new matting.

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Protective respirators and masks should have particle filters, particularly for aquatinting. As a part of the aquatinting process, a printmaker is often exposed to

1217: 2010: 717:. The artist then draws through the ground with a pointed etching needle, exposing the metal. The plate is then etched by dipping it in a bath of etchant (e.g. 297:, where the matrix retains its original surface, but is specially prepared and/or inked to allow for the transfer of the image. Planographic techniques include 2147: 221: 1799: 1750: 1726: 1240: 754:

can vary from smooth to sketchy. An etching is opposite of a woodcut in that the raised portions of an etching remain blank while the crevices hold ink.

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powder. Rosin is a serious health hazard, especially to printmakers who, in the past, simply used to hold their breath using an aquatinting booth.

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to cut the design into the surface of a metal plate, traditionally made of copper. Engraving using a burin is generally a difficult skill to learn.

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Printmakers apply color to their prints in many different ways. Some coloring techniques include positive surface roll, negative surface roll, and

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is a form of lithography on wood instead of limestone. It was invented by Seishi Ozaku in the 1970s in Japan and was originally called Mokurito.

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captures an image by photographic processes on metal plates; printing is more or less carried out in the same way as stone lithography.

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You can see the two marking holes on the right and left edges halfway up to allow the precise superposition of the dies for each color

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Modern prints onto paper protected from the sun and moisture will last an incredibly long time. Prints made using newer alkaline and

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instead of a traditional printing press. Images can be printed to a variety of substrates including paper, cloth, or plastic canvas.

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designed to hold the garment in a fixed position, and the printer inks are jetted or sprayed onto the textile by the print head.

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to a sheet of paper or other material, by a variety of techniques. Common types of matrices include: metal plates for

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André Béguin's dictionary;enormous dictionary of terms, relating more to the printing than the creation of the image

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prints. Mixed-media prints are often experimental prints and may be printed on unusual, non-traditional surfaces.

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Beth Grabowski and Bill Fick, "Printmaking: A Complete Guide to Materials & Processes." Prentice Hall, 2009.

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less than 50 years old . Many older prints will yellow or brown over time owing to acids in the paper and any

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level between 25% and 40%. Prints onto silk are particularly sensitive to any light including camera flashes.

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is a name used to describe the process of using one block to print several layers of color on one print. Both

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and burnishers (a tool used for making an object smooth or shiny by rubbing) are used for texturing effects.

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This article is about techniques of printmaking as a fine art. For the history of printmaking in Europe, see

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family. In pure etching, a metal plate (usually copper, zinc, or steel) is covered with a waxy or acrylic

710: 576: 268: 2401: 271:, where ink is forced into grooves or cavities in the surface of the matrix. Intaglio techniques include 3348: 3269: 3254: 3015: 2902: 2865: 1561: 1370:(mineral) or organic (synthetic). Pigment-based inks have a much longer permanence than dye-based inks. 926: 914: 779: 771: 691: 677: 501: 483: 431: 385: 193: 30: 3134: 2386: 897:, as well as other non toxic techniques, to achieve aquatint due to rosin boxes posing a fire hazard. 311:, where ink or paint is pressed through a prepared screen or material with cutout elements, including 3422: 3221: 3174: 2971: 2860: 2679: 2179: 1705: 1159: 1076: 938: 3274: 3238: 3216: 3095: 3010: 2649: 1651: 1229: 886:

level of acid exposure over large areas, and thus the image is shaped by large sections at a time.

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How to Identify Prints: A Complete Guide to Manual and Mechanical Processes from Woodcut to Inkjet

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for protection from caustic vapors. Most acid baths are built with ventilation hoods above them.

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A Midsummer Night’s Dream (Bottom and Titania) by Samuel Cousins, mezzotint on paper (1801-1887).

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In the 20th century, true engraving was revived as a serious art form by artists including

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depending on the type of inks used. Lighting of sensitive prints should be limited to 50

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process. Other types of matrix substrates and related processes are discussed below.

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Another variation of woodcut printmaking is the cukil technique, made famous by the

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Printmaking techniques are generally divided into the following basic categories:

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Etching prints are generally linear and often contain fine detail and contours.

718: 651: 517: 389: 298: 159: 108: 2416: 1353:) dissolved and mixed into a liquid. Although most are synthetic, derived from 861: 404: 3228: 3123: 2978: 2966: 2932: 2887: 2877: 2780: 2775: 2576: 2556: 2531: 2421: 2411: 2148:"How do you preserve a 100-year-old piece of silk and woman suffrage history?" 1661: 1606: 1529: 1287: 1212: 1092: 999: 667: 580: 302: 272: 182: 552:

The process was developed in Germany in the 1430s from the engraving used by

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is a printmaking technique made using the Iowa Foil Printer, developed by

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lithography produces an image that illustrates a gradient-like quality.

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A variant of engraving, done with a sharp point, rather than a v-shaped

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Digital prints refers to images printed using digital printers such as

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to decorate metalwork. Engravers use a hardened steel tool called a

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in Paris and New York City became the magnet for such artists as

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A non-toxic form of etching that does not involve an acid is

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Process of creating artworks by printing, normally on paper

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in 1515, the process is believed to have been invented by

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Multiple impressions printed from the same matrix form an

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Prints & people: a social history of printed pictures

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was known to intentionally employ improper registration.

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Contemporary printmakers also sometimes using airbrushed

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The Print in the Western World: An Introductory History.

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Marianne Kelsey Book and Paper Conservator Professional

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Marianne Kelsey Book and Paper Conservator Professional

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monotype on Japan paper mounted on cardboard, 1894,

3247: 3116: 3054: 2918: 2843: 2642: 965:The technique appears to have been invented by the 210: 2211: 1991:An overview of large format color digital printing 1486:and is present in bitmap or vectorial software in 2422:Judging the Authenticity of Prints by The Masters 819:The mezzotint printmaking method was invented by 457:Woodcuts of Stanislaw Raczynski (1903–1982) 2402:Museum of Modern Art, New York: What Is a Print? 2124:"How to Care For Vellum and Parchment Documents" 3108:Timeline of 20th century printmaking in America 2350:. New York: Holt, Rinehart, and Winston, 1978. 1672:Timeline of 20th century printmaking in America 347:as well, and sometimes have no etching at all. 327:A type of printmaking outside of this group is 2317:Madison: University of Wisconsin Press, 1984. 2291:Madison: University of Wisconsin Press, 1996. 142:Prints are created by transferring ink from a 23:. For the Japanese printmaking tradition, see 2616: 2448: 572:, which gives much shallower lines, is used. 466:either draws a design directly on a plank of 8: 2221:. New York: The Metropolitan Museum of Art. 158:techniques; stone, aluminum, or polymer for 2333:Cambridge: Harvard University Press, 1953. 900:Goya used aquatint for most of his prints. 2623: 2609: 2601: 2455: 2441: 2433: 1836:Vol. 7 No. 3 (September–October 2017), 17. 1776:"Japanese Woodblock Printmaking Explained" 1428:technology. DTG printers typically have a 2263:Victoria and Albert Museum (May 1, 2006) 2249:Worcester, MA: Davis Publications, 2009. 1413:Direct-to-garment printing (DTG printing) 1405:process. This uses gold leaf and acrylic 478:were inked with a brush. Then a sheet of 1497: 548:, one of the most important printmakers. 74: 47: 29: 1718: 732:Although the first dated etching is by 521:it unto media such as paper or canvas. 2261:Prints Now: Directions and Definitions 413:La raison probante (The Cogent Reason) 207: 2424:by art historian David Rudd Cycleback 2277:, British Museum Press, 2nd ed, 1996 1953:. Bloomsbury Publishing. p. 27. 1311:Artists using this technique include 1149:Artists using this technique include 977:Artists using this technique include 908:Artists using this technique include 831:Artists using this technique include 769:Artists using this technique include 625:Artists using this technique include 474:; however in the Japanese tradition, 355:Artists using this technique include 7: 2417:Another glossary – for modern prints 2306:The Mezzotint: History and Technique 1931:Printmaking FAQ at Magnolia Editions 866:The sleep of Reason creates monsters 222:Printmaking: Woodcuts and Engravings 2152:National Museum of American History 1071:is a technique invented in 1798 by 3207:Index of painting-related articles 2396:History of printmaking; glossaries 2315:A Century of American Printmaking. 14: 1595:) should also be maintained at a 2348:Printmaking: History and Process 2331:Prints and Visual Communication. 1609: 1523:Protective printmaking equipment 216: 1913:Washington printmakers' gallery 1872:"mokulito - Danielle Creenaune" 1385:are generally called "Giclée". 2259:Gill Saunders and Rosie Miles 2000:at largeformatphotography.info 1804:The Metropolitan Museum of Art 1755:The Metropolitan Museum of Art 1249:Giovanni Benedetto Castiglione 1: 2428:Printing techniques explained 2308:(Harry N. Abrams, Inc., 1990) 1247:by the technique's inventor, 1087:. A porous surface, normally 741: 697: 95: 84:There is No One To Help Them, 66: 3146:Museum collection management 3069:Art history (academic study) 2948:alternative exhibition space 2387:Resources in other libraries 1409:in the printmaking process. 3307:Colossal sculptures in situ 3011:Artist-in-residence program 1851:Straight Dope Message Board 1774:Watton, Jill (2019-04-26). 1234:The National Gallery of Art 1120:The National Gallery of Art 107:is the process of creating 3451: 3317:Contemporary art galleries 3212:Outline of the visual arts 1976:Mastering Digital Printing 1706:Printmakers by nationality 1689:Printmakers by nationality 1591:Prints onto animal skins ( 1424:using specialized aqueous 1418:Direct-to-garment printing 1326: 1278: 1210: 1189: 1044: 931: 868:, etching and aquatint by 854: 792: 606: 528: 397: 38:The Underwave off Kanagawa 18: 3387: 2585: 2470: 2382:Resources in your library 1099:Variations of Lithography 1012:Henri de Toulouse-Lautrec 692:The Hundred Guilder print 619:Saint Jerome in his Study 305:, and digital techniques. 215: 3371:Most expensive paintings 3158:Conservation-restoration 2960:Contemporary art gallery 1951:Digital Textile Printing 1696:Engravers by nationality 1478:concept is also used in 333:Contemporary printmaking 44:, Rijksmuseum Collection 3379:works by living artists 3141:Classificatory disputes 2247:Experience Printmaking. 2210:A. Hyatt Mayor (1971). 2122:Marianne (2020-01-10). 2073:Marianne (2017-12-16). 2024:Smidgeon (2014-09-09). 1637:Carborundum printmaking 1490:or other color spaces. 1107:Rachel Robinson Elmer, 1060:, Lithograph poster by 919:Master of the Housebook 838:Jean-Baptiste Le Prince 2590:List of artistic media 2275:Prints and Printmaking 1949:Carden, Susan (2015). 1900:A.W.T. World Trade Inc 1701:Etchers by nationality 1552: 1503: 1451: 1420:(DTG) is a process of 1256: 1237: 1228:(Words of the Devil), 1123: 1065: 955: 873: 804: 745: 1470–1536 703: 622: 577:Stanley William Hayter 549: 490:, or is run through a 459: 442: 424: 181:Except in the case of 101: 72: 45: 3016:Artist-run initiative 2903:Visual arts education 1876:daniellecreenaune.com 1847:"Exploding Rosin Box" 1633:, Chinese printmaking 1550: 1501: 1443: 1243: 1220: 1106: 1054: 941: 927:William Lionel Wyllie 915:Francis Seymour Haden 864: 802: 680: 616: 538: 455: 432:Ernst Ludwig Kirchner 430: 407: 386:Ernst Ludwig Kirchner 162:; blocks of wood for 78: 51: 33: 3312:Contemporary artists 3175:Destination painting 2972:Single-artist museum 2861:Conservator-restorer 2346:and Deli Sacilotto. 2180:Museum of Modern Art 1422:printing on textiles 1401:from the commercial 1253:The Creation of Adam 1226:Arearea no Varua Ino 876:A technique used in 544:, 1514 engraving by 3302:Art reference books 3096:History of painting 2680:Fine-art photograph 2103:www.philamuseum.org 1652:List of printmakers 1345:Dye-based inks are 1122:, Washington, D.C. 445:Woodcut, a type of 170:; and linoleum for 40:, 1829/1833, color 3397:Visual arts portal 3327:National galleries 3180:Eclecticism in art 3135:Catalogue raisonné 3006:Artist cooperative 2328:William Ivins, Jr. 2273:Antony Griffiths, 1996:2021-01-13 at the 1936:2009-04-13 at the 1918:2010-12-28 at the 1829:2020-03-08 at the 1780:Jackson's Art Blog 1617:Visual arts portal 1588:sleeves or tubes. 1553: 1543:Print preservation 1504: 1452: 1383:CcMmYK color model 1361:Pigment-based inks 1298:Mixed-media prints 1257: 1238: 1236:, Washington, D.C. 1203:printing presses. 1124: 1118:June Night, 1916, 1116:Woolworth Building 1077:chemical repulsion 1066: 956: 874: 805: 784:Wallerant Vaillant 704: 623: 589:Alberto Giacometti 550: 502:Reduction printing 460: 443: 425: 329:viscosity printing 187:Master printmakers 102: 73: 46: 35:Katsushika Hokusai 3433:Visual arts media 3410: 3409: 3001:Artist collective 2815:Site-specific art 2665:Cultural artifact 2598: 2597: 2572:Site-specific art 2368:Library resources 2297:978-0-299-13700-7 2255:978-0-87192-982-2 1973:Johnson, Harald. 1731:www.metmuseum.org 1476:subtractive color 1399:Virginia A. Myers 1127:Photo-lithography 1112:offset lithograph 1075:and based on the 1036:Elaine de Kooning 1024:Willem de Kooning 944:The Three Crosses 850:Thomas Rowlandson 821:Ludwig von Siegen 776:Ludwig von Siegen 640:Wenceslaus Hollar 593:Mauricio Lasansky 231: 230: 156:intaglio printing 3440: 3366:Stolen paintings 3234:Sociology of art 3185:Economics of art 3036:Sculpture garden 3021:Artist-run space 2820:Social sculpture 2690:Installation art 2625: 2618: 2611: 2602: 2457: 2450: 2443: 2434: 2232: 2220: 2185:Bamber Gascoigne 2176:What is a Print? 2163: 2162: 2160: 2159: 2144: 2138: 2137: 2135: 2134: 2119: 2113: 2112: 2110: 2109: 2095: 2089: 2088: 2086: 2085: 2070: 2064: 2063: 2061: 2060: 2046: 2040: 2039: 2037: 2036: 2021: 2015: 2014: 2007: 2001: 1989:Luong, Q.-Tuan. 1987: 1981: 1971: 1965: 1964: 1946: 1940: 1928: 1922: 1910: 1904: 1903: 1892: 1886: 1885: 1883: 1882: 1868: 1862: 1861: 1859: 1858: 1843: 1837: 1822:Cohen, Brian D. 1820: 1814: 1813: 1811: 1810: 1796: 1790: 1789: 1787: 1786: 1771: 1765: 1764: 1762: 1761: 1747: 1741: 1740: 1738: 1737: 1723: 1657:Old master print 1619: 1614: 1613: 1329:Digital printing 1168:Roy Lichtenstein 1156:Ralston Crawford 1073:Alois Senefelder 1062:Toulouse-Lautrec 984:Vincent van Gogh 967:Housebook Master 746: 743: 702: 699: 686:Christ Preaching 672:Lucas van Leyden 617:Albrecht Dürer, 419:from the series 393:Antonio Frasconi 337:digital printing 220: 219: 208: 100: 97: 88:Disasters of War 71: 68: 21:Old master print 3450: 3449: 3443: 3442: 3441: 3439: 3438: 3437: 3413: 3412: 3411: 3406: 3392:Painting portal 3383: 3290:sculpture parks 3243: 3202:Elements of art 3170:Cultural policy 3112: 3064:Timeline of art 3050: 3041:Sculpture trail 2920: 2914: 2839: 2756:Performance art 2638: 2629: 2599: 2594: 2581: 2512:Decorative arts 2466: 2461: 2393: 2392: 2391: 2376: 2375: 2371: 2364: 2245:Donna Anderson 2229: 2209: 2206: 2204:Further reading 2172: 2167: 2166: 2157: 2155: 2146: 2145: 2141: 2132: 2130: 2121: 2120: 2116: 2107: 2105: 2097: 2096: 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409:Félix Vallotton 402: 396: 382:Gustave Baumann 353: 313:screen printing 236: 217: 211:External videos 206: 176:screen printing 168:wood engravings 98: 69: 28: 17: 12: 11: 5: 3448: 3447: 3444: 3436: 3435: 3430: 3425: 3415: 3414: 3408: 3407: 3405: 3404: 3399: 3394: 3388: 3385: 3384: 3382: 3381: 3368: 3363: 3362: 3361: 3351: 3346: 3345: 3344: 3342:by nationality 3339: 3329: 3324: 3322:Modern artists 3319: 3314: 3309: 3304: 3299: 3298: 3297: 3292: 3287: 3282: 3272: 3267: 3265:Art techniques 3262: 3257: 3251: 3249: 3245: 3244: 3242: 3241: 3236: 3231: 3226: 3225: 3224: 3219: 3209: 3204: 3199: 3198: 3197: 3192: 3182: 3177: 3172: 3167: 3166: 3165: 3155: 3154: 3153: 3151:deaccessioning 3143: 3138: 3131: 3126: 3120: 3118: 3114: 3113: 3111: 3110: 3105: 3104: 3103: 3093: 3092: 3091: 3081: 3076: 3071: 3066: 3060: 3058: 3056:History of art 3052: 3051: 3049: 3048: 3046:Virtual museum 3043: 3038: 3033: 3028: 3023: 3018: 3013: 3008: 3003: 2998: 2993: 2988: 2987: 2986: 2976: 2975: 2974: 2964: 2963: 2962: 2952: 2951: 2950: 2943:Art exhibition 2940: 2935: 2930: 2924: 2922: 2916: 2915: 2913: 2912: 2911: 2910: 2900: 2895: 2890: 2885: 2880: 2875: 2874: 2873: 2868: 2858: 2853: 2847: 2845: 2841: 2840: 2838: 2837: 2832: 2827: 2825:Soft sculpture 2822: 2817: 2812: 2811: 2810: 2805: 2800: 2795: 2785: 2784: 2783: 2773: 2768: 2763: 2758: 2753: 2748: 2747: 2746: 2741: 2736: 2726: 2725: 2724: 2719: 2709: 2708: 2707: 2697: 2692: 2687: 2682: 2677: 2672: 2667: 2662: 2660:Conceptual art 2657: 2652: 2646: 2644: 2640: 2639: 2630: 2628: 2627: 2620: 2613: 2605: 2596: 2595: 2593: 2592: 2586: 2583: 2582: 2580: 2579: 2574: 2569: 2564: 2559: 2554: 2549: 2544: 2539: 2534: 2529: 2524: 2519: 2514: 2509: 2508: 2507: 2497: 2492: 2487: 2482: 2477: 2471: 2468: 2467: 2462: 2460: 2459: 2452: 2445: 2437: 2431: 2430: 2425: 2419: 2414: 2409: 2404: 2398: 2397: 2390: 2389: 2384: 2378: 2377: 2366: 2365: 2363: 2362:External links 2360: 2359: 2358: 2356:978-0030856631 2341: 2325: 2309: 2299: 2285: 2271: 2257: 2243: 2233: 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834:Norman Ackroyd 830: 828: 825: 793:Main article: 768: 766: 763: 759:Electroetching 734:Albrecht Dürer 660:Käthe Kollwitz 636:Francisco Goya 628:Albrecht Dürer 624: 607:Main article: 604: 601: 546:Albrecht Dürer 529:Main article: 526: 523: 492:printing press 398:Main article: 378:Frans Masereel 362:Hans Burgkmair 358:Albrecht Dürer 354: 352: 349: 325: 324: 306: 292: 266: 255:wood engraving 235: 232: 229: 228: 213: 212: 205: 202: 198:artist's books 119:, but also on 115:, normally on 80:Francisco Goya 15: 13: 10: 9: 6: 4: 3: 2: 3446: 3445: 3434: 3431: 3429: 3426: 3424: 3421: 3420: 3418: 3403: 3400: 3398: 3395: 3393: 3390: 3389: 3386: 3380: 3376: 3372: 3369: 3367: 3364: 3360: 3357: 3356: 3355: 3352: 3350: 3349:Photographers 3347: 3343: 3340: 3338: 3335: 3334: 3333: 3330: 3328: 3325: 3323: 3320: 3318: 3315: 3313: 3310: 3308: 3305: 3303: 3300: 3296: 3295:single artist 3293: 3291: 3288: 3286: 3283: 3281: 3278: 3277: 3276: 3273: 3271: 3270:Art movements 3268: 3266: 3263: 3261: 3258: 3256: 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