Printmaking Information The Relevance of Printmaking When trying to develop a definition of printmaking, the most common characteristic that applies to most of the varied and specialised forms is that it involves a transfer from a matrix to a receiving substrate, commonly paper. It typically involves the transfer of a traditional ink-charged matrix, whether relief block, etching plate or lithographic stone, or of inks squeegeed through a stencil in printmaking. Printmaking as an art form is unique because of its development that is closely linked to industrial processes. As industrial printing developed through the ages, artists and printmakers adopted the methods, and when, in an attempt to improve productivity, new more efficient printing methods were developed, these too were added to the repertoire of printmakers and artists. While printing processes seemed to supersede each other in the commercial world, their existence in the artistic field is cumulative. For example, woodblocks for commercial printing were replaced by more durable engraved metal plates, which in turn changed to etching. This then developed into lithography, photography, screenprinting and various electronic media. Printmakers and artists use all of these techniques, and the creativity of the artist is reflected not only in the form and content of the print, but in the selection and use of process. Printmaking as an art form has become widely used in a wide range of communities and cultures in South Africa. It’s development, unlike other more traditional art forms, has not been dependent on Western art practices or access to the resources of formal art institutions. Serious printmakers could be self-taught or have academic qualifications. The artists could sell their works on the street or exhibit in galleries. The artist can also be from an urban or rural background. In South Africa the distribution of black and white printmakers is equal, but the number of black women printmakers is less than those of white women printmakers. When trying to develop a definition of printmaking, the most common characteristic that applies to most of the varied and specialised forms is that it involves a transfer from a matrix to a receiving substrate, commonly paper. It typically involves the transfer of a traditional ink-charged matrix, whether relief block, etching plate or lithographic stone, or of inks squeegeed through a stencil in printmaking. During periods of change, printmaking has played a role in distributing ideas, sometimes subtly through artworks in galleries, or more obviously in the messages of publications, political banners, posters and even T-shirts. This is because printmaking is a very versatile medium and the nature of the prints can adapt to the requirements easily, which is very important to the new South Africa. Printmaking has been developed into a specialised skill at many universities and technikons with high-quality equipment, but it is also favoured in art centres with limited resources. In the past these workshops were often developed specifically to train black artists who were banned from other institutions of art owing to the Apartheid regime. Prints, because they bridge so many art communities and because they fulfil such diverse functions, and reach such a wide audience, may be said to constitute a social matrix themselves. In South African prints we may discover an iconography of South African society. Printmaking techniques To create a general definition for printmaking is almost impossible, as there are so many different techniques and so many variations on these techniques. However, a basic aspect of most printmaking techniques seems to be that they almost all involve a transfer from a matrix to a receiving substrate, commonly paper. In the following article, we will give brief explanations on the most common types of printing methods and techniques, to assist in a better understanding of the skill of printmaking. When trying to reproduce an image, there are four main processes that can be employed: relief, intaglio, surface and stencil processes. They each involve cutting into a surface and then printing from this surface onto another surface, usually by using ink. Relief Process: this process involves cutting into a surface so that there will be different levels on the printing matrix. The areas that have been cut away will appear white when ink is rolled over the surface and printed. The raised areas will appear black (or whatever colour the ink used is). The most common materials that can be cut into for this process are linoleum (linocuts), wood (these are called woodcuts when the side surface is used to cut into, and wood engravings when the end of the surface is used) and metal (either by phototransfer on the image which is then etched to produce a raised gradation of dots called a halftone, or by pressing the shapes into metal, the method originally used to produce type fonts). Intaglio Process: the most common material into which incised (engraved) lines are cut is metal, usually copper, zinc or steel. The grooves may be scratched (called dry point), cut (engraving) or bitten into the surface with an acid (etching). Tonal areas can be obtained by etching into a porous granulated covering (aquatint) or engraving with multi-pointed tools (mezzotint). Commercial printing techniques transfer the image by photography; then the details are etched into the plate. This method (photogravure) is most often used for four-colour magazines. (see later for more detailed description of different processes). Surface Process: this method, also called the planographic technique, uses the principle of water-resistant marks retaining the printed ink. Originally this method was developed from drawing onto smooth-surfaced stones (lithography), but it is now used on prepared metal plates. Depending on the surface of the plate and the tools used to produce the drawing, great detail of tone, texture and line can be achieved. Stencil Process: in this method, the desired images are cut into a strong, thin material and ink is pushed through onto the paper, either by brushes, rollers or a squeegee (a rubber blade). Fine details are difficult to achieve. Colour prints, single colour effects, over printing or graduated colour techniques can be used. There are many different printmaking techniques, which include simple techniques, studio techniques, and screenprinting. Below follow some of the more commonly used terms, to assist in an understanding of the artistic technique. Simple techniques: Monoprints: these are unique printed images, not multiple repeats of the original image. Stencilling: this is the transfer of a design onto paper by pressing the paint through holes cut in a protective surface of card, paper or such material. Linocuts: for this technique a linoblock is cut into with sharp tools, and then the remaining surface (the relief) is inked and is printed onto a surface such as paper. Etched Lino: here an acid is used such as caustic soda, instead of tools. The lines formed are jagged and irregular, creating a more rough print. Woodcuts: the side of a plank is cut into, usually with the grain of the wood. Wood Engraving: the end grain of a block of wood is cut into. Studio techniques: Intaglio Process: the ink is transferred onto the paper from an incision in the surface of the printing plate. Drypoint: this involves scratching into the surface of the substance with a heavy steel point. The resulting line has a raised metal edge (the burr) which retains ink. Engraving: here the surface of the substance is cut into with a burin (a tool with an extremely sharp point which creates a V-shaped groove). Etching: this technique involves scratching through a protective layer of wax with a needle. The permanence of the lines is established by biting into the plate with acid. Variations in line are achieved by varying the time that different parts of the drawing are exposed to the acid. Soft Ground: this involves drawing onto rough paper which is laid over soft wax covering the plate. The wax, when drawn on firmly with a hard point, lifts the ground and exposes lines which are then etched. Hard Gound: this is an acid-resistant wax and resin medium. The artist scratches his/her design through it, exposing the plate beneath, and then the acid etches the exposed metal, creating the desired lines. Aquatint: a layer of fine resin dust is fused onto a plate surface by heat. A large range of tones is achieved by putting an acid onto the exposed areas of the plate at varying depths. Mezzotint: here the surface of the plate is evenly pitted with a multi-pointed tool (rocker). By scraping, burnishing and polishing the pitted surface to varying degrees, the plate's capacity to hold ink is more or less reduced, creating a range of tones. Screenprinting: This technique involves a stencil process whereby ink is forced, by pressure of a squeegee, through the open areas of a stencil attached to a stretched fine meshed fabric. It can print onto any flat surface such as paper, fabric, plastic or glass.