Relief, Intaglio, and

Letterpress Prints
A Fine Art Print Studio dedicated to promoting and preserving the craft of the hand printed, original fine art print.

In General Traditionally, wood panels are used to create a relief block, though anything flat that can be carved can be used. The image is transferred onto the block and the areas that do not print are carved away.

The high surfaces or uncut areas are inked and then a sheet of paper is laid over the inked block. Pressure is applied to the paper to transfer the inked areas to the paper.

Chiascuro Chiascuro is the art of using strong light and dark shadows to represent a pictorial image. Italian artists used this tecnique to replicate the effect of a charcoal drawing with white chalk.

Multi Block  A block for each color is cut and when printed, aligned to the other color blocks. Usually, the artist prints the lightest color first and the darkest color last. However, Gustave Baumann often printed in reverse, printing a dark first and the lighter colors on top.

Reduction  One block is used to create a multiple color print. The lighest color and the broadest area of the print is printed first for the entire edition, the block is then carved away leaving the next lightest color, which is printed. As the artist is continually removing material from the block to print the next color, the block is destroyed in the processes of making the image. The edition size is determined by how many acceptable impressions exist after the final color is printed.

Letterpress During the Arts and Crafts Period (1875-1920), with a focus on the individually produced arts, the mechanical press became a means of producing books or art in smaller quantities with a highly individual quality to the work.

Ukiyo-e The first Ukiyo-e prints represented the "Floating World", art work depicting pleasures of the common people. The art developed through the seventeenth and eighteenth centuries into a unique art form in that it was produce by a group of artisans. The creative process was divided between the publisher, the artist who created the designs, the carver who cut the blocks and the printer. Each was a master at his craft and added to the overall beauty of the completed print. This division of labor became a trade mark of the process, each craftsman contributing his expertise to the project.

The prints were printed with a pigment in rice paste which was applied to the block with stiff brushes. A baren was used to transfer the image onto the paper.

Shin Hanga As artisans moved away from the traditional structure of Ukiyo-e in the late nineteenth century, the Shin Hanga process briefly flourished. Here, the artist began to take control of the print being produced,  initially, removing the publisher from the "division of labor" and eventually even cutting and printing his own blocks. The Shin Hanga are noted for pleasing imagery designed for the masses, with the images often of a more commercial nature. Artists noted for the period are Hokusai and Yoshida.

Sosaku Hanga The "Creative print" developed out of the Shin Hanga and Ukiyo-e movements. The artist gained full control of the print, designing the imagery, carving the blocks, choosing the colors and printing the edition. The artist moved away from traditional imagery, combining western styles and printing processes to create his own unique print. The artists' statement became the predominant goal of the print.

In General Traditionally, a copper plate is used to create the printing plate, though a wide assortment of plates are now available. In the intaglio process, the area to be printed is recessed into the printing plate. Ink is pressed into the grooves, the surface ink wiped away, and then paper is forced into the grooves with a press, transferring the ink onto the paper.

Traditional Etch A copper or zinc metal plate is covered with a acid resist wax ground. The image is drawn into the wax with a needle point, care taken not to score the metal plate. The plate is then etched with an acid. Areas of the drawing can be blocked out after a timed bite, creating varying depths of line which means varying intensities of line.

Aqua Tint A copper or zinc metal plate is dusted with an even layer of powdered rosin which is then heated and adhered to the plate. The open spaces between the rosin particles create an even exposure to the metal plate, which when etched, creates a watercolor wash like effect, thus the name aquatint. Value gradations are created by stopping out areas between timed bitings.

Soft Ground A copper or zinc metal plate is covered with a acid resist wax ground that remains tacky. A thin sheet of paper is laid over the waxed plate and drawn upon. The pressure of the pencil transfers the wax from the plate to the paper, creating a pencil like line when etched.

Deep Etch The lines in the metal plate are etched as deep as possible. Some line quality is lost, but when printed the heavy relief quality of the ink lines assumes its own quality.

Solar Plate New to the printing world, a light sensitive polymer plate is covered with a drawing on an acetate overlay. When exposed to UV light, the polymer emulsion hardens, remaining soft where protected from light by line work. The soft emulsion is then washed away with warm water, creating etched line work which is printed as an intaglio plate.

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Leon Loughridge / Stuart T Loughridge

Dry Creek Art Press

1321 S Broadway, Denver, CO 80210

303 956-2994

Email: Inquiry@dcartpress.com

Be sure to visit our other site

Dry Creek Gold Leaf Inc.

Hand Crafted Frames, Gilding

Custom Finishes, Recreations

www.dcgoldleaf.com