There are several ways to use stencil methods in printmaking. Embossed effects can be achieved by printing without ink.Ĭollagraphs can be combined with other printing methods where texture and color overprinting is desired. In other types, hand pressure is enough to transfer the image from the matrix to the paper.)Ī collagraph can be printed as an intaglio, with the ink in the recesses of the plate or it can be printed as a relief, with the ink transferring from the top surface of the plate. Some printmaking processes require the pressure of a press on the matrix to create a print. (The matrix is the plate or block that holds and guides the ink to the surface of the paper. Cardboard, metal, plastic or hardboard can be used as a matrix base. The matrix for a collagraph is a very low three dimensional collage made from various materials such as string, fabric, tagboard, dried plant material, etc., affixed to the surface of the matrix base. The word collagraph comes from the French word collage and was coined by the American artist, Glen Alps. A monoprint may utilize etching, woodcut, lithography or collagraph to create the repeatable element of the monoprint. Monoprint refers to monotype work that includes elements of another printmaking process for the purpose of repeating an element of the design. This pale image can be further developed into a new monotype or mixed media print. This yields a “ghost print”, a paler version of the original. This type of print is also called a cognate print. When the transfer is complete there may be some ink left on the plate which can be re-printed. The image is developed on a flat unaltered plate with oil-based or water-based inks or paints and then transferred to paper either by hand or with a press. Monotype is a process in which a combination of painting and printmaking techniques are used, resulting in a one-of-a-kind image. In other types, hand pressure is enough to transfer the image from the matrix to the paper.) In planographic printmaking the image is created and transferred from the flat surface of a matrix.
Monotypes and monoprints are planographic prints. Collagraphs may be printed as relief prints with the ink transferring from the top surface of the collagraph plate. Woodcut, wood engraving and linocut are examples of relief printmaking. Therefore relief prints can be printed by hand as well as with a press. The ink is easily transferred from the surface of the matrix. In other types, hand pressure is enough to transfer the image from the matrix to the paper.)Ī relief print is made by carving away parts of the matrix, leaving only that which is meant to be printed. In relief printmaking the uppermost surface of the matrix yields the image. It includes etching, engraving, drypoint, aquatint, photopolymer etching (solar plate etching), and collagraph. Intaglio is the umbrella term for the largest family of printmaking techniques. For this reason intaglio plates cannot be printed by hand. Tremendous pressure is needed to transfer the ink from below the surface of the matrix. Paper is then placed on the plate and passed through the press. The ink is then wiped off to the desired effect, leaving enough ink in the grooves to transfer the image. In other types, hand pressure is enough to transfer the image from the matrix to the paper.)Īn intaglio print is made by spreading ink into the incised grooves on the matrix. An intaglio print is produced from incisions or depressions made below the surface of the matrix.
Intaglio (in-tal’-yo) is the Italian word for incised. It is the surface, plate or block that holds and guides the ink to create the image, by pressing a sheet of paper against it and transferring the image by hand or via the printing press. A basic component to all printmaking is still the matrix. Today printmaking is a renaissance with the evolution of modern technical innovations. Printmaking in the West began around the mid 1400s with Gutenberg’s Bible. The earliest record of printed material is a book dated 868 AD, printed in China from wood blocks.
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