Above: Linotype Operators of the Chicago Defender. – from wikipedia
RESOURCES
- IFPDA Glossary of Printmaking Terms & Techniques – ifpda.org
- The A-Z of prints & multiples - Christies.com
- An introduction to printmaking - AffordableArtFair.com
- Glossary of Terms from the Book - PrintedPicture.com
- Printmaking Techniques - CambridgeGallery.co.uk
- Keith Howard: The Contemporary Printmaker and New Terminology – nontoxicprint.com
- The printer's dictionary of technical terms; definitions of printing; glossary of terms used in book binding by Stewart, A. A. – Archive.org
https://screenprintingmag.com/screen-printing-troubleshooting-glossary/
Edge faults
Bleeding: 1. An enlargement of the image due to ink flowing beyond the boundaries of the stencil; 2. migration of colors into one another. Blocked edge: The printed edge is interrupted by unprinted voids.
Edge bubbles: Printed edges with irregularities caused by poor ink flow over previously printed edges or over edges that are parallel to the squeegee’s length; also known as “skips and voids.”
Double image: An overlapping light and dark double-edge resulting primarily from under-tensioned screens.
Edge dirt marks: Random imperfections along the image edges caused by dirt.
Edge mesh marks: A visible dot pattern along the image edge due to poorly cleaned screens.
Ink strings: Irregular, blurred edge caused by formation of tacky ink strings as the screen separates from the substrate.
Loss of detail: The space separating fine image elements is filled with ink.
Missing edge: The image edge is interrupted by “extensions” caused by missing stencil edges; opposite of “blocked edge.”
Sawtooth: A raster or staircase appearance of the printed edge, usually caused by poorly prepared stencils.
Smear: Excessive ink deposit beyond the stencil edge that is caused by too much squeegee pressure or unwanted screen or substrate movement during printing.
Static strings: Forked hair-like extensions and dots of ink beyond the image edge due to static electricity buildup on the substrate and/or screen.
Area faults
Area dirt marks: Small unprinted openings in the image area caused by dirt on the substrate or in the screen. Not to be confused with “pinholes.”
Area mesh marks: A texture in the printed ink surface that corresponds to the thread pattern of the mesh.
Enlarged image area: See stretched image under “Registration errors.”
Fisheye: A small round or oval imperfection with a dark center. This problem is usually caused by ink/substrate incompatibility.
Ghost image: A faint image visible in the newly printed image, primarily caused by remnants of a previous stencil that was not completely cleaned from the screen.
Incomplete image: A portion of the image is missing due to artwork or stencil problems. An image can also be incomplete as a result of a poorly tensioned screen set at a high off- contact distance.
Moiré pattern: See various moiré problems under “Ink-color problems.”
Mottling: A faint, irregular pattern in the image area that is caused by either differing rates of ink absorption into the substrate or minor differences in substrate thickness.
Orange peel: A small round or oval imperfection similar to a “fisheye” but with a light center. Like fisheye, this problem is usually caused by ink/substrate incompatibility.
Pinholes: Small printed dots in the non-image areas caused by a poorly processed stencil. Not to be confused by dirt marks in the image areas.
Reduced image area: See screen shrinkage under “Registration errors.”
Streaks: Faint lines in the printed image area that are usually the result of poorly sharpened squeegees or damaged flood bars.
Uneven ink deposit: A visible color difference in the image caused by nonparallel press components and/or uneven squeegee pressure. See also dichroism under “Ink-color problems.”
Registration errors
Image movement: Misregistration caused by lateral movement of the screen.
Misaligned artwork: Color-separated artwork that cannot be registered properly using the existing registration targets.
Misaligned setup: Misregistration caused by the initial, uncorrected misalignment of separated images (or images to substrate) during job setup.
Screen growth: An enlargement of the image area on the screen when compared to the film-positive image used to produce the stencil.
Screen shrinkage: A reduction in the size of the image area on screen when compared to the film-positive image used to produce the stencil.
Stretched image: A distorted enlargement of the printed image area in the direction of squeegee stroke when compared to the film-positive image used to produce the stencil.
Substrate growth: An enlargement of the substrate due to temperature and humidity changes between curing and subsequent processing. The substrate enlargement usually involves a corresponding enlargement of the image area.
Substrate movement: Unwanted movement of the substrate during printing due to mechanical problems or poorly set up registration guides.
Substrate shrinkage: A reduction in the size of the substrate noticeable right after curing. The substrate shrinkage usually involves corresponding shrinkage in the image areas.
Ink-color problems
Background mismatch: Undesired color change resulting from the combination of substrate background color and printed color. The background can affect the perceived color even if the printed ink layer is fully opaque.
Chroma mismatch: A poorly matched color that is brighter (or duller) than the color required.
Dichroism: A change in color due to thinner or thicker ink deposit than is required.
Hue mismatch: A poorly matched color that is visibly and measurably different from the required color.Tamas S. Frecska
Ink opacity: The ability of a given ink-layer thickness to hide the visual difference between a black-and-white background.
Ink transparency: The ability of a given thickness of ink to transmit a major portion of light without distorting or “clouding” the underlying images.
Low opacity: A change in opacity due to thinner-than-required ink deposit.
Value mismatch: A poorly matched color that is lighter or darker than the required color.
Process-color problems
Color order: The printing sequence of the four colors used in process-color printing that can affect the color appearance of the final printed product.
Dot gain: The enlargement of the printed dots due to low screen tension, underexposed screens, and poor printing-press setup (excessive off-contact distance and squeegee pressure). The net result is lighter-than-expected colors.
Film-to-film moiré: A moiré pattern that is inherent in the color-separated film positives, normally due to mistakes in the selection of halftone angles.
Film-to-mesh moiré: A moiré pattern that is caused by the interaction of halftone lines and mesh threads.
Ink density: The numerical value (as measured with a densitometer) of a solid block of any process-color ink after it is printed on a substrate.
Ink-to-ink moiré: A moiré pattern that develops as the third and fourth colors are printed, usually as a result of excessive ink-film thickness (most often seen as stacking of printed dots with UV inks).
Non-spec separation: Any color separation that does not meet the customer’s or printer’s specifications relative to halftone line count, screen angles, and color-density ranges.
Screen-to-substrate moiré: A moiré pattern that appears on a textured substrate (e.g., canvas); results from the interaction of the substrate texture, mesh, and halftone image.
Slur: A loss of dot and image definition due to smearing, bleeding, or substrate movement during printing.
Ink performance (curing related)
Abrasion resistance: The ability of the cured ink film to withstand rubbing and scratching action without visible degradation.
Adhesion: The force holding the cured ink on the surface of the substrate.
Blocking: The sticking action of undercured ink film that causes it to adhere to surfaces other than the one on which it was printed.
Chemical resistance: The ability of the cured ink film to withstand the chemical action of certain substances without experiencing physical (or visible) degradation.
Flexibility: The ability of the cured ink film to withstand repetitive bending without breaking, cracking, or delaminating from the substrate surface.
Weatherability: The ability of the cured ink film to withstand environmental and weather-related abuse (e.g., sun, wind, snow, water, etc.)
Ink performance (printing related)
Ink-film thickness: The vertical height of the ink deposit after curing.
Ink-film uniformity: The evenness of the printed surface and consistency of the overall ink-deposit thickness.
Edge faults
Bleeding: 1. An enlargement of the image due to ink flowing beyond the boundaries of the stencil; 2. migration of colors into one another. Blocked edge: The printed edge is interrupted by unprinted voids.
Edge bubbles: Printed edges with irregularities caused by poor ink flow over previously printed edges or over edges that are parallel to the squeegee’s length; also known as “skips and voids.”
Double image: An overlapping light and dark double-edge resulting primarily from under-tensioned screens.
Edge dirt marks: Random imperfections along the image edges caused by dirt.
Edge mesh marks: A visible dot pattern along the image edge due to poorly cleaned screens.
Ink strings: Irregular, blurred edge caused by formation of tacky ink strings as the screen separates from the substrate.
Loss of detail: The space separating fine image elements is filled with ink.
Missing edge: The image edge is interrupted by “extensions” caused by missing stencil edges; opposite of “blocked edge.”
Sawtooth: A raster or staircase appearance of the printed edge, usually caused by poorly prepared stencils.
Smear: Excessive ink deposit beyond the stencil edge that is caused by too much squeegee pressure or unwanted screen or substrate movement during printing.
Static strings: Forked hair-like extensions and dots of ink beyond the image edge due to static electricity buildup on the substrate and/or screen.
Area faults
Area dirt marks: Small unprinted openings in the image area caused by dirt on the substrate or in the screen. Not to be confused with “pinholes.”
Area mesh marks: A texture in the printed ink surface that corresponds to the thread pattern of the mesh.
Enlarged image area: See stretched image under “Registration errors.”
Fisheye: A small round or oval imperfection with a dark center. This problem is usually caused by ink/substrate incompatibility.
Ghost image: A faint image visible in the newly printed image, primarily caused by remnants of a previous stencil that was not completely cleaned from the screen.
Incomplete image: A portion of the image is missing due to artwork or stencil problems. An image can also be incomplete as a result of a poorly tensioned screen set at a high off- contact distance.
Moiré pattern: See various moiré problems under “Ink-color problems.”
Mottling: A faint, irregular pattern in the image area that is caused by either differing rates of ink absorption into the substrate or minor differences in substrate thickness.
Orange peel: A small round or oval imperfection similar to a “fisheye” but with a light center. Like fisheye, this problem is usually caused by ink/substrate incompatibility.
Pinholes: Small printed dots in the non-image areas caused by a poorly processed stencil. Not to be confused by dirt marks in the image areas.
Reduced image area: See screen shrinkage under “Registration errors.”
Streaks: Faint lines in the printed image area that are usually the result of poorly sharpened squeegees or damaged flood bars.
Uneven ink deposit: A visible color difference in the image caused by nonparallel press components and/or uneven squeegee pressure. See also dichroism under “Ink-color problems.”
Registration errors
Image movement: Misregistration caused by lateral movement of the screen.
Misaligned artwork: Color-separated artwork that cannot be registered properly using the existing registration targets.
Misaligned setup: Misregistration caused by the initial, uncorrected misalignment of separated images (or images to substrate) during job setup.
Screen growth: An enlargement of the image area on the screen when compared to the film-positive image used to produce the stencil.
Screen shrinkage: A reduction in the size of the image area on screen when compared to the film-positive image used to produce the stencil.
Stretched image: A distorted enlargement of the printed image area in the direction of squeegee stroke when compared to the film-positive image used to produce the stencil.
Substrate growth: An enlargement of the substrate due to temperature and humidity changes between curing and subsequent processing. The substrate enlargement usually involves a corresponding enlargement of the image area.
Substrate movement: Unwanted movement of the substrate during printing due to mechanical problems or poorly set up registration guides.
Substrate shrinkage: A reduction in the size of the substrate noticeable right after curing. The substrate shrinkage usually involves corresponding shrinkage in the image areas.
Ink-color problems
Background mismatch: Undesired color change resulting from the combination of substrate background color and printed color. The background can affect the perceived color even if the printed ink layer is fully opaque.
Chroma mismatch: A poorly matched color that is brighter (or duller) than the color required.
Dichroism: A change in color due to thinner or thicker ink deposit than is required.
Hue mismatch: A poorly matched color that is visibly and measurably different from the required color.Tamas S. Frecska
Ink opacity: The ability of a given ink-layer thickness to hide the visual difference between a black-and-white background.
Ink transparency: The ability of a given thickness of ink to transmit a major portion of light without distorting or “clouding” the underlying images.
Low opacity: A change in opacity due to thinner-than-required ink deposit.
Value mismatch: A poorly matched color that is lighter or darker than the required color.
Process-color problems
Color order: The printing sequence of the four colors used in process-color printing that can affect the color appearance of the final printed product.
Dot gain: The enlargement of the printed dots due to low screen tension, underexposed screens, and poor printing-press setup (excessive off-contact distance and squeegee pressure). The net result is lighter-than-expected colors.
Film-to-film moiré: A moiré pattern that is inherent in the color-separated film positives, normally due to mistakes in the selection of halftone angles.
Film-to-mesh moiré: A moiré pattern that is caused by the interaction of halftone lines and mesh threads.
Ink density: The numerical value (as measured with a densitometer) of a solid block of any process-color ink after it is printed on a substrate.
Ink-to-ink moiré: A moiré pattern that develops as the third and fourth colors are printed, usually as a result of excessive ink-film thickness (most often seen as stacking of printed dots with UV inks).
Non-spec separation: Any color separation that does not meet the customer’s or printer’s specifications relative to halftone line count, screen angles, and color-density ranges.
Screen-to-substrate moiré: A moiré pattern that appears on a textured substrate (e.g., canvas); results from the interaction of the substrate texture, mesh, and halftone image.
Slur: A loss of dot and image definition due to smearing, bleeding, or substrate movement during printing.
Ink performance (curing related)
Abrasion resistance: The ability of the cured ink film to withstand rubbing and scratching action without visible degradation.
Adhesion: The force holding the cured ink on the surface of the substrate.
Blocking: The sticking action of undercured ink film that causes it to adhere to surfaces other than the one on which it was printed.
Chemical resistance: The ability of the cured ink film to withstand the chemical action of certain substances without experiencing physical (or visible) degradation.
Flexibility: The ability of the cured ink film to withstand repetitive bending without breaking, cracking, or delaminating from the substrate surface.
Weatherability: The ability of the cured ink film to withstand environmental and weather-related abuse (e.g., sun, wind, snow, water, etc.)
Ink performance (printing related)
Ink-film thickness: The vertical height of the ink deposit after curing.
Ink-film uniformity: The evenness of the printed surface and consistency of the overall ink-deposit thickness.
A
Acid-free – refers to papers that are made with an alkaline pulp, usually with calcium carbonate added. Acids contribute to the deterioration of paper and therefore of prints.
Aisuki – a rounded, beveled chisel tool used in Japanese Woodblock Printing, often used for clearing areas of wood.
A la poupée – an intaglio printmaking technique in which different colored inks are applied to a plate with a wad of fabric.
Aquatint – an etching technique in which tones are achieved. Usually, a metal plate is given an acid-resistant coating before being placed in an acid bath. The acid bites into the plate, producing a surface that can hold ink for printing. Tonal variations are achieved by varying the length of time in the acid bath.
Artist’s Proof (AP) – Artist’s proof prints are made by the artist to check the print quality and design before printing an edition. Artist’s Proof prints usually shouldn’t exceed 10% of the overall number in the edition. They are usually identical to the edition but may sometimes include slightly flawed prints omitted from the edition.
B
Baren – a disk-shaped printmaking tool used to hand burnish a print by rubbing it over the surface of the paper when it is in contact with the inked-up block.
Bed – refers to the flat surface of a printing press on which the block or plate is laid.
Bench hook – a tool that hooks onto a table with a stop to hold a block in place whilst it is being carved.
Binder – (see medium) a clear substance to which pigment is added to create printmaking inks.
Bite – the action of an acid on a metal plate.
Blanket – used as cushions in printmaking presses between the roller and the paper.
Bleed – where ink appears outside the designed areas of a print. Digitally, bleed can also refer to the extension of the design beyond the cut or crop line to ensure the image runs to the edge of the print.
Blind emboss – an embossed impression in the paper, often made from a block without ink.
Block – the material into which a design is carved for relief printmaking, e.g. lino, ply etc.
Bon a tirer (BAT) – The first perfect print to come from the printing surface. This is usually made when the artist themselves is not printing the edition: a B.A.T print is used to show the print from which the whole edition should be matched.
Brayer – a roller used to apply ink to a printing surface.
Burin – an engraving tool with a metal shaft and usually a sharp V gouge point.
Burr – in drypoint, the ridge of metal (or plastic) thrown up on either side of the needle as it scratches into the plate. In mezzotint, the surface created by the action of the rocker.
C
Carborundum – silicon carbide – a fine powder used in intaglio printmaking. When applied to a plate, carborundum creates a rough, even surface that holds a lot of ink. Carborundum can also be used for levelling the surface of a lithography stone.
Chine Collé – a process in which ink is transferred onto a thin sheet of paper (such as archival tissue paper) whilst simultaneously sticking the thin sheet to a stronger, thicker sheet of paper. Traditionally used to enable fine, delicate prints, now more often used to add areas of colored paper to a single color print.
Chop – a small mark printed in the margins of a print to show the maker. Traditionally, a chop shows the printer or publisher but is now sometimes used to show the artist.
CMYK – cyan, magenta, yellow and black. This color system is used in halftone screen printing, where each color is created as its own halftone exposed screen and printed separately, giving the overall look of a full-color print.
Collagraph – a print made from a plate that has been layered with various natural and found materials to a base and then usually varnished. These are often printed using the intaglio method but can also be printed in relief.
Cutting tool – a tool used for carving into a block. These can be V gouges, U gouges, hangito knives, etc.
Cyanotype – an early form of photography that uses two solutions mixed together to create ‘blueprints’.
D
Dabber/dauber – a wad of cloth used to apply ink to a block or plate. Also used to apply grounds to etching plates.
Deckled edge – A rough, irregular edge on a piece of printmaking paper.
DPI – dots per inch – the number of pixels in one inch of an image. 300dpi is usually standard for high-quality printing.
Drypoint – an intaglio printmaking method where an image is scratched onto a plate creating a burr that holds ink.
Durometer – measures hardness, for example, the shore of squeegees. The higher the number, the harder the material.
E
Edition – a set of identical prints taken from the same matrix or matrices (printing surfaces). Editions can either be limited or open. Limited editions mean that no more of the same prints will be made. What is the proper way to sign an edition? Sign the prints of the edition using a SHARP graphite pencil – in the "H" to "B" range. Mechanical pencils work great for this. Never sign in ink or marker! The edition size and the number of the print in an edition is represented by a fraction. The 4 of the fraction represents the number of th print within the sequence of the edition The number 20 in this example, the denominator of the fraction, states the total number of prints within the edition. Sometimes there are additional prints in the edition that have been omitted from the edition because of unwanted marks, slightly inferior printing, or some other reason. These are labeled as a "proof" and are often destroyed after printing. An "Artists Proof" should is identical to the editioned prints and usually does not exceed 10% of the edition size (ie 2 A/Ps if edition is 20). What is the proper way to sign a monoprint or monotype? Write out the word "monoprint" or it can also be labeled 1/1 (some even say just 'mono'). There may be only one impression and a "ghost" for a monotype....and 8 to 10 impressions of a monoprint. Each impression of the monoprint may be slightly different but can be essentially alike because of the reproducable matrix. These editions are often called "Edition Variee" (variable edition) and are numbered as E.V. 1/8, E.V. 2/8, etc. 1/20 (edition number) "Landscape no. 10" (title) Signature (and date, if desired)
Emboss – an impression in the paper, often made from a block without ink. (Debossing is the opposite direction.)
Emulsion – when mixed with sensitiser, a photo emulsion can be used to coat screens to create exposed images for screen printing.
Engraving – a printmaking technique in which lines are carved directly into a plate using a burin.
Etching – an intaglio technique in which a plate is prepared with resistant material before being exposed to an acid that bites into the remaining surface. When charged with ink, the bitten surface retains the ink, allowing the design to be printed. The term ‘etching’ is also used to refer to similar techniques such as ‘drypoint etching’ where no acid is used.
Exposure – in screen printing, where a screen coated with sensitised emulsion is exposed to a light source with a design on a transparency between the screen and the light. The light hardens the emulsion it can reach, leaving the areas of the design soft and washable. This results in a screen with areas of open mesh in the desired design.
Extender – a transparent modifier to add to ink. Adding extender can make the color more transparent and can loosen the ink.
G
Giclée – an archival fine art digital printmaking process.
Gouge -A tool used to carve a block for relief printing. Can have a V or a U shaped end.
Gauffrage: (Japanese origin) The same as embossing, "blind," or "empty" printing.
H
Halftone – The breakdown of an image into small dots to simulate the look of continuous tones. Grey scale images need to be broken down into halftones in order to be exposed onto screens for screen printing.
Hand burnish – taking a print by hand or by using a baren instead of a press. Paper is placed over the inked up block and then rubbed over with a hand, baren, wooden spoon or similar to transfer the ink to the paper.
Hangito – a Japanese Woodblock Printing cutting tool that looks like an angled sharp knife with one beveled edge.
Hardground – a substance added to the surface of an etching plate to resist acid. A hard-ground can be drawn into with a sharp tool to reveal areas of metal to the acid bath.
Honing – sharpening or maintaining a sharp edge on a cutting tool.
I
Ink Ball – An ink ball, inking ball, or dabber was a tool used in printmaking and letterpress printing to apply ink to the plate or type to be printed.
Intaglio – a printmaking method using an image that has been incised into a plate. Ink is worked into the recesses of the plate and is usually printed onto dampened paper through an etching press. Drypoints, etchings and collagraphs can all be printed intaglio.
Ishizuri-e – A Japanese print that mimics a stone rubbing. It has uninked images or text on a dark, usually black, background.
K
Key block – the key layer in a print that gives the main detail or outline of an image. Usually printed first or last in a multi-layered print.
Kento – Japanese Woodblock method of registration. Kento marks are cut into a block using a kento chisel. The corner of the paper slots into these marks so that the paper rests in the same place for each layer.
Kitchen Lithography – a form of printmaking that uses the same principles as lithography but uses simple household materials such as aluminium foil and cola!
L
Letterpress – the practice of printing by hand setting (composition) of lead and wood type and printing using a number of different presses. Letterpress printing remained the primary way to print until the second half of the 20th century.
Lightfastness – usually refers to paper and inks. Change caused by exposure to light.
Limited edition – a set of identical prints taken from the same matrix or matrices (printing surfaces). Limited editions mean that no more of the same prints will be made.
Lino – linoleum – a material made of cork dust and linseed oil with a hessian backing. Used to create relief prints when carved.
Linocut – a relief print made using a carved piece of lino.
Lithography – a planographic printmaking process in which ink is applied to a grease-treated image on a flat surface. Moisture repels oil-based ink from the blank areas and the greasy areas attract ink.
M
Matrix – the printmaking surface – plate, block, stone etc. from which the image is taken.
Medium (printing medium) – a clear substance to which paint is added to create printmaking inks.
Mesh – the woven fabric stretched over a frame to make a silkscreen for screen printing.
Mezzotint – a printmaking technique in which a plate is textured with a rocker to create dark tone. The tonal areas are then polished back to a smooth surface that will not hold ink. The plate is printed intaglio.
Mokuhanga (Japanese Woodblock) – a type of relief printmaking in which brushes are used to ink up a woodblock with watercolor paint and nori paste. Images are printed onto dampened paper in layers, often registered using kento marks. (Moku = wood and Hanga = prints).
Mokulito – a form of Japanese printmaking meaning ‘wood lithography’. An image is drawn onto the block using greasy materials.
Monoprint – a print made using any printmaking technique from which only one print can be made. Monoprints can be made using and single or multiple printmaking techniques and usually is made using some form of matrix.
Monotype – like a monoprint, a monotype is a print that is one of a kind. Unlike monoprints, monotypes are not made using a matrix such as a cut block or plate.
Multi-Block – a relief print that is made using multiple blocks that print on top of one another to create a multi-colored final print.
N
Noise – the marks left behind on a print from areas of a block that have been carved away and have picked up ink from the roller. Sometimes these marks are left to add character or movement to a print.
Nori – starch paste used in Japanese Woodblock Printing. Can also be used for chine collé printing.
O
Offset – transferring ink from one surface to another.
Oil-based – inks that use oil as their vehicle (usually linseed oil). Traditionally these need to be cleaned up with solvents, but can also be cleaned up with vegetable oil.
Opaque – impenetrable by light, opposite of transparent, not see-through. Refers to inks that do not show any color of the paper, fabric or previous print layers through.
Original print – original prints are prints in the medium the artist originally used e.g. linocuts, collagraphs, lithographs, etchings, screenprints etc. This is not the same as a reproduction which is usually digitally printed.
Overprinting – colors are printed over the top of one another.
P
Paper fingers – folded pieces of paper or card used to protect paper and blankets from finger marks.
Photo Emulsion – when mixed with sensitiser, a photo emulsion can be used to coat screens to create exposed images for screen printing.
Pigment – the colored particles in an ink.
Planography – a printing process, such as lithography, that prints from a flat surface. The printing and non-printing areas exist n the same plane and rely on chemical properties to hold or repel ink.
Plate – a metal, card or plastic surface used to create an image, usually used when printing intaglio.
Platemark – The embossed mark left on a print made by the edges of the plate when printing through an etching press.
Plate tone – in intaglio printing, the faint tone printed from a plate by the residue of ink left on the plate after wiping.
Process colors – printmaker’s primary colors. Process cyan, magenta and yellow inks can be mixed together to create a wide spectrum of colors. Process colors are often more transparent than other inks and allow for overprinting to create more colors that mix on the surface of a print.
Proof – Artist’s proof prints are made by the artist to check the print quality and design before printing an edition. Artist’s Proof prints usually shouldn’t exceed 10% of the overall number in the edition. They are usually identical to the edition but may sometimes include slightly flawed prints omitted from the edition.
R
Rainbow roll – When more than one adjacent color is rolled out onto a plate and mixed in a gradient as the ink is rolled out.
Reduction – a relief printing method in which the same block is carved into between each layer, leaving a smaller printing surface with each layer.
Registration – the lining up of print layers or a single print layer onto the substrate.
Registration marks – guides drawn or carved to aid in the proper positioning of matrix and substrate in the printing process.
Relief printing – a printmaking process where the unwanted areas of a block are carved away. The raised areas of the block are charged with ink (usually using a roller) and printed onto a substrate such as paper or fabric. (E.g. linocut and woodcut.
Retarder – An ink modifier used to slow down the drying time of ink.
Retroussage – The wiping of an inked intaglio plate with a muslin cloth so as to draw up a slight amount of ink to the edges of the filled lines and soften the definition of the lines when printed
S
Screen (silkscreen) – Mesh is stretched over a frame to be used for screen printing. A stencil is created on the mesh with paper or by using Photo Emulsion.
Screen film – a transparency on which a design can be digitally printed or hand-drawn, used to expose an image onto a screen for screen printing.
Screenprint – a print made using a screen printing technique.
Screen printing – a printmaking technique that uses a squeegee to force ink through a mesh-stretched screen onto a substrate. Stencils made of paper or exposed onto the mesh using photo emulsion are used to create a design.
Scrim (tarlatan) – rough, loosely woven fabric used in intaglio printing to wipe ink from the plate.
Serigraphy – screen printing, referring to a fine art process rather than the commercial process.
Shellac – varnish made from lack resin dissolved in methylated spirits. used to seal collagraph plates.
Shore – hardness, durometer. Used when referring to screen printing squeegees.
Silkscreen – Mesh is stretched over a frame to be used for screen printing. A stencil is created on the mesh with paper or by using Photo Emulsion.
Sizing – a water-resistant coating added to paper.
Snap-off – the distance between a screen and the paper.
Softground – a substance added to the surface of an etching plate to resist acid. A softground can be pressed into with soft tools and objects to create subtle marks and textures before placing in the acid bath.
Solvent – a substance used to dissolve others, often used to clean up oil-based inks.
Spit-bite – an etching technique in which acid is applied to the plate with a brush and water or saliva.
Squeegee – a screen printing tool with a rubber blade fixed to a metal or wooden handle. The blade is used to force ink along the screen and through the mesh.
Stop Out – an acid-resistant substance used in etching to protect an area of metal plate from an acid bath.
Sugarlift – an etching technique in which a sugary solution is painted onto a metal plate. The plate is covered with ground and then washed. The sugar dissolves, exposing areas of the metal which can then be etched in an acid bath.
Sumi – Chinese black ink.
T
Tarlatan (scrim) – rough, loosely woven fabric used in intaglio printing to wipe ink from the plate.
Thermofax – a screen made using a carbon photocopy and a thermofax machine, printed with a squeegee in a similar way to screen printing.
Transparent Base – an ink modifier used particularly in screen printing to make ink more transparent.
Trap – the areas of overlap between layers in a print.
Tusche – a greasy drawing medium in the form of a stick or a liquid, used mainly in lithography.
Tympan – a greased plate on a lithographic press.
V
Vernis-mou – This process imitataes the crayon drawings done by the French impressionists. When normal etching varnish is mixed with grease or bee wax, the varnished surface becomes tacky. When putting rough grained paper on top, you can easily draw on the paper surface with a pencil. The paper sticks to the soft varnish where the drawing was made. When pulling the paper from the plate, the varnish is removed. The etched lines, make a good copy of the pencil line structure on the drawing paper. You can think of it as a soft ground combined with a trace monotype.
Vinyl – a block that can be carved and printed in a similar way to lino.
Viscosity – the fluidity of an ink.
Viscosity printing – a method of using multiple colors from one plate by using inks of different viscosities.
W
Water-based – inks that use water as a vehicle. These can be cleaned up with water and tend to dry more quickly than oil-based inks.
Wet-on-dry – printing one color over the top of another when the first layer has dried.
Wet-on-wet – printing one color over the top of another whilst the first is still wet.
Whetstone – an abrasive stone used for sharpening tools.
Wiping – in intaglio printmaking where ink is removed from the surface of the plate.
Woodcut – a relief printing process where an image is cut from the plank side of the wood.
Acid-free – refers to papers that are made with an alkaline pulp, usually with calcium carbonate added. Acids contribute to the deterioration of paper and therefore of prints.
Aisuki – a rounded, beveled chisel tool used in Japanese Woodblock Printing, often used for clearing areas of wood.
A la poupée – an intaglio printmaking technique in which different colored inks are applied to a plate with a wad of fabric.
Aquatint – an etching technique in which tones are achieved. Usually, a metal plate is given an acid-resistant coating before being placed in an acid bath. The acid bites into the plate, producing a surface that can hold ink for printing. Tonal variations are achieved by varying the length of time in the acid bath.
Artist’s Proof (AP) – Artist’s proof prints are made by the artist to check the print quality and design before printing an edition. Artist’s Proof prints usually shouldn’t exceed 10% of the overall number in the edition. They are usually identical to the edition but may sometimes include slightly flawed prints omitted from the edition.
B
Baren – a disk-shaped printmaking tool used to hand burnish a print by rubbing it over the surface of the paper when it is in contact with the inked-up block.
Bed – refers to the flat surface of a printing press on which the block or plate is laid.
Bench hook – a tool that hooks onto a table with a stop to hold a block in place whilst it is being carved.
Binder – (see medium) a clear substance to which pigment is added to create printmaking inks.
Bite – the action of an acid on a metal plate.
Blanket – used as cushions in printmaking presses between the roller and the paper.
Bleed – where ink appears outside the designed areas of a print. Digitally, bleed can also refer to the extension of the design beyond the cut or crop line to ensure the image runs to the edge of the print.
Blind emboss – an embossed impression in the paper, often made from a block without ink.
Block – the material into which a design is carved for relief printmaking, e.g. lino, ply etc.
Bon a tirer (BAT) – The first perfect print to come from the printing surface. This is usually made when the artist themselves is not printing the edition: a B.A.T print is used to show the print from which the whole edition should be matched.
Brayer – a roller used to apply ink to a printing surface.
Burin – an engraving tool with a metal shaft and usually a sharp V gouge point.
Burr – in drypoint, the ridge of metal (or plastic) thrown up on either side of the needle as it scratches into the plate. In mezzotint, the surface created by the action of the rocker.
C
Carborundum – silicon carbide – a fine powder used in intaglio printmaking. When applied to a plate, carborundum creates a rough, even surface that holds a lot of ink. Carborundum can also be used for levelling the surface of a lithography stone.
Chine Collé – a process in which ink is transferred onto a thin sheet of paper (such as archival tissue paper) whilst simultaneously sticking the thin sheet to a stronger, thicker sheet of paper. Traditionally used to enable fine, delicate prints, now more often used to add areas of colored paper to a single color print.
Chop – a small mark printed in the margins of a print to show the maker. Traditionally, a chop shows the printer or publisher but is now sometimes used to show the artist.
CMYK – cyan, magenta, yellow and black. This color system is used in halftone screen printing, where each color is created as its own halftone exposed screen and printed separately, giving the overall look of a full-color print.
Collagraph – a print made from a plate that has been layered with various natural and found materials to a base and then usually varnished. These are often printed using the intaglio method but can also be printed in relief.
Cutting tool – a tool used for carving into a block. These can be V gouges, U gouges, hangito knives, etc.
Cyanotype – an early form of photography that uses two solutions mixed together to create ‘blueprints’.
D
Dabber/dauber – a wad of cloth used to apply ink to a block or plate. Also used to apply grounds to etching plates.
Deckled edge – A rough, irregular edge on a piece of printmaking paper.
DPI – dots per inch – the number of pixels in one inch of an image. 300dpi is usually standard for high-quality printing.
Drypoint – an intaglio printmaking method where an image is scratched onto a plate creating a burr that holds ink.
Durometer – measures hardness, for example, the shore of squeegees. The higher the number, the harder the material.
E
Edition – a set of identical prints taken from the same matrix or matrices (printing surfaces). Editions can either be limited or open. Limited editions mean that no more of the same prints will be made. What is the proper way to sign an edition? Sign the prints of the edition using a SHARP graphite pencil – in the "H" to "B" range. Mechanical pencils work great for this. Never sign in ink or marker! The edition size and the number of the print in an edition is represented by a fraction. The 4 of the fraction represents the number of th print within the sequence of the edition The number 20 in this example, the denominator of the fraction, states the total number of prints within the edition. Sometimes there are additional prints in the edition that have been omitted from the edition because of unwanted marks, slightly inferior printing, or some other reason. These are labeled as a "proof" and are often destroyed after printing. An "Artists Proof" should is identical to the editioned prints and usually does not exceed 10% of the edition size (ie 2 A/Ps if edition is 20). What is the proper way to sign a monoprint or monotype? Write out the word "monoprint" or it can also be labeled 1/1 (some even say just 'mono'). There may be only one impression and a "ghost" for a monotype....and 8 to 10 impressions of a monoprint. Each impression of the monoprint may be slightly different but can be essentially alike because of the reproducable matrix. These editions are often called "Edition Variee" (variable edition) and are numbered as E.V. 1/8, E.V. 2/8, etc. 1/20 (edition number) "Landscape no. 10" (title) Signature (and date, if desired)
Emboss – an impression in the paper, often made from a block without ink. (Debossing is the opposite direction.)
Emulsion – when mixed with sensitiser, a photo emulsion can be used to coat screens to create exposed images for screen printing.
Engraving – a printmaking technique in which lines are carved directly into a plate using a burin.
Etching – an intaglio technique in which a plate is prepared with resistant material before being exposed to an acid that bites into the remaining surface. When charged with ink, the bitten surface retains the ink, allowing the design to be printed. The term ‘etching’ is also used to refer to similar techniques such as ‘drypoint etching’ where no acid is used.
Exposure – in screen printing, where a screen coated with sensitised emulsion is exposed to a light source with a design on a transparency between the screen and the light. The light hardens the emulsion it can reach, leaving the areas of the design soft and washable. This results in a screen with areas of open mesh in the desired design.
Extender – a transparent modifier to add to ink. Adding extender can make the color more transparent and can loosen the ink.
G
Giclée – an archival fine art digital printmaking process.
Gouge -A tool used to carve a block for relief printing. Can have a V or a U shaped end.
Gauffrage: (Japanese origin) The same as embossing, "blind," or "empty" printing.
H
Halftone – The breakdown of an image into small dots to simulate the look of continuous tones. Grey scale images need to be broken down into halftones in order to be exposed onto screens for screen printing.
Hand burnish – taking a print by hand or by using a baren instead of a press. Paper is placed over the inked up block and then rubbed over with a hand, baren, wooden spoon or similar to transfer the ink to the paper.
Hangito – a Japanese Woodblock Printing cutting tool that looks like an angled sharp knife with one beveled edge.
Hardground – a substance added to the surface of an etching plate to resist acid. A hard-ground can be drawn into with a sharp tool to reveal areas of metal to the acid bath.
Honing – sharpening or maintaining a sharp edge on a cutting tool.
I
Ink Ball – An ink ball, inking ball, or dabber was a tool used in printmaking and letterpress printing to apply ink to the plate or type to be printed.
Intaglio – a printmaking method using an image that has been incised into a plate. Ink is worked into the recesses of the plate and is usually printed onto dampened paper through an etching press. Drypoints, etchings and collagraphs can all be printed intaglio.
Ishizuri-e – A Japanese print that mimics a stone rubbing. It has uninked images or text on a dark, usually black, background.
K
Key block – the key layer in a print that gives the main detail or outline of an image. Usually printed first or last in a multi-layered print.
Kento – Japanese Woodblock method of registration. Kento marks are cut into a block using a kento chisel. The corner of the paper slots into these marks so that the paper rests in the same place for each layer.
Kitchen Lithography – a form of printmaking that uses the same principles as lithography but uses simple household materials such as aluminium foil and cola!
L
Letterpress – the practice of printing by hand setting (composition) of lead and wood type and printing using a number of different presses. Letterpress printing remained the primary way to print until the second half of the 20th century.
Lightfastness – usually refers to paper and inks. Change caused by exposure to light.
Limited edition – a set of identical prints taken from the same matrix or matrices (printing surfaces). Limited editions mean that no more of the same prints will be made.
Lino – linoleum – a material made of cork dust and linseed oil with a hessian backing. Used to create relief prints when carved.
Linocut – a relief print made using a carved piece of lino.
Lithography – a planographic printmaking process in which ink is applied to a grease-treated image on a flat surface. Moisture repels oil-based ink from the blank areas and the greasy areas attract ink.
M
Matrix – the printmaking surface – plate, block, stone etc. from which the image is taken.
Medium (printing medium) – a clear substance to which paint is added to create printmaking inks.
Mesh – the woven fabric stretched over a frame to make a silkscreen for screen printing.
Mezzotint – a printmaking technique in which a plate is textured with a rocker to create dark tone. The tonal areas are then polished back to a smooth surface that will not hold ink. The plate is printed intaglio.
Mokuhanga (Japanese Woodblock) – a type of relief printmaking in which brushes are used to ink up a woodblock with watercolor paint and nori paste. Images are printed onto dampened paper in layers, often registered using kento marks. (Moku = wood and Hanga = prints).
Mokulito – a form of Japanese printmaking meaning ‘wood lithography’. An image is drawn onto the block using greasy materials.
Monoprint – a print made using any printmaking technique from which only one print can be made. Monoprints can be made using and single or multiple printmaking techniques and usually is made using some form of matrix.
Monotype – like a monoprint, a monotype is a print that is one of a kind. Unlike monoprints, monotypes are not made using a matrix such as a cut block or plate.
Multi-Block – a relief print that is made using multiple blocks that print on top of one another to create a multi-colored final print.
N
Noise – the marks left behind on a print from areas of a block that have been carved away and have picked up ink from the roller. Sometimes these marks are left to add character or movement to a print.
Nori – starch paste used in Japanese Woodblock Printing. Can also be used for chine collé printing.
O
Offset – transferring ink from one surface to another.
Oil-based – inks that use oil as their vehicle (usually linseed oil). Traditionally these need to be cleaned up with solvents, but can also be cleaned up with vegetable oil.
Opaque – impenetrable by light, opposite of transparent, not see-through. Refers to inks that do not show any color of the paper, fabric or previous print layers through.
Original print – original prints are prints in the medium the artist originally used e.g. linocuts, collagraphs, lithographs, etchings, screenprints etc. This is not the same as a reproduction which is usually digitally printed.
Overprinting – colors are printed over the top of one another.
P
Paper fingers – folded pieces of paper or card used to protect paper and blankets from finger marks.
Photo Emulsion – when mixed with sensitiser, a photo emulsion can be used to coat screens to create exposed images for screen printing.
Pigment – the colored particles in an ink.
Planography – a printing process, such as lithography, that prints from a flat surface. The printing and non-printing areas exist n the same plane and rely on chemical properties to hold or repel ink.
Plate – a metal, card or plastic surface used to create an image, usually used when printing intaglio.
Platemark – The embossed mark left on a print made by the edges of the plate when printing through an etching press.
Plate tone – in intaglio printing, the faint tone printed from a plate by the residue of ink left on the plate after wiping.
Process colors – printmaker’s primary colors. Process cyan, magenta and yellow inks can be mixed together to create a wide spectrum of colors. Process colors are often more transparent than other inks and allow for overprinting to create more colors that mix on the surface of a print.
Proof – Artist’s proof prints are made by the artist to check the print quality and design before printing an edition. Artist’s Proof prints usually shouldn’t exceed 10% of the overall number in the edition. They are usually identical to the edition but may sometimes include slightly flawed prints omitted from the edition.
R
Rainbow roll – When more than one adjacent color is rolled out onto a plate and mixed in a gradient as the ink is rolled out.
Reduction – a relief printing method in which the same block is carved into between each layer, leaving a smaller printing surface with each layer.
Registration – the lining up of print layers or a single print layer onto the substrate.
Registration marks – guides drawn or carved to aid in the proper positioning of matrix and substrate in the printing process.
Relief printing – a printmaking process where the unwanted areas of a block are carved away. The raised areas of the block are charged with ink (usually using a roller) and printed onto a substrate such as paper or fabric. (E.g. linocut and woodcut.
Retarder – An ink modifier used to slow down the drying time of ink.
Retroussage – The wiping of an inked intaglio plate with a muslin cloth so as to draw up a slight amount of ink to the edges of the filled lines and soften the definition of the lines when printed
S
Screen (silkscreen) – Mesh is stretched over a frame to be used for screen printing. A stencil is created on the mesh with paper or by using Photo Emulsion.
Screen film – a transparency on which a design can be digitally printed or hand-drawn, used to expose an image onto a screen for screen printing.
Screenprint – a print made using a screen printing technique.
Screen printing – a printmaking technique that uses a squeegee to force ink through a mesh-stretched screen onto a substrate. Stencils made of paper or exposed onto the mesh using photo emulsion are used to create a design.
Scrim (tarlatan) – rough, loosely woven fabric used in intaglio printing to wipe ink from the plate.
Serigraphy – screen printing, referring to a fine art process rather than the commercial process.
Shellac – varnish made from lack resin dissolved in methylated spirits. used to seal collagraph plates.
Shore – hardness, durometer. Used when referring to screen printing squeegees.
Silkscreen – Mesh is stretched over a frame to be used for screen printing. A stencil is created on the mesh with paper or by using Photo Emulsion.
Sizing – a water-resistant coating added to paper.
Snap-off – the distance between a screen and the paper.
Softground – a substance added to the surface of an etching plate to resist acid. A softground can be pressed into with soft tools and objects to create subtle marks and textures before placing in the acid bath.
Solvent – a substance used to dissolve others, often used to clean up oil-based inks.
Spit-bite – an etching technique in which acid is applied to the plate with a brush and water or saliva.
Squeegee – a screen printing tool with a rubber blade fixed to a metal or wooden handle. The blade is used to force ink along the screen and through the mesh.
Stop Out – an acid-resistant substance used in etching to protect an area of metal plate from an acid bath.
Sugarlift – an etching technique in which a sugary solution is painted onto a metal plate. The plate is covered with ground and then washed. The sugar dissolves, exposing areas of the metal which can then be etched in an acid bath.
Sumi – Chinese black ink.
T
Tarlatan (scrim) – rough, loosely woven fabric used in intaglio printing to wipe ink from the plate.
Thermofax – a screen made using a carbon photocopy and a thermofax machine, printed with a squeegee in a similar way to screen printing.
Transparent Base – an ink modifier used particularly in screen printing to make ink more transparent.
Trap – the areas of overlap between layers in a print.
Tusche – a greasy drawing medium in the form of a stick or a liquid, used mainly in lithography.
Tympan – a greased plate on a lithographic press.
V
Vernis-mou – This process imitataes the crayon drawings done by the French impressionists. When normal etching varnish is mixed with grease or bee wax, the varnished surface becomes tacky. When putting rough grained paper on top, you can easily draw on the paper surface with a pencil. The paper sticks to the soft varnish where the drawing was made. When pulling the paper from the plate, the varnish is removed. The etched lines, make a good copy of the pencil line structure on the drawing paper. You can think of it as a soft ground combined with a trace monotype.
Vinyl – a block that can be carved and printed in a similar way to lino.
Viscosity – the fluidity of an ink.
Viscosity printing – a method of using multiple colors from one plate by using inks of different viscosities.
W
Water-based – inks that use water as a vehicle. These can be cleaned up with water and tend to dry more quickly than oil-based inks.
Wet-on-dry – printing one color over the top of another when the first layer has dried.
Wet-on-wet – printing one color over the top of another whilst the first is still wet.
Whetstone – an abrasive stone used for sharpening tools.
Wiping – in intaglio printmaking where ink is removed from the surface of the plate.
Woodcut – a relief printing process where an image is cut from the plank side of the wood.