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Engraving
Engraving is an intaglio printmaking process in which
lines are cut into a metal plate in order to hold the ink. In
engraving, the plate can be made of copper or zinc.
The metal plate is first polished to remove all scratches
and imperfections from the surface so that only the
intentional lines will be printed. When making an
engraving, the printmaker incises or cuts a composition
directly into the surface of a metal plate using a sharp
tool, known as a burin: a steel shaft ending in a beveled
diamond-shaped tip that is set into a rounded wooden
handle
The printmaker holds the burin by placing the wooden
handle against the palm of their hand and grips the shaft
with their thumb and third finger. The burin is then set to
engage with the surface of the plate. When pressure is
applied, the burin cuts away a thin layer of the metal to
create a recessed line or groove in the plate. Cutting into
the plate also results in the displacement of a thin curl of
metal residue.
Different sizes of burins can affect the size of the lines;
the pressure the printmaker applies to the burin can also
be used to create thinner or thicker grooves in the plate.
Creating smooth lines requires both strength and control
on the part of the printmaker.
The metal plate is placed on a sandbag or pillow by the
printmaker to help manipulate and move the plate,
especially when a composition requires curved lines.
To enhance a purely linear composition with tone, the
printmaker applies a system of hatching—lines, dots, and
dashes, among other kinds of markings, placed close
together to create denser areas in the print that hold
more ink. The closer the marks are placed together, the
darker those areas will appear. The printmaker must take
care not to cut the lines or the markings too closely
together so that the ink does not bleed between them.
Once the full composition has been cut into the plate, it is
ready to be inked. A cloth ball, cardboard tab, or
equivalent material is used to gently spread ink across
the whole face of the plate; the same material is used to
remove most of the excess ink from the surface. The plate
is further cleaned using a tarlatan rag (heavily starched
cheesecloth).
As a last measure, printmakers often use their palms or
the sides of their hands to wipe away the last bits of ink.
In certain cases, a printmaker can choose not to clean the
plate entirely, but to leave a thin layer of ink on the plate
to create tone.
After the plate is wiped to the desired level, it is ready for
printing. While some early intaglio prints appear to have
been produced by simply pressing the paper against the
plate by hand, in most cases the pressure required to
force the paper into the finely cut lines entailed the use of
a special press equipped with rollers.
The plate is placed on the bed of the press with the ink
side up, and a sheet of dampened paper is placed on top.
Before the plate and sheet are moved through the press
together, they are covered with printing blankets, often
made of felt, to soften the pressure on the metal plate.
Once the plate has been run through the press, the
resulting impression on paper displays a reverse image of
the original engraved composition. The pressure of the
press not only forces the ink onto the damp paper, but
also produces an outline of the outer edges of the metal
plate in the paper, known as a plate mark.

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Engraving.docx

  • 1. Engraving Engraving is an intaglio printmaking process in which lines are cut into a metal plate in order to hold the ink. In engraving, the plate can be made of copper or zinc. The metal plate is first polished to remove all scratches and imperfections from the surface so that only the intentional lines will be printed. When making an engraving, the printmaker incises or cuts a composition directly into the surface of a metal plate using a sharp tool, known as a burin: a steel shaft ending in a beveled diamond-shaped tip that is set into a rounded wooden handle The printmaker holds the burin by placing the wooden handle against the palm of their hand and grips the shaft with their thumb and third finger. The burin is then set to engage with the surface of the plate. When pressure is applied, the burin cuts away a thin layer of the metal to create a recessed line or groove in the plate. Cutting into the plate also results in the displacement of a thin curl of metal residue. Different sizes of burins can affect the size of the lines; the pressure the printmaker applies to the burin can also be used to create thinner or thicker grooves in the plate. Creating smooth lines requires both strength and control on the part of the printmaker. The metal plate is placed on a sandbag or pillow by the printmaker to help manipulate and move the plate, especially when a composition requires curved lines.
  • 2. To enhance a purely linear composition with tone, the printmaker applies a system of hatching—lines, dots, and dashes, among other kinds of markings, placed close together to create denser areas in the print that hold more ink. The closer the marks are placed together, the darker those areas will appear. The printmaker must take care not to cut the lines or the markings too closely together so that the ink does not bleed between them. Once the full composition has been cut into the plate, it is ready to be inked. A cloth ball, cardboard tab, or equivalent material is used to gently spread ink across the whole face of the plate; the same material is used to remove most of the excess ink from the surface. The plate is further cleaned using a tarlatan rag (heavily starched cheesecloth). As a last measure, printmakers often use their palms or the sides of their hands to wipe away the last bits of ink. In certain cases, a printmaker can choose not to clean the plate entirely, but to leave a thin layer of ink on the plate to create tone. After the plate is wiped to the desired level, it is ready for printing. While some early intaglio prints appear to have been produced by simply pressing the paper against the plate by hand, in most cases the pressure required to force the paper into the finely cut lines entailed the use of a special press equipped with rollers. The plate is placed on the bed of the press with the ink side up, and a sheet of dampened paper is placed on top. Before the plate and sheet are moved through the press together, they are covered with printing blankets, often made of felt, to soften the pressure on the metal plate.
  • 3. Once the plate has been run through the press, the resulting impression on paper displays a reverse image of the original engraved composition. The pressure of the press not only forces the ink onto the damp paper, but also produces an outline of the outer edges of the metal plate in the paper, known as a plate mark.