Relief printing involves inked raised surfaces that transfer ink to paper. Woodcut is a relief process where inked wooden blocks transfer images. Intaglio inks incised lines on copper plates to transfer images. Lithography uses grease-based drawings on limestone plates and water to transfer images in a planographic process. Pochoir uses stencils to apply color or patterns by pressing ink through cutouts onto surfaces. It was popular in graphic design in the early 20th century.

1. Image to Print History of Printing II

2. Image to print
How does that work? Relief Printing – Woodcut

3. Relief printing process
Raised areas hold ink

4. Wood Cut Relief Printing Process
• Wooden plate with ink
• Woodcut print
• Woodcuts are relief prints – like
lino cuts.
https://21stcenturyrenaissanceprintmaker.wordpress.com/

5. • Ink an brayer fro inking the plate
• Traditional relief press
• Detail of traditional ink balls (Renaissance)

6. Renaissance Woodcut

7. Image to print
How does that work? Intaglio printing process

8. Intaglio process
Incised areas hold ink

9. Intaglio printing process
• Intaglio print
• Engraved copper plate with ink
• The word intaglio comes from the Italian
intagliare, to cut, and refers to the method of
cutting, or incising, lines into a surface, to
produce an image.

10. • Inking the plate
• Cleaning the surface of the plate
• Detail of the plate without ink

11. Detail of printing

12. Types of
Intaglio
process
Incised areas hold ink

13. The etching process
Abraham Bosse
Maniere de jetter leau forte sur la Planche
Engraving
France, 1645

14. The etching process

15. Image to print
How does that work? Lithography – Stone

16. Lithography process
Lithography is planographic, which is to say that the ink is on the same plane as the lithograph stone (the base).

17. Stone Lithography
Lithography, literally printing from stone, is a
printing process which was discovered around
1797 by Aloïs Senefelder in Southern Germany.
Technics Lithography is based on the principle
that water and grease repel each other. It works
as follows. A wax crayon or ink is used to draw
on a polished flat block of limestone which is
approximately 12 centimetres thick. The stone
is slightly porous an thus absorbs the grease
from the crayon or ink. Nitric acid is then
rubbed on the stone. The acid penetrates the
stone where there is no drawing and ensures
that no grease be absorbed in those areas.
After 24 hours the preparation is dry and the
stone ready for use. The drawing is removed
with turpentine but the grease from the crayon
or ink remains on the stone. The latter is
dampened with a moist sponge. The parts of
the stone where the drawing was are now
covered in grease and therefore repel the water
and remain dry. It is now possible to ink the
image any colour with an ink roller. The ink only
adheres to the dry parts of the stone. Once this
has been done, a sheet of paper is placed on
top of the stone and a press is applied with
great force. The result is a print. The stone is
again moistened and rolled with ink an this
process repeated until the required number of
prints have been made.
http://www.jeroen-hermkens.nl/en/about-lithography/

18. Color lithography
• In color lithographs, a different
stone is used for each colour. First, all
the prints are made with the first
colour. Then the second stone is
placed on the press and the second
colour is printed sheet by sheet on
top of the first colour. Then comes
the third colour, and so forth.

19. Stone Lithography
• There are a range of materials which can be
used to draw and paint onto the stone surface, all
of which contain grease, which absorbs into the
top layer of the stone.
• Examples of which are lithographic crayons,
rubbing block,(both ranging from hard to soft),
and lithographic tusche, (grease suspended in
water). Once processed, it is the drawn areas
which will print.
• Lithography begins with the application of the
art to the stone surface.

20. Processing the Stone
• The stone is processed using gum arabic, with a very
small amount of nitric acid.
• The purpose of the gum is to chemically separate the
image and the non-image areas, so that the greasy image
areas become water repellent or ‘hydrophobic’ and the
non-image areas be come water receptive or ‘hydrophilic’,
so that when printed, only the image areas receive the ink
and print.
• The stone is re-gummed with plain gum, buffed down to
a thin layer and dried.
• Non-drying black ink is then rolled onto the stone using
a nap roller, until the image in the stone is clearly visible,
re-damping the stone between rolls to keep the surface
from drying out.
• Once the image is fully rolled up, the stone is then dried
and dusted with french chalk, before a second gum arabic
etch is applied.

21. Printing the Stone
• First the stone is washed out and rolled up – as before. (The stone is
gummed and dried, then washed out with turps, and then the gum
washed off.)
• While the stone is damp, greasy printing ink is rolled on using either a
‘nap’ or a ‘glazed’ roller. The first few proofs are usually taken onto
newsprint, and after that damp paper is usually used to ensure the
maximum amount of detail is picked up from the stone.
• The paper is laid onto the stone, and a few sheets of newsprint packing
laid on top. The stone and paper are then rolled through the direct
transfer press, and the paper is then pulled back from the stone to
reveal the printed image.
http://www.leicesterprintworkshop.com/printmaking/step_by_step_guide_to_stone_lithography/

22. The lithographic process

23. Image to print
How does that work? Pochoir – Stencils as prints

24. Various applications of stencils through time.

25. Stencil process
Applying a pattern, design, words, to a surface, using
of a thin sheet of cardboard, metal, or other material
from which figures or letters have been cut out, a
coloring substance, ink, being rubbed, brushed, or
pressed over the sheet, passing through the
perforations and on to the surface.

26. Pochoir
• The use of stencils dates back to as early
as 500 C.E. and was also used in Europe
from the 1500’s onward to decorate
playing cards, postcards and to create
simple prints.
• It was, however, the increase in popularity
of Japanese prints in the middle of the
19th century that spurred the refinement
of the use of stencils culminating in the
development of pochoir.
• At the peak of its popularity in the early
20th century, there were as many as thirty
graphic design studios in France, each
employing up to 600 workers.

27. Pochoir was employed to create prints or to
add color to pre-existing prints.
Pochoir was primarily used to create prints
devoted to fashion, patterns, and architectural
design and is most often associated with Art
Nouveau and Art Deco. workers.
Pochoir

29. Multi Color
Silkscreen
Opaque ink printed in layers.