SCOPE OF Presented By

Aastha Nagpal, Aditi Purwar,

PRINTMAKING Anshu Kulhari, Krishna

Nayak and Kshitij Rawat
CONTENT
❖ Introduction
❖ Aquatint Technique
❖ Somnath Hore
❖ Pulp Print Technique

❖ Lithography
❖ Francisco
Goya
❖ MC Escher
❖ Etching Technique
❖ Printmaker Krishna
Reddy.

❖ Foil Imaging
Technique
❖ Artist Virginia A
Myers

❖ Drypoint Technique
❖ Chhaap: Foundation for Printmaking
trust
INTRODUCTION
“Creativity takes courage”_ Henri Matisse

“Not every artist creates art to capture the beauty around him, for the allure of
fame and money or to cleanse his soul, but to process his need for catharsis.
Perhaps, this was also one of the reasons that attracted Hore towards
printmaking as the act of making lithographs- is a brutal medium which
metaphorically corresponds to his experience of attrition of
existence”_Chandana Hore, Somnath Hore’s daughter
PRINT MAKING
❖ Relief: Woodcut, Linocut etc.
❖ Intaglio: Engraving, Aquatint, Etching etc.
❖ Planographic: Lithography etc.
❖ Stencil: Screen printing etc.
❖ Contemporary: Digital printing, foil-imaging etc.
AQUATINT TECHNIQUE
• Intaglio printmaking
technique
• Variety of etching
• Broad range of tonal values
• Infinite number of tones can
be achieved
AQUATINT TECHNIQUE
In 1768, French printmaker Jean-
Baptiste Le Prince discovered the
granulated resin which gave the
satisfactory results in Aquatint.
AQUATINT PROCESS

⮚Requirement: 1) Metal Plate, 2) Acid and 3) A Ground to resist the acid

⮚Ground is applied by either dissolving powdered resin in spirits, applying
the powder directly to the surface of the plate.
⮚An aquatint box is used to apply resin powder.
AQUATINT BOX
AQUATINT PROCESS
⮚“Asphalt” as ‘Stop-out’ or ‘Hard Ground’
used to block the highlighted areas in the
drawing.
⮚The plate is then immersed in ‘Acid’ for
few seconds.
⮚Acid bites the exposed areas of the plate
through the particles of granulated resin
giving texture like in the image when
printed.
FRANCISCO GOYA

❖ Aquatint became the most popular method of producing toned prints in the
late 18th century.
❖ Francisco Goya is considered the greatest master of the technique.
❖ Goya aquatint print series: the Caprichos, Disasters of War, La
Tauromaquia (Bull Fighting), and Los Proverbs (or Disparates)
Francisco Goya
one of the prints of
Los Disparates
series
1816-24
AQUATINT
• Sugar aquatint, sometimes called sugar lift, was another method that came
into widespread use in the 20th century
• Many contemporary printmakers also use pressurized plastic sprays in place
of resin.

• After
Goya’s death, Mary Cassatt, Edgar Degas, Pablo Picasso also
experimented with this technique.
Mary Cassatt
Title: La Toilette
1891-1892

“Women should be someone

and not something.” — Mary
Cassatt

“There’s only one thing in life

for a woman; it’s to be a
mother…. A woman artist
must be … capable of making
primary sacrifices.” — Mary
Cassatt
Edgar Degas
Aquatint
1914

“Success! Success! The enemy of progress!

“Art is not what you see but what

you make others see”
Somnath hore (1921-2006)
Title: Peace, 1967
etching and aquatint on paper
 SOMNATH HORE(1921-2006)
• Bengali sculptor and printmaker
• Associated with Communist party, a
socialist
• During Bengal Famine 1943 and
Tebhaga Movement, 1946 peasant
unrest
• Pulp-print technique
WOUNDS

• white-on white
pulp-prints
• biogenic
feeling
transformed
into dense on-
surface visual
explication
• simulating
various kinds
of wound
marks
WOUNDS
“What do I paint? Expression of my own self, revolving
around the one concept – Wounds. All the wounds and
wounded I have seen are engraved on my
consciousness.” Somnath Hore
LITHOGRAPHY
❖It is a planeography process of print making based on the
relationship between gum/oil/water. (Anty-pathy of water & oil is
lithography)
❖This process is done on the littile stones, which is of calcium
carbonate 2% silicon & 1% Iron.
❖It was first discovered Alois Senefelder, 1832 (1798) 18th century.
LITHOGRAPHY PROCESS
Firstly, stone is
prepared which
combine of various
steps –

Side Filling :-
The stone is
filled on the edges,
so that the sheets
do not get torn or
transfered while the
printing process.
GRINDING / GRAINING
• In order to create
the grain on the
stone, big size
carborundum
powder is used to
make grains after
the previous image
on stone has been
removed
POLICING
Once the grain has been
made in order to smoothen the
surface policing is done of lithe
stone through policing stone.
Policing is required in order to
take precaution before finals
smooth an even graining.
Add my powder to make thick
ink Add limited oil to make loose
ink.
Lithe-stones: Off-white,
pinkish, grayish
LITHOGRAPHIC
• German author Alois Senfelder (1771-1834)
devised the lithographic printing process in
1796.
• An artist first draws a design, using a
grease pencil or other oil based drawing
material , directly onto a piece of special
selected , cleaned & prepared limestone.
• Next the artist applies a number of
materials to a stone, Including a gun arabic
and malic acid solution that makes the
image more durable .
LITHOGRAPHIC
Then he/she wipes the surface clean using kerosene. Even through the
image appear to have been obliterated by the kerosene, the stone is now
ready to be printed. The surface is sponged with water , which is spelled
by the greasy access of the drawing & rolled with the oil based ink . In the
ungreased regions the water repels ink , leaving only the image covered
with ink . At this point the artist carefully places paper over the stone and
lightly passes down usually by passing it through a printing press.
QUALITY OF LITHOGRAPHY
1. Painterly quality / graduation / tonal variation is good in lithography
2. Direct contact with work.
3. Many possibility for realistic work.
4. Liquid tusch water soluble and gives watery affect shellac
determine grade of pencils.
5. Shellac works as a binder.

Litho crayon :-
Wax, pigment, soap and shellac litho crayon and pencils are
dissolved in turpentine oil for special effects.
LITHOGRAPHY
Once the drawing is complete, we begin
transferring the image onto the stone through as
intensive process that involves layering talcum
powder, resin, liquid etch solution, gum Arabic
and mineral spirits. Each of these steps play a
role in transforming the surface of the stone, so
that whenever a mask with greasy material was
made ink will stick to the surface of stone. Finally,
we will ink up our stone and print the image with
the help of a press.
LITHOGRAPHY
FRANCISCO GOYA
Francisco Goya, in full Francisco José de
Goya y Lucientes, (born March 30, 1746,
Fuendetodos, Spain—died April 16,
1828, Bordeaux, France), Spanish artist
whose paintings, drawings, and engravings
reflected contemporary historical upheavals
and influenced important 19th- and 20th-
century painters. The series of
etchings The Disasters of War (1810–14)
records the horrors of the Napoleonic
invasion. His masterpieces
in painting include The Naked Maja, The
Clothed Maja (c. 1800–05), and The 3rd of
May 1808
 He continued to record his impressions of the world around him in paintings,
drawings, and the new technique of lithography, which he had begun to use
in Spain. His last paintings include genre subjects and several portraits of
friends in exile: Don Juan Bautista de Muguiro, Leandro Fernández de
Moratín, and Don José Pío de Molina, which show the final development of
his style toward a synthesis of form and character in terms of light and shade,
without outline or detail and with a minimum of colour.
Though there is little evidence for the legends of Goya’s rebellious character
and violent actions, he was undoubtedly a revolutionary artist. His enormous
and varied production of paintings, drawings, and engravings, relating to
nearly every aspect of contemporary life, reflects the period of political and
social upheavals in which he lived. He had no immediate followers, but his
many original achievements profoundly impressed later 19th-century French
artists—Eugène Delacroix was one of his great admirers—who were the
leaders of new European movements, from Romanticism and Realism to
Impressionism; and his works continued to be admired and studied by the
Expressionists and Surrealists in the 20th and 21st centuries.
MC ESCHER
Maurits Cornelis Escher (17 June 1898 –
27 March 1972) was a Dutch graphic
artist who made mathematically-
inspired woodcuts, lithographs,
and mezzotints. Despite wide popular
interest, Escher was for long somewhat
neglected in the art world, even in his
native Netherlands. He was 70 before a
retrospective exhibition was held. In the Maurits Cornelis
twenty-first century, he became more Escher Bond of Union ,
widely appreciated, with exhibitions 1956
Christie’s
across the world.
MC ESCHER
Hexagonal tessellation with
animals: Study of Regular Division of
the Plane with Reptiles (1939). Escher
reused the design in his 1943
lithograph Reptiles.
The heads of the red, green, and white
reptiles meet at a vertex; the tails, legs,
and sides of the animals interlock
exactly.
MCESCHER
Escher's artistic expression was
created from images in his mind,
rather than directly from
observations and travels to other
countries. His interest in the
multiple levels of reality in art is
seen in works such as Drawing
Hands (1948), where two hands
are shown, each drawing the
other.
ETCHING
It is the process of using strong acid or
mordant to cut into the unprotected
parts of a metal surface to create a
design in intaglio in the metal.
It is an important technique for old
masters and remains in wide use
today also.
Origin
It is believed that Daniel hoofer was a craftsman who
decorated armour in his own way using this method of
printmaking.

It is said that two of his works are still present-

1. A shield from 1536 which is now in real Armenia of
Madrid
2. A sword in germanisches national museum of
Nuremberg.
Process of etching
Grounding
Heat the metal plate and apply the ground
all over the metal plate .
Apply flame to the plate, so that the ground
gets darker and there is a contrast.
Echopping
Draw the design is drawn with an etching needle
or echoppe
Acid
Submerge the plate in the acid bath for biting the plate
Ferric chloride may be used for etching for copper
and zinc plated
The longer the plate is exposed to the acid the deeper
bites become .
Washing
Wash off the acid properly.
And ground is removed with the help
Of turpentine.
Inking
Apply the ink using a matte board to push
the ink in the incised lines.
Then remove the extra ink from all over the plate
Printing
Place a damp piece of paper is placed all over
the plate and passed through the press.
Industrial uses
Etching is also used in the manufacturing of printed
circuit boards and semiconductor devices, and in the
preparation of metallic specimens for microscopic
observation.
 Krishna Reddy
Krishna Reddy was an Indian printmaker,
sculptor and teacher. He was considered a
master printer and known for viscosity
printing.
Krishna Reddy was born in 15 July 1925, in
a small village called Nandanoor, near
Chittoor, Andhra Pradesh, in India
Reddy studied at Visva-Bharati University's
Kala Bhavana (Institute of Fine Arts) with
Nandalal Bose, then he moved to London
for further studies n then moved to Paris
where he sculpture and engraving.
The great clown
series
Off the walls by Anupam sud
Pablo Picasso 5th March 1972
Salvador Dali
FOIL IMAGING
Foil imaging is a more recently
developed type of printmaking.
Using the same process as
commercial foil stamping, foil
imaging creates unique prints
using colored foil. Foil imaging
can be used alongside more
standard forms of printmaking
like relief, intaglio, lithography,
and stenciling.
FOIL IMAGING
Foil imaging is a revolutionary printmaking
technique developed at the University of
Iowa by Professor Virginia A. Myers. Hot-
stamped foil is a process of applying foil or
roll-leaf using a combination of heat,
pressure,and dwell time to adhere the foil to
a wide variety of substrates, including but
not limited to paper, metal, leather, or
plastics. The foil or roll leaf is adhered to a
plastic film which is then transferred to the
substrate during the printing process. The
foil is manufactured in a rainbow of
metallics, pigments, pearl-escents, tin-foils,
and specialty products including
holograms.-from the Iowa Foil Printer web
page.
VIRGINIA MYRES
Virginia Myers received a B.A. in
drawing and painting from the Corcoran
School of Art and George Washington
University, Washington, D.C., an M.F.A.
in painting from the California College of
Arts and Crafts, Oakland, Calif., and did
postgraduate work in printmaking at the
University of Illinois and The University
of Iowa.
VIRGINIA MYRES
She also studied at Atelier 17 in Paris, with
support from a Fulbright fellowship. Myers
teaches intaglio printmaking and foil
stamping, an offering unique among fine
arts schools around the world that was
made possible by her invention of the Iowa
Foil Printer. She and her students are
developing and perfecting hot-stamped foil
techniques to create original prints.
VIRGINIA MYRES
Myers has presented more
than 100 one-person shows
and her work is included in
collections at the National
Museum of Women in the
Arts, Washington, D.C.; the
Toledo Museum of Art,
Toledo, Ohio; and the Des
Moines Art Center, Des
Moines, Iowa.
DRYPOINT
Woman in Cafe, drypoint by Lesser Ury showing the typical rich blurred line of
drypoint.
 DESCRIPTION
A printmaking technique of
the intaglio family, in which an image
is incised into a plate with a hard-
pointed "needle“ of sharp metal or
diamond point, identical to engraving.

The difference is in the use of tools.

The plate used to be copper, but
now acetate, zinc are commonly used.
Like etching, drypoint is easier to
master than engraving for an artist
trained in drawing because the
technique of using the needle is closer
to using a pencil than the engraver's
burin.

The term is also used for inkless

scratched inscriptions, such as
glosses in manuscripts.
Lines and burrs

Mary Cassatt, Woman Bathing,

drypoint combined with aquatint,
1890-1.
The lines produced by printing a drypoint are formed by the burr thrown up at the
edge of the incised lines, in addition to the depressions formed in the surface of the
plate.
A larger burr, formed by a steep angle of the tool, will hold a lot of ink, producing a
characteristically soft, dense line that differentiates drypoint from other intaglio
methods such as etching or engraving which produce a smooth, hard-edged line.
The size or characteristics of the burr usually depend not on how much pressure is
applied, but on the angle of the needle.
A perpendicular angle will leave little to no burr, while the smaller the angle gets to
either side, the larger the burr pileup.
The deepest drypoint lines leave enough burr on either side of them that they prevent
the paper from pushing down into the center of the stroke, creating a feathery black
line with a fine, white center. A lighter line may have no burr at all, creating a very
fine line in the final print by holding very little ink.
This technique is different from engraving, in which the incisions are made by
removing metal to form depressions in the plate surface which hold ink, although the
two methods can easily be combined, as Rembrandt often did.
Because the pressure of printing quickly destroys the burr, drypoint is useful only for
comparatively small editions; as few as ten or twenty impressions with burr can be
made, and after the burr has gone, the comparatively shallow lines will wear out
relatively quickly.
To counter this and allow for longer print runs, electroplating (called steel-facing by
printmakers) can harden the surface of a plate and allow the same edition size as
produced by etchings and engravings.
 Types of needles
• Any sharp object can theoretically be used to
make a drypoint, as long as it can be used to
carve lines into metal. Dentistry tools, nails, and
metal files can all be used to produce drypoints.
However, certain types of needles are created
specifically for drypoints:

• Diamond-tipped needles carve easily through

any metal and never need sharpening, but they
are expensive.
• Carbide-tipped steel needles can also be used
to great effect, and are cheaper than diamond-
tipped needles, but they need frequent
sharpening to maintain a sharp point. Steel
needles were traditionally used.
 Printing processes
• Pablo Picasso, 1909, Two Nude Figures (Deux figures nues), steel-faced drypoint
on Arches laid paper, 13 x 11 cm, printed by Delâtre, Paris, published by Daniel-
Henry Kahnweiler
• Printing is essentially the same as for the other intaglio techniques, but extra care
is taken to preserve the burr. After the image is finished, or at least ready to proof,
the artist applies ink to the plate with a dauber. Too much pressure will flatten the
burrs and ruin the image. Once the plate is completely covered with a thin layer,
a tarlatan cloth is used to wipe away excess ink, and paper (typically pages from
old phone books) may be used for a final wipe of the lightest areas of the image.
Some printmakers will use their bare hand instead to wipe these areas. Once the
desired amount of ink is removed, the plate is run through an etching press along
with a piece of dampened paper to produce a print.
 Hand-wiping techniques
• Drypoint wiping techniques vary slightly from other intaglio techniques.
• Less pressure is applied to achieve desirable lines, because the burrs forming the
image are more fragile than etched or engraved lines, but also because the ink rests
on the plate surface, instead of pressed down into indentations.
• Also, because of the characteristics of the way the burrs catch ink, the direction of
the wiping matters.
• Ink tends to pile up in the lee of the burr during the application of the ink and wiping
with the tarlatan, so if the printer wipes in the direction of the lines with his hand, he
may remove most of the ink, leaving a light gray line.
• However, if he wipes perpendicularly to the line, he can actually increase the pile of
ink on the other side of the line, darkening the printed line.
Examples
 CHHAAP - FOUNDATION FOR PRINTMAKING TRUST

• Chhaap is a colloquial Indian name for “Print Making” or “Printing”. Chhaap was
established on a cooperative basis in 1999 with a mission to create and promote wider
appreciation of original prints and print making techniques.
Chhaap is a non-profit making organization; promoted by three Baroda based
printmakers and artists – Gulam Mohammed Sheikh, Vijay Bagodi and Kavita Shah.

• Workshop has well established infrastructure for etching, dry point, lino-cut, woodcut
and mono-print. It offers opportunities to artists and printmakers to work in different
printmaking media and is frequented by many senior and international artists, art
students and printmaking enthusiastic.
• Since its inception with support from local artists, Chhaap has created print
portfolios, conducted workshops on book making, etching, dry-point, mono
prints; talk shows by eminent artists, held exhibitions and promoted print
making techniques.

• Chhaap also offers “Residency” program where national and international

artists stay and work at the studio for short durations.

• In future, Chhaap will be holding annual print shows and establishing out-
reach programs, conducting seminars and camps to share knowledge and
techniques in print making along with talks and lectures by eminent artists in
the field.