Printmaking

Katsushika Hokusai The Underwave off Kanagawa,

1829/1833, color woodcut, Rijksmuseum Collection
Rembrandt, Self-portrait, etching, c.1630

Francisco Goya, There is No One To Help Them,

Disasters of War series, aquatint c.1810
Printmaking is the process of creating
artworks by printing, normally on paper.
Printmaking normally covers only the
process of creating prints that have an
element of originality, rather than just
being a photographic reproduction of a
painting. Except in the case of
monotyping, the process is capable of
producing multiples of the same piece,
which is called a print. Each print
produced is not considered a "copy" but
rather is considered an "original". This is
because typically each print varies to an
extent due to variables intrinsic to the
printmaking process, and also because
the imagery of a print is typically not
simply a reproduction of another work
but rather is often a unique image
designed from the start to be expressed
in a particular printmaking technique. A
print may be known as an impression.
Printmaking (other than monotyping) is
not chosen only for its ability to produce
multiple impressions, but rather for the
unique qualities that each of the
printmaking processes lends itself to.

Prints are created by transferring ink

from a matrix or through a prepared
screen to a sheet of paper or other
material. Common types of matrices
include: metal plates, usually copper or
zinc, or polymer plates for engraving or
etching; stone, aluminum, or polymer for
lithography; blocks of wood for woodcuts
and wood engravings; and linoleum for
linocuts. Screens made of silk or
synthetic fabrics are used for the
screenprinting process. Other types of
matrix substrates and related processes
are discussed below.

Multiple impressions printed from the

same matrix form an edition. Since the
late 19th century, artists have generally
signed individual impressions from an
edition and often number the
impressions to form a limited edition; the
matrix is then destroyed so that no more
prints can be produced. Prints may also
be printed in book form, such as
illustrated books or artist's books.

Techniques
External video
Printmaking: Woodcuts and Engravings ,
Smarthistory

Overview

Printmaking techniques are generally

divided into the following basic
categories:

Relief, where ink is applied to the

original surface of the matrix. Relief
techniques include woodcut or
woodblock as the Asian forms are
usually known, wood engraving, linocut
and metalcut.
Intaglio, where ink is applied beneath
the original surface of the matrix.
Intaglio techniques include engraving,
etching, mezzotint, aquatint.
Planographic, where the matrix retains
its original surface, but is specially
prepared and/or inked to allow for the
transfer of the image. Planographic
techniques include lithography,
monotyping, and digital techniques.
Stencil, where ink or paint is pressed
through a prepared screen, including
screenprinting and pochoir.
Other types of printmaking techniques
outside these groups include collagraphy
and viscosity printing. Collagraphy is a
printmaking technique in which textured
material is adhered to the printing matrix.
This texture is transferred to the paper
during the printing process.
Contemporary printmaking may include
digital printing, photographic mediums,
or a combination of digital, photographic,
and traditional processes.

Many of these techniques can also be

combined, especially within the same
family. For example, Rembrandt's prints
are usually referred to as "etchings" for
convenience, but very often include work
in engraving and drypoint as well, and
sometimes have no etching at all.

Woodcut

Artists using
this technique
include

Albrecht
Félix Vallotton, La raison
probante (The Cogent Reason),
Dürer, Ernst
woodcut from the series Ludwig
Intimités, (1898)
Kirchner,
Dulah Marie
Evans,
Hiroshige,
Hokusai,
Gustave
Ernst Ludwig Kirchner, Portrait Baumann,
of Otto Müller, 1915 Hannah
Tompkins,
Woodcut, a type of relief Hussein El
print, is the earliest Gebaly, Carlos
printmaking technique, Alvarado Lang
and the only one
traditionally used in the Far East. It was
probably first developed as a means of
printing patterns on cloth, and by the 5th
century was used in China for printing
text and images on paper. Woodcuts of
images on paper developed around 1400
in Japan, and slightly later in Europe.
These are the two areas where woodcut
has been most extensively used purely
as a process for making images without
text.

Woodcuts of Stanislaw Raczynski (1903–1982)

The artist draws a design on a plank of

wood, or on paper which is transferred to
the wood. Traditionally the artist then
handed the work to a specialist cutter,
who then uses sharp tools to carve away
the parts of the block that will not receive
ink. The surface of the block is then
inked with the use of a brayer, and then a
sheet of paper, perhaps slightly damp, is
placed over the block. The block is then
rubbed with a baren or spoon, or is run
through a printing press. If in color,
separate blocks can be used for each
color, or a technique called reduction
printing can be used.

Reduction printing is a name used to

describe the process of using one block
to print several layers of color on one
print. This usually involves cutting a
small amount of the block away, and
then printing the block many times over
on different sheets before washing the
block, cutting more away and printing the
next color on top. This allows the
previous color to show through. This
process can be repeated many times
over. The advantages of this process is
that only one block is needed, and that
different components of an intricate
design will line up perfectly. The
disadvantage is that once the artist
moves on to the next layer, no more
prints can be made.

Another variation of woodcut

printmaking is the cukil technique, made
famous by the Taring Padi underground
community in Java, Indonesia. Taring
Padi Posters usually resemble intricately
printed cartoon posters embedded with
political messages. Images—usually
resembling a visually complex scenario—
are carved unto a wooden surface called
cukilan, then smothered with printer's ink
before pressing it unto media such as
paper or canvas.

Engraving

"Melencolia I", engraving by Albrecht Dürer, one of

the most important printmakers.
The process was developed in Germany
in the 1430s from the engraving used by
goldsmiths to decorate metalwork.
Engravers use a hardened steel tool
called a burin to cut the design into the
surface of a metal plate, traditionally
made of copper. Engraving using a burin
is generally a difficult skill to learn.

Gravers come in a variety of shapes and

sizes that yield different line types. The
burin produces a unique and
recognizable quality of line that is
characterized by its steady, deliberate
appearance and clean edges. Other tools
such as mezzotint rockers, roulettes (a
tool with a fine-toothed wheel) and
burnishers (a tool used for making an
object smooth or shiny by rubbing) are
used for texturing effects.

To make a print, the engraved plate is

inked all over, then the ink is wiped off
the surface, leaving only ink in the
engraved lines. The plate is then put
through a high-pressure printing press
together with a sheet of paper (often
moistened to soften it). The paper picks
up the ink from the engraved lines,
making a print. The process can be
repeated many times; typically several
hundred impressions (copies) could be
printed before the printing plate shows
much sign of wear, except when drypoint,
which gives much shallower lines, is
used.

In the 20th century, true engraving was

revived as a serious art form by artists
including Stanley William Hayter whose
Studio 17 in Paris and New York City
became the magnet for such artists as
Pablo Picasso, Alberto Giacometti,
Mauricio Lasansky and Joan Miró.
Of the Frogs Desiring a King (1665), from The Fables
of Aesop paraphras’d in verse of John Ogilby,
etching by Wenceslaus Hollar.

Etching

Etching is part of the Artists using

intaglio family (along this technique
with engraving, drypoint, include
mezzotint, and Albrecht
aquatint.) Although the Dürer,
first dated etching is by Rembrandt,
Albrecht Dürer in 1515, Francisco
the process is believed Goya,
to have been invented Wenceslaus
by Daniel Hopfer Hollar,
(c.1470–1536) of Whistler, Otto
Augsburg, Germany,
who decorated armor in Dix, James
this way, and applied the Ensor, Edward
method to Hopper, Käthe
printmaking.[1] Etching Kollwitz,
soon came to challenge Pablo
engraving as the most Picasso, Cy
popular printmaking Twombly,
medium. Its great Lucas van
advantage was that, Leyden,
unlike engraving which Carlos
requires special skill in Alvarado
metalworking, etching is Lang.
relatively easy to learn
for an artist trained in drawing.

Etching prints are generally linear and

often contain fine detail and contours.
Lines can vary from smooth to sketchy.
An etching is opposite of a woodcut in
that the raised portions of an etching
remain blank while the crevices hold ink.
In pure etching, a metal (usually copper,
zinc or steel) plate is covered with a waxy
or acrylic ground. The artist then draws
through the ground with a pointed
etching needle. The exposed metal lines
are then etched by dipping the plate in a
bath of etchant (e.g. nitric acid or ferric
chloride). The etchant "bites" into the
exposed metal, leaving behind lines in
the plate. The remaining ground is then
cleaned off the plate, and the printing
process is then just the same as for
engraving.
Mezzotint

An intaglio variant of engraving in which

the image is formed from subtle
gradations of light and shade. Mezzotint
—from the Italian mezzo ("half") and tinta
("tone")—is a "dark manner" form of
printmaking, which requires artists to
work from dark to light. To create a
mezzotint, the surface of a copper
printing plate is roughened evenly all over
with the aid of a tool known as a rocker;
the image is then formed by smoothing
the surface with a tool known as a
burnisher. When inked, the roughened
areas of the plate will hold more ink and
print more darkly, while smoother areas
of the plate hold less or no ink, and will
print more lightly or not at all. It is,
however, possible to create the image by
only roughening the plate selectively, so
working from light to dark.

Mezzotint is known for the luxurious

quality of its tones: first, because an
evenly, finely roughened surface holds a
lot of ink, allowing deep solid colors to be
printed; secondly because the process of
smoothing the texture with burin,
burnisher and scraper allows fine
gradations in tone to be developed.

The mezzotint printmaking method was

invented by Ludwig von Siegen (1609–
1680). The process was used widely in
England from the mid-eighteenth century,
to reproduce oil paintings and in
particular portraits.

Aquatint

"The sleep of Reason creates monsters", etching and

aquatint by Francisco Goya

A technique used in Intaglio etchings.

Like etching, aquatint technique involves
the application of acid to make marks in
a metal plate. Where the etching
technique uses a needle to make lines
that retain ink, aquatint relies on
powdered rosin which is acid resistant in
the ground to create a tonal effect. The
rosin is applied in a light dusting by a fan
booth, the rosin is then cooked until set
on the plate. At this time the rosin can be
burnished or scratched out to affect its
tonal qualities. The tonal variation is
controlled by the level of acid exposure
over large areas, and thus the image is
shaped by large sections at a time.

Goya used aquatint for most of his

prints.
Drypoint

The Three Crosses, drypoint by Rembrandt

A variant of engraving, done with a sharp

point, rather than a v-shaped burin. While
engraved lines are very smooth and hard-
edged, drypoint scratching leaves a
rough burr at the edges of each line. This
burr gives drypoint prints a
characteristically soft, and sometimes
blurry, line quality. Because the pressure
of printing quickly destroys the burr,
drypoint is useful only for very small
editions; as few as ten or twenty
impressions. To counter this, and allow
for longer print runs, electro-plating (here
called steelfacing) has been used since
the nineteenth century to harden the
surface of a plate.

The technique appears to have been

invented by the Housebook Master, a
south German fifteenth-century artist, all
of whose prints are in drypoint only.
Among the most famous artists of the
old master print: Albrecht Dürer produced
three drypoints before abandoning the
technique; Rembrandt used it frequently,
but usually in conjunction with etching
and engraving.

Lithography

Artists using
this technique
include

Honoré
Daumier,

La Goulue, Lithograph poster

Vincent van
by Toulouse-Lautrec. Gogh, George
Bellows,

Lithography is a Pierre
technique invented in Bonnard,
1798 by Alois Edvard
Munch, Emil
Senefelder and based Nolde, Pablo
on the chemical Picasso,
repulsion of oil and Odilon Redon,
water. A porous surface, Henri de
normally limestone, is Toulouse-
used; the image is Lautrec,
drawn on the limestone Salvador Dalí,
with a greasy medium. M. C. Escher,
Acid is applied, Willem de
transferring the grease Kooning, Joan
to the limestone, leaving Miró, Stow
the image 'burned' into Wengenroth
the surface. Gum arabic,
a water-soluble substance, is then
applied, sealing the surface of the stone
not covered with the drawing medium.
The stone is wetted, with water staying
only on the surface not covered in
grease-based residue of the drawing; the
stone is then 'rolled up', meaning oil ink is
applied with a roller covering the entire
surface; since water repels the oil in the
ink, the ink adheres only to the greasy
parts, perfectly inking the image. A sheet
of dry paper is placed on the surface, and
the image is transferred to the paper by
the pressure of the printing press.
Lithography is known for its ability to
capture fine gradations in shading and
very small detail.

A variant is photo-lithography, in which

the image is captured by photographic
processes on metal plates; printing is
carried out in the same way.

Screenprinting

Screenprinting Artists using

(occasionally known as this technique
"silkscreen", or include
"serigraphy") creates
Josef Albers,
prints by using a fabric
Ralston
stencil technique; ink is
Crawford,
simply pushed through
Gene Davis.
the stencil against the
Robert
surface of the paper,
Indiana, Roy
most often with the aid
Lichtenstein,
of a squeegee.
Julian Opie,
Generally, the technique
Bridget Riley,
uses a natural or Edward
synthetic 'mesh' fabric Ruscha, Andy
stretched tightly across Warhol, and
a rectangular 'frame,' Carlos
much like a stretched Alvarado
canvas. The fabric can Lang.
be silk, nylon
monofilament, multifilament polyester, or
even stainless steel.[2] While commercial
screenprinting often requires high-tech,
mechanical apparatuses and calibrated
materials, printmakers value it for the "Do
It Yourself" approach, and the low
technical requirements, high quality
results. The essential tools required are a
squeegee, a mesh fabric, a frame, and a
stencil. Unlike many other printmaking
processes, a printing press is not
required, as screenprinting is essentially
stencil printing.

Screenprinting may be adapted to

printing on a variety of materials, from
paper, cloth, and canvas to rubber, glass,
and metal. Artists have used the
technique to print on bottles, on slabs of
granite, directly onto walls, and to
reproduce images on textiles which
would distort under pressure from
printing presses.

Monotype
Monotype by the technique's inventor, Giovanni

Benedetto Castiglione, The Creation of Adam, c 1642

Monotyping is a type of printmaking

made by drawing or painting on a
smooth, non-absorbent surface. The
surface, or matrix, was historically a
copper etching plate, but in
contemporary work it can vary from zinc
or glass to acrylic glass. The image is
then transferred onto a sheet of paper by
pressing the two together, usually using a
printing-press. Monotypes can also be
created by inking an entire surface and
then, using brushes or rags, removing ink
to create a subtractive image, e.g.
creating lights from a field of opaque
color. The inks used may be oil based or
water based. With oil based inks, the
paper may be dry, in which case the
image has more contrast, or the paper
may be damp, in which case the image
has a 10 percent greater range of tones.

Unlike monoprinting, monotyping

produces a unique print, or monotype,
because most of the ink is removed
during the initial pressing. Although
subsequent reprintings are sometimes
possible, they differ greatly from the first
print and are generally considered
inferior. A second print from the original
plate is called a "ghost print" or
"cognate". Stencils, watercolor, solvents,
brushes, and other tools are often used
to embellish a monotype print.
Monotypes are often spontaneously
executed and with no preliminary sketch.

Monotypes are the most painterly

method among the printmaking
techniques, a unique print that is
essentially a printed painting. The
principal characteristic of this medium is
found in its spontaneity and its
combination of printmaking, painting,
and drawing media.[3]

Monoprint

Monoprinting is a form of printmaking

that uses a matrix such as a woodblock,
litho stone, or copper plate, but produces
impressions that are unique. Multiple
unique impressions printed from a single
matrix are sometimes known as a
variable edition. There are many
techniques used in monoprinting,
including collagraph, collage, hand-
painted additions, and a form of tracing
by which thick ink is laid down on a table,
paper is placed on the ink, and the back
of the paper is drawn on, transferring the
ink to the paper. Monoprints can also be
made by altering the type, color, and
viscosity of the ink used to create
different prints. Traditional printmaking
techniques, such as lithography,
woodcut, and intaglio, can be used to
make monoprints.

Mixed-media prints

Mixed-media prints may use multiple

traditional printmaking processes such
as etching, woodcut, letterpress,
silkscreen, or even monoprinting in the
creation of the print. They may also
incorporate elements of chine colle,
collage, or painted areas, and may be
unique, i.e. one-off, non-editioned, prints.
Mixed-media prints are often
experimental prints and may be printed
on unusual, non-traditional surfaces.

Digital prints

Digital prints refers to Artists using

images printed using this technique
digital printers such as include
inkjet printers instead of
Istvan Horkay,
a traditional printing
Ralph Goings,
press. Images can be
Enrique
printed to a variety of
Chagoya
substrates including
paper, cloth, or plastic canvas.

Dye-based inks

Dye-based inks are organic (not mineral)

dissolved and mixed into a liquid.
Although most are synthetic, derived
from petroleum, they can be made from
vegetable or animal sources. Dyes are
well suited for textiles where the liquid
dye penetrates and chemically bonds to
the fiber. Because of the deep
penetration, more layers of material must
lose their color before the fading is
apparent. Dyes, however, are not suitable
for the relatively thin layers of ink laid out
on the surface of a print.
Pigment-based inks

Pigment is a finely ground, particulate

substance which, when mixed or ground
into a liquid to make ink or paint, does
not dissolve, but remains dispersed or
suspended in the liquid. Pigments are
categorized as either inorganic (mineral)
or organic (synthetic).[4] Pigment-based
inks have a much longer permanence
than dye-based inks.[5]

Giclée

Giclée (pron.: /ʒiːˈkleɪ/ zhee-KLAY or /dʒiː

ˈkleɪ/), is a neologism coined in 1991 by
printmaker Jack Duganne [6] for digital
prints made on inkjet printers. Originally
associated with early dye-based printers
it is now more often refers to pigment-
based prints.[7] The word is based on the
French word gicleur, which means
"nozzle". Today fine art prints produced
on large format ink-jet machines using
the CcMmYK color model are generally
called "Giclée".

Foil imaging

In art, foil imaging is a printmaking

technique made using the Iowa Foil
Printer, developed by Virginia A. Myers
from the commercial foil stamping
process. This uses gold leaf and acrylic
foil in the printmaking process.

Color

Hiroshige, Morning Mist

Printmakers apply color to their prints in

many different ways. Some coloring
techniques include positive surface roll,
negative surface roll, and A la poupée.
Often color in printmaking that involves
etching, screenprinting, woodcut, or
linocut is applied by either using separate
plates, blocks or screens or by using a
reductionist approach. In multiple plate
color techniques, a number of plates,
screens or blocks are produced, each
providing a different color. Each separate
plate, screen, or block will be inked up in
a different color and applied in a
particular sequence to produce the entire
picture. On average about three to four
plates are produced, but there are
occasions where a printmaker may use
up to seven plates. Every application of
another plate of color will interact with
the color already applied to the paper,
and this must be kept in mind when
producing the separation of colors. The
lightest colors are often applied first, and
then darker colors successively until the
darkest.

The reductionist approach to producing

color is to start with a lino or wood block
that is either blank or with a simple
etching. Upon each printing of color the
printmaker will then further cut into the
lino or woodblock removing more
material and then apply another color
and reprint. Each successive removal of
lino or wood from the block will expose
the already printed color to the viewer of
the print. Picasso is often cited as the
inventor of reduction printmaking,
although there is evidence of this method
in use 25 years before Picasso's
linocuts.[8]

The subtractive color concept is also

used in offset or digital print and is
present in bitmap or vectorial software in
CMYK or other color spaces.

Registration
In printmaking processes requiring more
than one application of ink or other
medium, the problem exists as to how to
line up properly areas of an image to
receive ink in each application. The most
obvious example of this would be a
multi-color image in which each color is
applied in a separate step. The lining up
of the results of each step in a multistep
printmaking process is called
"registration." Proper registration results
in the various components of an image
being in their proper place. But, for
artistic reasons, improper registration is
not necessarily the ruination of an image.

This can vary considerably from process

to process. It generally involves placing
the substrate, generally paper, in correct
alignment with the printmaking element
that will be supplying it with coloration.[9]

Protective printmaking
equipment
Protective clothing is very important for
printmakers who engage in etching and
lithography (closed toed shoes and long
pants). Whereas in the past printmakers
put their plates in and out of acid baths
with their bare hands, today printmakers
use rubber gloves. They also wear
industrial respirators for protection from
caustic vapors. Most acid baths are built
with ventilation hoods above them.

Protective respirators and masks should

have particle filters, particularly for
aquatinting. As a part of the aquatinting
process, a printmaker is often exposed to
rosin powder. Rosin is a serious health
hazard, especially to printmakers who, in
the past, simply used to hold their breath
using an aquatinting booth.

See also

Rembrandt, Christ Preaching, (The Hundred Guilder

print); etching c.1648
Albrecht Dürer, Saint Jerome in his Study, 1514.

Artist's proof
Banhua, Chinese printmaking
Carborundum printmaking
Edition (printmaking)
Graphic design
Line engraving
List of Printmakers
Old master print
Shin hanga
Sosaku hanga
Ukiyo-e
Viscosity printing

Printmakers by nationality
 Engravers by nationality
Etchers by nationality
Printmakers by nationality

Notes
1. Cohen, Brian D. "Freedom and
Resistance in the Act of Engraving (or,
Why Dürer Gave up on Etching)," Art in
Print Vol. 7 No. 3 (September–October
2017), 17.
2. "Screen Fabric" . A.W.T. World Trade
Inc.
3. Washington printmakers' gallery
Archived 2010-12-28 at the Wayback
Machine
4. Printmaking FAQ at Magnolia Editions
Archived 2009-04-13 at the Wayback
Machine
5. Susan Carden, Digital Textile Printing,
Bloomsbury Publishing - 2015, page 27
6. Johnson, Harald. Mastering Digital
Printing, p.11 at Google Books
7. Luong, Q.-Tuan. An overview of large
format color digital printing at
largeformatphotography.info
8.
http://www.printsandprintmaking.gov.au/
catalogues/bibliography/136140/bunbury
-alisa-not-picassos-invention--a-foray-
into.aspx
9.
http://www.nontoxicprint.com/perfectregi
stration.htm

References
What is a Print? , from the Museum of
Modern Art
Bamber Gascoigne: How to Identify
Prints: A Complete Guide to Manual and
Mechanical Processes from Woodcut
to Inkjet (ISBN 0-500-28480-6)
Multi-Color Block Prints:
Wood/Linoleum - Reduction Method
Technique , by Hannah Tompkins
Catalog Design Handbook with
Technics, visual ergonomics &
printmaking glossary
Further reading
A. Hyatt Mayor (1971). Prints & people:
a social history of printed pictures (full
PDF) . New York: The Metropolitan
Museum of Art. ISBN 9780870991080.
Beth Grabowski and Bill Fick,
"Printmaking: A Complete Guide to
Materials & Processes." Prentice Hall,
2009. ISBN 0-205-66453-9
Donna Anderson Experience
Printmaking. Worcester, MA: Davis
Publications, 2009. ISBN 978-0-87192-
982-2
Gill Saunders and Rosie Miles Prints
Now: Directions and Definitions Victoria
and Albert Museum (May 1, 2006)
ISBN 1-85177-480-7
Antony Griffiths, Prints and
Printmaking, British Museum Press,
2nd ed, 1996 ISBN 0-7141-2608-X
Linda Hults The Print in the Western
World: An Introductory History.
Madison: University of Wisconsin
Press, 1996. ISBN 978-0-299-13700-7
Carol Wax, The Mezzotint: History and
Technique (Harry N. Abrams, Inc.,
1990)
James Watrous A Century of American
Printmaking. Madison: University of
Wisconsin Press, 1984. ISBN 0-299-
09680-7
 William Ivins, Jr. Prints and Visual
Communication. Cambridge: Harvard
University Press, 1953. ISBN 0-262-
59002-6
Donald Saff and Deli Sacilotto.
Printmaking: History and Process. New
York: Holt, Rinehart, and Winston,
1978. ISBN 978-0030856631
Edward Twohig, R.E. 2018. “Print
REbels: “Haden - Palmer - Whistler and
the Origins of the R.E. (Royal Society of
Painter-Printmakers) ISBN 978-1-5272-
1775-1. Published by the Royal Society
of Painter-Printmakers, London, in May
2018.

External links
Wikimedia Commons has media related
to printmaking.

Look up printmaking in Wiktionary, the

free dictionary.

Wikisource has the text of the 1905 New

International Encyclopedia article Print.

History of printmaking; glossaries

Museum of Modern Art, New York:
What Is a Print?
Thompson, Wendy. "The Printed Image
in the West: History and Techniques".
In Timeline of Art History. New York:
The Metropolitan Museum of Art, 2000
– . (October 2003)
André Béguin's dictionary;enormous
dictionary of terms, relating more to
the printing than the creation of the
image
Another glossary - for modern prints
Large list of links to museum etc.
online images of prints
Judging the Authenticity of Prints by
The Masters by art historian David
Rudd Cycleback
Printing techniques explained
Printmaking organizations
Print Council of America
International Fine Print Dealers
Association
SGC International (formerly Southern
Graphics Council)
Seattle Print Arts
Bellebyrd - The Print Australia
blogspot by art historian Josephine
Severn.
Printmaking Artist: a glossary of
contemporary prints
Iowa Biennial - Exhibition & Archive of
Contemporary Prints
Site dedicated to the activity of
printmaking and thinking creatively.
Includes footage of well-known artists
working at Crown Point Press in San
Francisco.
 Prints and Printmaking: Site devoted to
Australian and Pacific printmaking
practice and history
Mini Print International of Cadaques
Site of the longest running
international print exhibition and
competition, catalogues, archive,
winners, exhibitions, jury...
Mid America Print Council
International Sign and Printmakers
Guild

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