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Depressions are engraved or etched into a flat printing plate. Likely not to scale: grooves can be less than a millimetre wide.
The plate is covered in ink.
The ink is wiped off the surface of the plate, but remains in the grooves.
Paper is placed on the plate and compressed, such as by a heavy roller.
The paper is removed, and the ink has been transferred from the plate to the paper.

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Micro-topography of an ordinary French post stamp (detail) showing the thickness of ink obtained by intaglio. The words la Poste appeared in white on red background and hence corresponds to areas with a lack of ink.
Banknote portrait pattern made with intaglio printing. Denomination: 1000 Hungarian forint. Depicted area: 18.1 by 13.5 millimetres (0.71 in × 0.53 in).

Intaglio (/ɪnˈtælioʊ/in-TAL-ee-oh; Italian: [inˈtaʎʎo]) is the family of printing and printmaking techniques in which the image is incised into a surface and the incised line or sunken area holds the ink.[1] It is the direct opposite of a relief print, where the parts of the matrix that make the image stand above the main surface.

Normally, copper or in recent times zinc sheets, called plates, are used as a surface or matrix, and the incisions are created by etching, engraving, drypoint, aquatint or mezzotint, often in combination.[2]Collagraphs may also be printed as intaglio plates.[3]

After the decline of the main relief technique of woodcut around 1550, the intaglio techniques dominated both artistic printmaking as well as most types of illustration and popular prints until the mid 19th century.

Process[edit]

In intaglio printing, the lines to be printed are cut into a metal (e.g. copper) plate by means either of a cutting tool called a burin, held in the hand – in which case the process is called engraving; or through the corrosive action of acid – in which case the process is known as etching.[4] In etching, for example, the plate is pre-covered in a thin, acid-resistant resin or wax ground. Using etching needles or burins, the artist or writer (etcher) engraves their image (therefore to be only where the plate beneath is exposed). The plate's ground side is then dipped into acid, or the acid poured onto it. The acid bites into the surface of the plate where it was exposed. Biting is a printmaking term to describe the acid's etching, or incising, of the image; its duration depends on the acid strength, metal's reactivity, temperature, air pressure and the depth desired.[5] After the plate is sufficiently bitten it is removed from the acid bath, the ground is removed gently and the plate is usually dried or cleaned.[6]

To print an intaglio plate, ink or inks are painted, wiped and/or dabbed into the recessed lines (such as with brushes/rubber gloves/rollers). The plate is then rubbed with tarlatan cloth to remove most of its waste (surface ink) and a final smooth wipe is often done with newspaper or old public phone book pages, leaving it in the incisions. Dampened paper will usually be fed against the plate, covered by a blanket, so when pressed by rolling press it is squeezed into the plate's ink-filled grooves with uniform very high pressure.[7] The blanket is then lifted, revealing the paper and printed image. The final stages repeat for each copy needed.

Brief history[edit]

Intaglio printmaking emerged in Europe well after the woodcut print, with the earliest known surviving examples being undated designs for playing cards made in Germany, using drypoint technique, probably in the late 1430s.[8] Engraving had been used by goldsmiths to decorate metalwork, including armor, musical instruments and religious objects since ancient times, and the niello technique, which involved rubbing an alloy into the lines to give a contrasting color, also goes back to late antiquity. Scholars and practitioners of printmaking have suggested that the idea of making prints from engraved plates may well have originated with goldsmiths' practices of taking an impression on paper of a design engraved on an object, in order to keep a record of their work, or to check the quality.[9][10][8]

Martin Schongauer was one of the most significant early artists in the engraving technique, and Albrecht Dürer is one of the most famous intaglio artists. Italian and Dutch engraving began slightly after the Germans, but were well developed by 1500. Drypoint and etching were also German inventions of the fifteenth century, probably by the Housebook Master and Daniel Hopfer respectively.[11][12]

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In the nineteenth century, Viennese printer Karel Klíč introduced a combined intaglio and photographic process. Photogravure retained the smooth continuous tones of photography but was printed using a chemically-etched copper plate. This permitted a photographic image to be printed on regular paper, for inclusion in books or albums.[13]

In the 1940s and 1950s the Italian security printer Gualtiero Giori brought intaglio printing into the era of high-technology by developing the first ever six-colour intaglio printing press, designed to print banknotes which combined more artistic possibilities with greater security.[14]

Current usage[edit]

At one time, intaglio printing was used for all mass-printed materials including banknotes, stock certificates, newspapers, books, maps and magazines, fabrics, wallpapers and sheet music. Today, intaglio engraving is used largely for paper or plastic currency, banknotes, passports and occasionally for high-value postage stamps. The appearance of engraving is sometimes mimicked for items such as wedding invitations by producing an embossment around lettering printed by another process (such as lithography or offset) to suggest the edges of an engraving plate.

Intaglio artists[edit]

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See also[edit]

References[edit]

  1. ^Strauss, Victor (1967). The printing industry: an introduction to its many branches, processes, and products. Washington: Printing Industries of America. ISBN0835202720.
  2. ^Mustalish, Rachel (2003). 'Printmaking Techniques of the WPA Printmakers'. In Lisa Mintz Messinger (ed.). African American Artists, 1929–1945: Prints, Drawings and Paintings in the Metropolitan of Museum of Art (Metropolitan Museum of Art). Yale University Press. pp. 86–88. ISBN0300098774.
  3. ^Mueller White, Lucy (2002). 'Intaglio Processes'. Printmaking as Therapy: Frameworks for Freedom. Jessica Kingsley. pp. 108–109. ISBN1843107082.
  4. ^Ellis, Margaret Holben (1987). The Care of Prints and Drawings. Nashville: The American Association for State and Local History, 1987. p. 64.
  5. ^'Glossary – Magical-Secrets: A Printmaking Community'. magical-secrets.com. Retrieved 5 June 2016.
  6. ^'Intaglio Printmaking – artelino'. artelino.com. Retrieved 5 June 2016.
  7. ^'intaglio – printing'. britannica.com. Retrieved 5 June 2016.
  8. ^ abHarrison, Charles (2006). 'The printed picture in the Renaissance.' In Kim Woods (Ed.), Making Renaissance Art. New Haven: Yale University Press. p. 219.
  9. ^Ross, John (1990). Complete Printmaker. Revised and expanded edition. New York: The Free Press. p. 65.
  10. ^Griffiths, Antony (1996). Prints and Printmaking: An introduction to the history and techniques. Berkeley and Los Angeles: University of California Press. p. 39.
  11. ^'Parshall': David Landau & Peter Parshall, The Renaissance Print, Yale, 1996, pp5&23 ISBN0-300-06883-2
  12. ^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), 18.
  13. ^'Photogravure'. Notes on Photographs. George Eastman House. Retrieved 24 October 2015.[permanent dead link]
  14. ^K. M. M. de Leeuw, Jan Bergstra, The History of Information Security: a Comprehensive Handbook (2007), p. 214

External links[edit]

  • The dictionary definition of intaglio at Wiktionary
  • Media related to Intaglio (printmaking) at Wikimedia Commons
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Intaglio_(printmaking)&oldid=978577812'

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The first beta release of Intaglio version 3.0 is available to anybody who is interested in testing it. Below is a list of the new features. As with any prerelease software the following caveats apply:

  • This is prerelease software and you may lose your work.
  • The files saved with this version are not guaranteed to be usable in the final version.
  • This first beta version requires Mac OS X 10.4 or later. Apple is making it harder to support both Mac OS X 10.5 and 10.3.9 in one version but we’re investigating it.
  • The user guide and online help doesn’t contain any information about the new features.
  • The non-English language localizations are incomplete.
  • If you installed the previous test version of the Intaglio QuickLook plug-in you should delete it. It will not work correctly with files saved by this version.
  • This upgrade will be free for users with standard licenses. Licenses acquired through software bundles (i.e., MacUpdate) will require an upgrade (not finalized yet).

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Please report any problems with this (or any) version of Intaglio to: Intaglio (at sign) PurgatoryDesign.com

The beta version can be downloaded at: http://www.purgatorydesign.com/Intaglio/Prerelease

Intaglio

The following features (in no particular order) are included in version 3.0:

  • A main emphasis of this version is to make it easier to reuse graphics and graphics elements by creating clipart libraries.

  • There are several changes to the library inspector. It allows labels to be added to items (which can be localized), multiple items to be selected and dragged as a group or removed, supports cut/copy/paste via a contextual menu, and allows individual pages to be imported and exported for sharing. Effects can be added to the library and dragged to new objects and your iPhoto library is automatically included.

  • You can select multiple items in the effects list and drag them to the library or Finder (for a clipping file). This allows a series of effects to be saved so it can later be applied to a new graphic. Effects clip art can be saved in library pages. There’s also a contextual menu for the effects list to allow you to disable individual effects without changing their outputs (among other things).

  • The various “color” types have been renamed “paint” to reflect variations beyond simple colors. In previous versions paint types included colors, gradients and patterns. A new type called a “texture” has been added. There are three texture types — image, paint and light. An image texture contains an imported image (e.g., bitmap or PDF). A paint texture contains a non-texture paint object (e.g., a gradient or pattern). A light texture is a computer generated 3D image of a simulated sphere with user selected lights shining on it. Textures can be used to fill graphics (e.g., you can fill a path with an image without resorting to group masks) and as sources for CoreImage based effects. As effects sources, textures can be included with complex effects saved to reuse on future graphics (e.g., effects clip art).

  • Arrows have been substantially rewritten, including a new arrow editor and toolbar menu. There are many new arrows and you can make your own in the editor. New options allow the ability to warp an arrow on a curved line, better scaling control, and the ability to offset the end of the line so it doesn’t interfere with the arrow head.

  • A star tool makes it easy to create multisided stars and flowers.

  • Text blocks can include a background color.

  • Intaglio now includes a German localization.

  • A QuickLook plug-in is includes to enable Intaglio drawings to be preview within the Leopard Finder with QuickLook.

  • When running on Leopard, 2D graphics hardware acceleration is enabled (i.e., QuartzGL).

  • There are new tool preferences to allow stroke widths and/or effects to be scaled when objects are resized. In particular effects scaling makes it easier to adjust the size of things like clip art web buttons.

  • You can focus editing on a group (in the Edit menu) to allow the group contents to be edited without destroying the group (thus losing mask settings and all effects, etc.).

  • You can edit the text without removing it from an enclosing group. For example, select a clip-art web button and hit . You can now edit the button’s label directly without fiddling with the group used to collect the button items.

  • The grid can be printed with a drawing.