Lesson 7.1: Introduction to Printmaking and the Matrix

Introduction

In this lesson, we explore the fascinating world of printmaking, a unique artistic process that empowers artists to create multiple works from a single source image known as the matrix. We will compare printmaking with direct mark-making, understand what constitutes a matrix, and delve into the different families of printmaking techniques. Through this understanding, you will learn about the concept of the edition, the multiple, and how registration and working in reverse play critical roles in the printmaking process.

Learning Objectives

• Understand what printmaking is and how it differs from direct mark-making.
• Define the matrix as the source of a printed image.
• Identify the main families of print: relief, intaglio, planographic, and stencil.
• Comprehend the concept of the edition and the multiple.
• Learn about registration and the importance of working in reverse in printmaking.

What is Printmaking?

Printmaking is a technique used by artists to create artworks by transferring ink from a matrix to a surface, often paper. This process allows for the production of multiple copies of the same image, differentiating it from direct mark-making methods, such as drawing or painting, where each piece is unique.

Direct Mark-Making vs. Printmaking

Direct mark-making involves applying materials directly onto a surface to create a one-of-a-kind artwork. For instance, if you paint a landscape using watercolors directly on paper, you have crafted a unique piece. If you decide to create a version of this landscape through printmaking, you would first create a matrix (like a carved wooden block or a metal plate) and use that to produce multiple identical prints.

Key Differences

• Uniqueness: Each direct mark-making artwork is singular; printmaking allows duplication through a matrix.
• Process: Direct mark-making often involves immediate application, while printmaking requires a series of preparatory steps to create the matrix.

Example: Direct Mark-Making vs. Printmaking

Let's say you draw a flower using colored pencils on paper. This flower is unique. However, if you carve this design into a linoleum block and use it to make printed copies, you create a matrix. Each print you pull from this matrix is part of an edition.

Understanding the Matrix

The matrix is the crucial element in printmaking; it is the surface or medium where an image is created and from which prints are produced. Different types of matrices are used for various printmaking techniques:

• Relief: In relief printing, the matrix is raised; areas that are not image areas remain ink-free.
• Intaglio: For intaglio printing, the matrix is incised, and ink is held in the grooves.
• Planographic: In planographic processes, the matrix is flat; the printing surface and the non-printing areas are treated chemically.
• Stencil: For stenciling, the image is cut into a material, allowing ink to pass through only in specific areas.

Working Example of a Matrix

Let's create a simple matrix using linoleum:

1. Design Your Image: Sketch a simple design on paper.
2. Transfer the Design: Place the paper over the linoleum and trace the design onto the linoleum using a pencil.
3. Carve the Matrix: Using a linoleum cutter, carefully carve away the areas of the matrix that will not receive ink.
4. Inking the Matrix: Apply ink using a brayer (roller) to the raised surface of the linoleum block.
5. Printing: Place your paper over the inked matrix and apply pressure to transfer the ink from the matrix to the paper.
6. Result: You now have your first printed image!

The Families of Printmaking

Understanding the different families of printmaking is essential for determining which methods you might wish to explore. We will break them down into four main categories:

1. Relief Printing

In relief printing, the artist carves away the non-image areas of a matrix, leaving the design raised. The raised areas are inked, and the paper is pressed onto the inked surface.

Example: Woodblock Printing

• In this traditional Japanese technique, the artist paints onto the matrix or carves it out depending on the desired image.
• Each layer of color is applied one at a time using separate blocks.

2. Intaglio Printing

Intaglio processes involve incising or engraving the design into the surface of a plate. The ink fills the incised lines and is transferred to the paper under high pressure.

Example: Etching

• An artist covers a metal plate in a waxy ground, scratches the design into it, and then immerses the plate in acid. The acid bites into the metal, creating a line that holds ink.

3. Planographic Printing

In planographic printing, images are created on a flat surface. This method relies on the principle that oil and water do not mix.

Example: Lithography

• An artist draws directly onto a stone with a grease pencil. The greasy areas hold ink while the non-greasy areas repel it, allowing for a print.

4. Stencil Printing

Stencil printing involves applying ink through specific cutouts onto a surface. The cutouts create a negative space that forms the design.

Example: Screen Printing

• This method uses a screen (often silk) with a blocked-out design. Ink is pushed through the screen onto the substrate.

Concept of the Edition and the Multiple

In printmaking, editioning is crucial; it refers to producing a series of prints from the same matrix. These prints are known as “multiples” of the same artwork.

What is an Edition?

• An edition is a set of prints produced from the same matrix and is usually numbered. For instance, a limited edition of 50 prints may be expressed as 1/50, 2/50, etc.

Why Editioning Matters

Editioning allows artists to control the number of prints they produce, maintain their artistic integrity, and provide buyers with a sense of exclusivity. As prints in an edition number increase, their value may decrease due to supply; in contrast, more exclusive (limited) editions often hold greater value.

Registration in Printmaking

Registration is the technique of aligning multiple matrices or colors in printmaking to ensure that they print in the right places on the page. Proper registration is vital, especially if you're working with multiple colors where layers of the image need precise alignment.

Working Example of Registration

1. Create your first layer in a relief print as above.
2. After pulling your first print, carefully align the next matrix (for a different color) with registration marks.
3. The registration process ensures that the second color prints perfectly over the first.

Working in Reverse

Finally, an essential concept in printmaking is working in reverse. This is particularly important when creating a print from a linear matrix.

Why Work in Reverse?

When carving or designing the matrix, you must remember that once printed, the design will appear reversed. Therefore, the image has to be planned accordingly.

Example of Working in Reverse

• If your matrix depicts the word “ART,” it needs to be carved as “TRA” so that, when printed, it reads correctly.

Conclusion

In this lesson, we have explored the essence of printmaking, the role of the matrix, and the different families of print. By understanding these concepts, you can appreciate how printmaking allows for creativity, discipline, and the production of beautiful artworks. You should now understand the importance of registration, the concept of an edition, and how to plan your designs correctly when working with printmaking techniques.

Study Notes

• Printmaking involves transferring ink from a matrix to a surface and allows for multiple copies.
• The matrix can be made from various materials (wood, metal, etc.) depending on the printmaking technique used.
• The main families of print include relief, intaglio, planographic, and stencil.
• An edition refers to a set of prints created from the same matrix, and careful registration is essential for alignment and precision in multi-color prints.
• Always remember to work in reverse with designs that contain text or specific orientations.