Printmaking terms and definitions

Materials (papers, boards, inks) made without acids that would cause yellowing or degradation over time. Essential for archival-quality prints intended to last.

A flat chisel tool used in Japanese woodblock printmaking (mokuhanga) to clear areas of the block. Produces clean, flat gouged surfaces rather than V‑shaped grooves.

Designed for long-term preservation, resistant to fading, yellowing, and deterioration. Applies to papers, inks, storage boxes, matting, and framing.

An impression printed from the same matrix as the main edition but reserved for the artist rather than included in the numbered edition. Artist's proofs are marked A/P and are typically limited to around 10% of the edition size.

A greasy, highly pigmented drawing ink used to draw or write either directly on a printing matrix (such as a lithographic stone or plate) or on an intermediate surface (such as transfer paper or film) that is later transferred or exposed onto the final printing surface in lithography, screen printing, and related processes.

Lithography in which the artist draws directly on the litho stone or plate, as opposed to transferring an image photo-mechanically.

A flat, circular tool used to hand-burnish a print by pressing paper against an inked block or plate. Originally made from bamboo coil wrapped in a bamboo sheath; modern versions are made from plastic, ball bearings, or Masonite. Essential for relief printing without a press.

The substance that carries pigment in printing ink and binds it to the printing surface. Linseed oil is the traditional binder for oil-based inks; acrylic polymer emulsion for water-based inks. The binder affects drying time, viscosity, and how the ink transfers.

The action of acid eating into an unprotected metal plate during the etching process. The depth and duration of the bite determines how much ink a line will hold and therefore its darkness when printed.

When ink prints beyond the intended design boundary, either accidentally (ink spread) or deliberately (a bleed, where the print runs to the paper edge with no margin). In digital print preparation, “bleed” also refers to artwork extended beyond the crop line so that trimming yields a clean, edge‑to‑edge print.

A printing technique in which two or more colors of ink are placed side by side on the ink slab and blended together on the roller or brayer, producing a gradual color transition across the print in a single pass.

The material into which a design is carved for relief printing — traditionally wood or linoleum, but also rubber, vinyl, and other carvable surfaces. Also called a matrix or plate depending on context.

French for “good to print” or “good to pull”. The approved proof that establishes the standard for an entire edition. All subsequent prints in the edition must match the BAT. 

A hand roller used to apply ink evenly to a printing matrix (block or plate).

A steel tool with a sharpened, angled cutting tip used for engraving. The burin is pushed into the plate to displace metal and create a clean V-shaped groove. Different profiles (lozenge, flat, round, multiple) produce different line qualities.

A smooth, polished steel tool used to flatten the surface of a metal plate, removing burr (in drypoint), lightening aquatint tones, or correcting mistakes. Burnishing compresses the metal surface rather than cutting it.

A ridge of displaced metal pushed up alongside a scratched or incised line, most notably in drypoint. The burr holds extra ink and produces a characteristically soft, velvety line. Burr wears quickly under press pressure, making early impressions from a drypoint plate distinctly richer.

A print made after the stone or plate has been deliberately defaced to document that no further authorized prints can be made. Cancellation proofs are often numbered and signed.

A matrix that has been deliberately defaced by scoring, drilling, or otherwise marking it after the edition is complete, ensuring no further impressions can be printed from it. Proof of cancellation is sometimes printed and distributed as a 'cancellation proof'.

A silicon carbide abrasive used with a levigator (or second stone) to grind and grain the surface of a lithographic stone. Available in different grades, from coarse to fine, each producing a different surface texture on the stone.

A comprehensive, scholarly catalogue of all known prints by a specific artist, including edition details, dimensions, dates, and provenance.

A printmaking technique in which a thin paper is bonded to a heavier support sheet during printing.

A small embossed, inked, or stamped mark — typically in a print's lower margin — identifying the studio, printer, or publisher.

The four-color process using cyan, magenta, yellow, and key (black). Colors print as separate halftone layers or transparent overlays; the combination creates full color images.

A printmaking technique in which the matrix is built up (rather than carved away) by adhering materials like card, fabric, sand, leaves, texture paste to a rigid base. Can be printed in intaglio, relief, or both simultaneously, producing richly textured surfaces.

A statement, usually at the end of a portfolio or book, recording details of the edition: publisher, printer, paper, number of copies, date, and sometimes a list of subscribers.

The process of isolating each color in a design onto its own printing element (screen, block, plate, or stone). Each layer is printed separately and sequentially to build the final image.

A stamp or signature added by a print workshop to authenticate that an edition was produced under its supervision. It is distinct from the artist’s own signature.

The middle blanket in the standard three‑blanket stack on an etching press, made of thick, soft wool felt. It provides resilient padding that compresses under pressure, allowing the paper to bed into the plate’s recesses while smoothing out irregularities and helping to produce an even, rich impression.

A printing process that produces characteristic Prussian blue prints. Paper or fabric is coated with a light-sensitive iron compound; objects or film negatives are placed on the surface and exposed to UV light. The unexposed areas wash away in water, leaving a blue-and-white image.

The rough, feathery edge naturally formed on handmade paper where the pulp thins at the mould edge. A deckled edge is associated with fine art papers and is considered aesthetically desirable. Machine-made papers sometimes simulate a deckled edge by tearing.

The chemical treatment (typically with gum arabic and acid) applied to a lithographic stone or plate after drawing to fix the image. The gum fills non‑image areas with water‑loving (hydrophilic) molecules, making them reject oil‑based ink.

A measure of rubber hardness (squeegee blades, brayers, rollers) on the Shore A scale. Softer durometers apply more ink; harder durometers give allow for finer detail.

The total number of authorized prints pulled from a single matrix. An edition defines how many copies of a print exist. Prints in an edition are typically numbered (e.g., 3/25) and signed by the artist.

The process of selecting, numbering, and signing an edition, including choosing which prints from a run meet quality standards, recording the edition size, and annotating each print in pencil.

Process for etching metal plates using salt solution and electrical current instead of acid. Developed as a safer alternative to traditional mordants.

Pressing an uninked block, die, or plate into paper to create a raised (emboss) or recessed (deboss) impression. Blind embossing (without ink) is valued for its sculptural, tactile quality. Embossing can be combined with any inked printmaking process.

A light-sensitive liquid coating applied to the mesh of a screen before exposure. During exposure, UV light hardens the emulsion where it is hit, blocking those areas to ink. Areas shielded by the design on the transparency wash away when the screen is developed, leaving open mesh that will print.

Wood cut across the grain (transversely), producing an extremely hard, fine‑grained surface ideal for wood engraving. Allows finer detail than plank‑grain woodcut because the tool cuts through cell ends rather than along fibres.

Thick woven felt layers placed between the roller and the paper on an etching press to cushion the impression and press paper into the recesses of the intaglio plate.

Etching ink is a specialized, highly pigmented, and tacky oil-based ink designed for intaglio printmaking, ensuring it stays in plate grooves while excess is wiped away.

A fine-pointed tool used to draw through the ground in etching, exposing the metal beneath to be bitten by acid. Etching needles require little pressure and allow fluid, spontaneous mark-making.

A press with a flat metal bed that passes between heavy steel rollers. Forces paper into plate recesses (intaglio) or provides uniform contact (relief/monotype).

UV light step in photo-emulsion screen prep and photopolymer plate making. Light hardens emulsion/polymer in non-image areas through film positive or transparency; design blocks light, leaving image areas washable.

A clear, ink-free medium added to printing ink to reduce color intensity without changing the ink's printability. Used to create transparent tints, allow underlying layers to show through, or extend ink volume.

Safer alternative to nitric acid for etching copper or zinc plates. Works more slowly and is more controllable. Unlike nitric acid, ferric chloride does not produce toxic fumes.

Transparent film with opaque black design used to expose photo-emulsion on screens. Opaque areas block light (emulsion stays soft); clear areas let light through (emulsion hardens).

Technique where short fibers (flock) adhere to screen-printed adhesive layer, creating soft, velvety tactile surface. Common in textile and wallpaper printing.

A soft, reusable gel surface used for monotype printing without a press. Ink is rolled or painted onto the gel, the design is manipulated (by pressing, masking, or texturing), and paper is pressed by hand. Gel plates are accessible, non-toxic, and produce painterly results.

A secondary impression taken from a printing plate or block that has not been re-inked after the primary print has been pulled. The ghost carries whatever ink remained on the surface, fainter, more diffuse, and atmospheric in quality.

A curved or V-shaped cutting tool used to carve relief blocks. Available in a range of profiles: V-tools for fine lines, U-shaped gouges for clearing broad areas. The primary tool in linocut and woodcut.

An acid-resistant coating (wax, resin, or asphaltum) applied to a metal plate to protect areas from acid during etching (biting). The artist removes the ground where lines are desired.

Grams per square meter, the standard measure of paper weight. Heavier papers (250–300 gsm) work well for intaglio and screen printing; lighter papers (80–120 gsm) suit relief and monoprint. Weight affects absorbency, handling, and framing.

A technique of simulating continuous tones using a pattern of dots of varying size and spacing. Larger dots produce darker areas; smaller dots produce lighter areas. In CMYK screen printing, four halftone screens (cyan, magenta, yellow, black) are printed at different angles to produce the optical illusion of full color.

French for “outside commerce.” Impressions marked HC are not for sale and are typically kept by the artist, publisher, or studio as reference or promotional copies. Similar in status to artist’s proofs.

A single print from one pass through the press or one application of pressure. The term is sometimes used interchangeably with 'print,' though 'impression' more precisely refers to the act and result of one pull.

An additive mixed into printing ink in very small amounts to speed up its drying and curing, typically by catalyzing the oxidation or polymerization of the ink’s binder so printed layers set and harden more quickly, reducing smudging, offsetting, and turnaround time.

Registration marks carved into the corner and one side of a Japanese woodblock, used to align paper precisely for multi‑block color printing (mokuhanga). The kento system allows consistent registration without mechanical aids.

A thick, pasty relief-printing ink formulated with high body and tack to sit on the surface of raised type or blocks, transferring a crisp impression (often with a slight deboss) and typically drying by oxidation or absorption into the paper.

A heavy cast-iron disc used to grind the surface of a lithographic stone flat and smooth before drawing. Used with carborundum grit and water, the levigator removes previous images and prepares the stone for a new drawing.

An edition with a declared, fixed total number of prints. The limitation is what distinguishes original prints from open-edition reproductions and supports their collectability.

A durable, semi-flexible sheet material made from linseed-oil–based binders, fillers, and pigments on a fabric backing, widely used as a relief-printing matrix in “lino” or linocut printmaking, where designs are carved into its surface and printed from the remaining raised areas.

A white, powdery inorganic compound commonly used in printmaking as an ink modifier to increase body and stiffness, reduce tack, and improve handling and roll-out, especially in lithographic and relief inks.

A surface decoration technique in which pigments floated on water (or carrageenan size) are manipulated with combs or styluses and transferred to paper. Strictly speaking marbling is not printmaking, but it is found in paper arts.

The surface from which a print is made. In printmaking, the matrix is the object that carries the image and transfers ink to the paper—such as a woodblock, copper plate, lithographic stone, or screen. It is the origin of the print; all impressions in an edition are made from the same matrix.

The number of threads per inch in screen printing mesh. A higher mesh count produces finer detail but restricts the flow of thicker inks. Lower mesh counts are better for bold graphics and specialty inks.

Any additive mixed into printing ink in controlled amounts to change its working or drying properties—such as body, tack, gloss, transparency, or drying speed—so the ink better suits a specific printmaking process, paper, or press conditions.

An acid or chemical solution used to bite into metal plates in etching. Common mordants include nitric acid (zinc/copper), ferric chloride (copper), Edinburgh etch, and copper sulphate (aluminium). Strength and bite duration control etch depth and character.

A paste made from rice flour (or rice starch) and water, used as a binder and printing medium in mokuhanga. Nori is mixed with pigment and applied to the block before each impression, contributing to the characteristic soft, luminous quality of Japanese woodblock prints.

A screen printing technique in which the screen is held slightly above the printing surface (typically 3–5mm) so it snaps away from the printed surface as the squeegee passes. Off-contact printing produces sharper edges and prevents the ink from bleeding under the stencil.

An edition with no fixed limit on the number of prints produced. Common in commercial and craft printmaking; less typical in fine art contexts where rarity supports value.

A scale of 0–14 measuring the acidity or alkalinity of a substance. A pH of 7 is neutral; below 7 is acidic; above 7 is alkaline (basic). Archival papers are pH neutral or slightly alkaline (buffered).

Wood cut parallel to the grain (longitudinally), as in traditional woodcut. Softer than end grain; the grain itself can become a visible part of the printed texture.

A cooked linseed oil used as an ink modifier in printmaking, added in small amounts to adjust viscosity and body so inks roll out, wipe, and print with the desired flow and detail.

A veil of ink intentionally left on the surface of an intaglio plate when wiping, creating a delicate atmospheric tone in the background of the print. Plate tone varies from impression to impression depending on how the plate is wiped.

An impression retained by the master printer or workshop, not included in the numbered edition. Marked “PP” or “P/P.” Comparable in authenticity to artist’s proofs.

Any impression taken during or outside the formal edition. Proofs include working proofs (taken to check progress), trial proofs (to test changes), and the BAT. Not all proofs are equal in quality — early proofs may differ significantly from the final edition.

The topmost blanket in the standard three‑blanket stack on an etching press, made of tough, tightly woven wool felt. It protects the inner blankets from abrasion by the roller, transmits pressure evenly across the plate, and helps maintain the integrity of the stack during repeated passes through the press.

A printmaking method, most common in linocut and woodcut, in which multiple color layers are printed from a single block. After each color is printed, more of the block is cut away before the next color is applied. The process is irreversible: once you cut further, earlier states are destroyed, making the number of prints in the edition fixed from the outset.

The process of aligning multiple printings precisely so that layers sit correctly in relation to one another. Achieved mechanically (registration guides, pins, tabs, T‑ and bar‑marks), by marking (kento notches), or digitally. Misregistration—where layers don’t align—can be either an error or an intentional effect.

Small metal pins or plastic tabs that hold paper in consistent position for each press pass or screen pull. Ensures multiple color layers align accurately. Most precise mechanical registration method.

A viscous, oil- or water-based ink formulated for relief printing processes like woodblock and linocut, with sufficient tack and body to hold on raised surfaces during brayer application and transfer cleanly to paper under pressure, often modified for drying speed or transparency.

Technique where soft cloth or muslin is lightly dragged across a wiped intaglio plate just before printing. Draws small amounts of ink from recesses onto the surface, creating softer, blurred lines with warm, atmospheric quality.