Drypoint

Using a sharp pointed tool like an etching needle, an image is scratched into a flat polished sheet of metal such as copper or aluminium. Plastic or card can also be used.

TECHNIQUE

Drypoint

Using a sharp pointed tool like an etching needle, an image is scratched into a flat polished sheet of metal such as copper or aluminium. Plastic or card can also be used.

Ink is worked into the image and excess ink wiped away.

Paper is placed on top of the plate and printed using an etching press. Drypoint lines are often described as blurry, with a velvety feel.

more printmaking techniques

Etching

Etching was originally invented as a method for adding decoration to armour during the Middle Ages. Artists began to use metal plates for printing in the 15th century, when Albrecht Durer made work on iron plates. Later artists such as Andrea Mantegna in Italy and Rembrandt in Holland went on to make etchings on copper.

Woodcut

Knives, gouges and other tools are used to carve an image into a block of wood. Ink is applied using a roller; the cut away areas do not pick up ink as they are below the surface. Paper is placed on top and is printed with a press or by hand.

Linocut

In this relief printing process, an image is carved or etched into a sheet of linoleum. Ink is applied to the lino using a roller; the cut-away areas do not pick up ink. Paper is placed down onto the image and either printed on a press or printed by hand.

More Features

All features

Woodcut

Knives, gouges and other tools are used to carve an image into a block of wood. Ink is applied using a roller; the cut away areas do not pick up ink as they are below the surface. Paper is placed on top and is printed with a press or by hand.

Aquatint

Fine resin dust is applied to the surface of the etching plate, then melted from underneath to melt and harden the dots of resin. When immersed in acid the plate ‘bites’ between the aquatint resin dots, creating a distribution of tiny holes on the plate which print as a tone.

Collecting the Looking

“I love drawing really quickly. I love drawing in really difficult situations. I love drawing in the dark. I like what happens when you can’t see everything or when it’s passed and you have to remember it rather than drawing what it actually looks like, so it’s about the experience of looking as much as what I’m looking at.”

We talk to Michelle Avison about building a resilient artistic practice over 30 years.

Artist:
Michelle Avison

Drypoint

Drypoint

more printmaking techniques

Etching

Woodcut

Linocut

More Features

Woodcut

Aquatint

Collecting the Looking

Newsletter