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Drypoint

Drypoint is an intaglio printmaking technique in which an artist uses a sharp-pointed needle to incise lines directly into a soft metal plate, typically copper, raising a thin ridge of displaced metal known as a burr that retains ink and produces rich, velvety black lines with a fuzzy quality in the resulting prints.^[1]^[2] Originating in the late 15th century, drypoint was employed sparingly by early artists such as the Housebook Master, who created around 91 drypoint prints, and Albrecht Dürer, who produced three known examples including The Holy Family (ca. 1512–13), but it gained significant prominence in the 17th century through Rembrandt van Rijn's innovative use, often combined with etching to achieve deep, expressive tones in works like The Three Crosses (1653) and Reclining Female Nude (1658).^[1]^[3] The process involves drawing freely on the plate much like sketching with a pen, applying ink to the surface, wiping it away so that it remains only in the incised lines and burrs, and then pressing damp paper against the inked plate under high pressure to transfer the image, resulting in impressions that capture a spontaneous, tactile quality but are limited to small editions of about a dozen due to the burr's fragility and rapid wear during printing.^[1]^[2] Revived in the 19th century for intimate, handmade series and continuing into the present day, drypoint remains valued for its directness and emotional depth, with contemporary artists like William Kentridge employing it in multifaceted works such as Casspirs Full of Love (1989–2000) to explore themes of history and identity.^[1]

Fundamentals

Definition and characteristics

Drypoint is an intaglio printmaking technique in which a design is drawn directly onto a metal plate using a sharp-pointed needle, incising lines into the surface without the use of acid or chemicals.^[2] This mechanical process displaces metal from the plate, creating fine grooves that hold ink for printing, while also raising a thin ridge of burr along the edges of the incisions.^[4] Unlike acid-based etching, drypoint relies solely on the physical scratching of the needle for image creation, allowing for immediate, spontaneous, and expressive mark-making that closely mimics drawing.^[5] The defining characteristic of drypoint prints is the soft, velvety quality of the lines, achieved through the ink trapped in both the incised grooves and the fragile burr, which produces a rich, textured depth with subtle tonal variations.^[2] During printing, the pressure of the intaglio press compresses the burr, resulting in furred edges and a fuzzy, atmospheric effect that enhances the resemblance to hand-drawn sketches, often yielding dramatic contrasts between light and dark areas.^[4] This burr, however, is delicate and flattens with repeated use under press pressure, limiting editions to small runs, typically 10-30 impressions depending on plate material, before the image quality degrades significantly.^[5]^[1]^[6]

Lines and burrs

In drypoint printmaking, lines are incised directly into a metal plate using a sharp stylus or needle, which scratches the surface to create a groove while displacing the surrounding metal. This displacement forms a raised edge known as the burr along both sides of the line, consisting of soft, feathery ridges of metal shavings. The process relies on the artist's direct manipulation of the tool, similar to drawing with a pencil, allowing for spontaneous and expressive mark-making.^[1]^[2] The burr's properties are central to drypoint's distinctive aesthetic: as a soft, ragged metal ridge, it traps a dense layer of ink even after the plate is wiped, resulting in printed lines that appear broad, blurred, and velvety when compressed under the pressure of an intaglio press. This compression causes the burr to flatten slightly, enhancing the ink's adhesion and producing the characteristic fuzzy texture that differentiates drypoint from cleaner-edged techniques like engraving. The burr's ability to hold ink creates tonal depth and softness, contributing to the medium's rich, atmospheric effects in early impressions.^[2]^[7]^[1] Variations in line quality are achieved by adjusting the pressure and angle of the needle: lighter, shallower incisions with minimal pressure yield fine, delicate details, while heavier strokes produce deeper grooves and more pronounced burrs for bold, expressive marks. The depth and width of these lines depend on the artist's control, enabling a range from subtle textures to dramatic contours. However, the burr's fragility limits its durability; it degrades rapidly after just a few impressions as the press's force wears it down, leading to progressively sharper, more defined lines in subsequent prints that resemble standard etched lines. Edition sizes vary by plate material, with copper allowing more impressions (up to 100) than zinc (around 25-30), though traditionally limited to small runs of 10-30 to preserve the burr's quality.^[1]^[7]^[2]^[6]

Tools and materials

Plates and surfaces

Drypoint plates serve as the foundational substrate for incising lines, with the choice of material influencing the depth of scratches, burr formation, and overall print quality. Traditionally, polished copper plates are favored for their softness, which allows for fine, nuanced detailing and superior burr retention, enabling the metal to hold ink effectively in the raised edges created by scratching.^[8] Copper's malleability facilitates the creation of delicate lines that capture subtle tonal variations, making it ideal for intricate work.^[9] As a more economical option, zinc plates offer a harder surface that provides greater resistance during incision, resulting in sharper lines but a slightly coarser texture compared to copper, while still supporting adequate burr for multiple impressions.^[10] Preparation of these metal plates begins with thorough cleaning to remove oils and residues, typically using a degreasing agent like whiting or dish soap followed by polishing with a fine abrasive to achieve a smooth, reflective surface that ensures even ink distribution.^[11] Although drypoint does not require an acid-resistant ground as in etching, the surface may be lightly grounded or buffed to enhance scratchability without compromising the plate's integrity. Edges are then beveled at a 45-degree angle using a metal file or rasp, a critical step that prevents ink buildup in sharp corners and protects the printing press felts from damage during the pressing process.^[12] For practitioners seeking accessible alternatives, acrylic or plexiglass sheets provide a softer, more forgiving surface that is easier to incise with basic tools, particularly for beginners, though the resulting burr is less durable and produces subtler ink retention than on metal.^[13] These transparent plastics allow for tracing over reference images, adding versatility, but their brittleness limits edition sizes to a few prints before the burr flattens. Aluminum plates offer a lightweight, cost-effective metal option that balances ease of scratching with moderate durability, though they yield a finer burr than plastics but require careful handling to avoid warping.^[14] Plate sizes in drypoint are generally kept modest, often ranging from 6 by 8 inches, to accommodate the manual pressure applied during incising and initial proofing without mechanical aid, as larger surfaces demand more force and can strain the artist's hand.^[15] While custom sizes up to 12 by 16 inches are available, exceeding these typically necessitates a press for effective printing, influencing the scale of compositions in traditional practice.^[16]

Needles and tools

In drypoint printmaking, the primary tools for incising lines into the plate are specialized needles designed to create controlled grooves and burrs. Traditional etching needles are typically made of tapered high-carbon steel, with tip diameters varying from 0.5 to 1 mm to allow for lines of different widths and depths.^[17]^[18] For harder plate materials like acrylic or steel, diamond-tipped or carbide-tipped needles are preferred, as their durable points resist wear and enable precise scratching without excessive force.^[19]^[20] Improvised alternatives, such as sewing needles, compass points, or even nails inserted into handles like mechanical pencils, can substitute for professional tools in experimental work, offering accessibility for beginners while still producing viable burrs.^[21] Artists handle these needles much like a pencil to maintain drawing-like control and fluidity during the incising process. The angle at which the needle is held—typically between 45 and 90 degrees relative to the plate surface—directly influences line depth and burr formation, with steeper angles (closer to 90 degrees) producing shallower grooves but taller burrs for softer, velvety effects in prints.^[22]^[23] Varying pressure alongside the angle allows for dynamic mark-making, from delicate scratches to bolder incisions. Auxiliary tools complement the needles by enabling refinements and textural variations. Scribes, often double-ended with fine steel or diamond points, are used for intricate detailing or correcting minor errors, providing precision beyond standard needles.^[20]^[21] Burnishers, featuring smooth, rounded steel ends, smooth out unwanted burrs or erase lines by polishing the metal surface, sometimes lubricated with a light oil to prevent scratching during use.^[20] Roulette wheels, handheld devices with spiked or lined rollers attached to wooden handles, create textured patterns by rolling across the plate in multiple directions, building tonal areas without individual line drawing.^[20]^[19] For safety and maintenance, needles made of high-carbon steel should be periodically sharpened using a fine whetstone or oilstone to preserve their edge, ensuring consistent performance and preventing slippage that could damage the plate.^[24] Artists often wear nitrile or disposable gloves during handling and inking to avoid transferring skin oils onto the plate, which can interfere with ink adhesion and print quality.^[19]^[21]

Printing process

Inking and wiping techniques

In drypoint printmaking, inking begins with the application of oil-based intaglio ink to the plate, where a leather dabber or brayer is used to roll or dab the ink into the incised grooves and over the raised burrs, ensuring thorough coverage while leaving excess ink on the surface for subsequent wiping.^[25] This process forces the viscous ink deep into the lines, where the burr's soft edges help trap it, creating the characteristic velvety texture in the final print.^[5] The plate is often warmed slightly to about 20–35°C to aid ink penetration without damaging the delicate burr.^[25] Wiping techniques follow to remove surface ink while preserving it in the grooves and burrs. An initial rough wipe uses tarlatan cloth—a stiffened cotton fabric—in circular or twisting motions to lift excess ink and push it further into the incisions, revealing the plate's image faintly.^[26] This is often followed by hand-wiping with the palm of the hand, lightly coated in whiting or magnesium carbonate for smoothness, or with muslin cloth to create subtle tonal variations and even out the surface.^[27] Selective wiping allows artists to control contrast by leaving more ink in specific areas, such as for highlights or shadows, applied gently to avoid flattening the burr.^[28] Partial wiping can also produce plate tone—a uniform veil of ink across the surface—for atmospheric effects before the plate proceeds to pressing.^[19] Traditional etching inks are oil-based, formulated with pigments and linseed oil for their stiffness and rich color, which adhere well to the burr but require solvents like vegetable oil for cleanup.^[29] In modern practice, water-based alternatives, such as soy- or acrylic-modified intaglio inks, offer similar performance with easier soap-and-water cleanup, reducing environmental impact and studio hazards while maintaining compatibility with drypoint's delicate lines.^[30]

Pressing and editioning

The pressing stage in drypoint printmaking involves transferring the inked image from the plate to paper under controlled pressure, ensuring the paper conforms to the incised lines and burr to absorb the ink. A traditional etching press is typically used to apply even, high pressure across the plate, forcing the damp paper into the grooves for a clear impression.^[31] For small-scale or home setups, hand-pressing methods employ tools such as a wooden spoon or baren to rub the back of the paper, achieving sufficient contact without mechanical assistance, though results may vary in uniformity.^[32] Heavyweight printmaking papers, such as Rives BFK (typically 250-280 gsm), are essential for this process due to their absorbency and durability under pressure; these 100% cotton sheets must be dampened to become pliable, allowing ink pickup while preventing tearing. The paper is soaked in water for 10-30 minutes, then blotted between felts to remove excess moisture, achieving an optimal damp state that facilitates ink transfer without distortion.^[32]^[33] Editioning begins with proofing the first pulls to assess ink distribution and line quality, followed by printing the desired number of impressions. The burr, which creates the characteristic soft, velvety lines, wears down after approximately 10-20 impressions under press pressure, necessitating re-burring the plate if additional prints are required; however, for consistent quality, total editions are generally limited to around 10-40 impressions.^[4]^[34] After printing, the damp impressions are laid flat on drying racks or screens to air-dry slowly, preventing warping or ink bleeding over several days. Once dry, prints are trimmed to the desired borders using a guillotine or mat cutter for clean edges, and limited editions are signed and numbered by the artist in pencil, typically in the margin, to authenticate and denote the sequence within the edition.

History

Origins and early development

The technique of drypoint, a form of intaglio printmaking, has possible ancient roots in goldsmithing practices, where artisans incised designs into metal surfaces for decorative purposes, laying the groundwork for later printing methods.^[35] The earliest documented evidence of drypoint as a printmaking process emerges in 15th-century Germany, with the anonymous artist known as the Housebook Master (active ca. 1460–1500) producing the first known examples, including ninety-one delicate drypoint prints characterized by fine, spontaneous lines.^[3] These works, often on iron or zinc plates, demonstrate an innovative adaptation of drawing techniques, particularly the precise lines of silverpoint, to create printable burrs on metal surfaces.^[36] During the late 15th and 16th centuries, drypoint saw adoption in both German and Italian artistic circles, frequently combined with engraving to enhance tonal effects in prints.^[37] In Germany, artists like Albrecht Dürer (1471–1528) mastered the technique early in the 16th century, using it to achieve subtle textures in works such as his The Holy Family with the Dragonfly (ca. 1510–1512), where drypoint lines added velvety depth to engraved forms.^[38] However, pure drypoint prints remained scarce as etching gained prominence around 1513, offering easier line variation through acid resistance, which overshadowed the labor-intensive scratching method.^[4] Technical evolution in drypoint involved a shift from silverpoint's stylus-based drawing on prepared grounds to harder metal needles on bare plates, allowing burr formation for ink retention without chemical aids.^[36] This development drew influence from contemporaneous metalworking techniques, including the manual incising used by armorers to decorate protective gear, which paralleled the direct scratching essential to drypoint's burr creation.^[39]

Major artists and periods

In the 17th century, Rembrandt van Rijn emerged as a pioneering figure in drypoint, fully exploiting the technique's capacity for expressive depth and tonal richness through the burr's velvety effects. His innovative approach combined drypoint with etching and engraving to create dramatic portraits and landscapes, as seen in works like The Three Crosses (1653), where multiple states allowed evolving compositions, and Reclining Female Nude (1658), which highlighted intimate, soft textures on specialized papers such as vellum.^[1] Rembrandt produced around 300 intaglio prints, many incorporating drypoint for spontaneous, painterly qualities that emphasized emotional intensity over precise lines.^[40] The 19th century witnessed a revival of drypoint amid Romantic interests in individuality and atmosphere, with James McNeill Whistler advancing subtle, evocative landscapes in his Venice series. Commissioned in 1879, the First Venice Set of twelve etchings and drypoints captured the city's misty canals and doorways, such as The Doorway and Nocturne, using fine, blurred lines to evoke mood over detail, influenced by Japanese prints.^[41]^[42] Edgar Degas, meanwhile, experimented with drypoint in combination with monotype to enhance figurative scenes, adding incisive lines for definition in works like Mary Cassatt at the Louvre (1879–80), where the technique contributed to dynamic, modern portrayals of urban life.^[43] In the 20th century, drypoint flourished among modernists seeking raw emotional expression, with Pablo Picasso producing over 100 drypoints amid his vast print oeuvre of more than 2,400 works, often exploring themes of desire and mythology in series like the Minotauromachy.^[44] Edvard Munch employed drypoint for introspective psychological depth, as in Two People. The Lonely Ones (1894), where soft burr lines conveyed isolation and vulnerability.^[45] Käthe Kollwitz harnessed the medium's tactile intensity for social commentary on suffering, exemplified by Woman with Dead Child (1903), a drypoint that used dense, rough textures from sandpaper to amplify maternal grief and working-class hardship.^[46] These periods reflect broader stylistic evolutions: Romanticism's emphasis on spontaneity and emotion in Whistler's atmospheric subtlety, transitioning to modernism's abstracted, fragmented lines in Picasso and Munch's works, which prioritized subjective experience over realism.^[47]

Modern practice

Adaptations and innovations

In recent decades, drypoint practitioners have adopted non-metal plates such as plexiglass, acrylic, and PETG to make the technique more accessible for home studios and solvent-free workflows. These synthetic materials eliminate the need for metalworking tools and hazardous chemicals associated with traditional copper or zinc plates, while allowing easier scraping during incising. However, the softer nature of plastics results in less durable burrs and broader, less precise lines compared to metal.^[48]^[49]^[50] Hybrid techniques have expanded drypoint's capabilities by integrating it with etching or aquatint processes, enabling longer print runs beyond the traditional limitations of the fragile burr. Etching provides permanent incised lines for consistent editions, while aquatint adds tonal areas that complement drypoint's linear marks, allowing for complex images with extended reproducibility. Additionally, digital scanning of plates or prints facilitates archival reproduction, preserving the original without further wear on the matrix.^[51]^[52]^[49] Innovations in tools include the use of powered engravers, such as Dremel rotary devices or cordless grinders, which enable deeper incisions for bolder lines and tonal effects unattainable with manual needles alone. These electric tools enhance precision and speed, particularly on plastic substrates, broadening creative possibilities. Complementing this, eco-friendly inks like soy-based Akua Intaglio, developed as a non-toxic alternative to oil-based formulas, reduce cleanup hazards by washing with soap and water while maintaining rich pigmentation suitable for drypoint's velvety burr.^[53]^[54]^[30] Preservation methods have evolved to extend plate longevity, including polymer coatings on metal surfaces to shield the burr from press pressure and oxidation. For revival, re-incising worn lines refreshes the burr, allowing additional prints from established plates without starting anew. These approaches sustain the technique's viability for larger or repeated editions.^[55]^[21]^[56]

Contemporary applications

Drypoint has gained prominence in educational settings due to its accessibility, requiring no acids or specialized presses, making it ideal for workshops and introductory classes in printmaking. Instructors often highlight its direct, drawing-like process, which allows students to explore value, texture, and line quality without complex setups.^[57]^[5] Since the 2000s, home kits featuring affordable tools like etching needles, plexiglass or plastic plates, and non-toxic inks have democratized the technique, enabling beginners to produce prints using household items such as wooden spoons for rubbing.^[58]^[59]^[60] In fine art, drypoint's velvety burr and expressive lines continue to appeal for creating intimate, drawing-like prints that emphasize emotional depth over mass production. Artists produce small-scale editions, often limited to fewer than 50 impressions, to preserve the uniqueness of each pull. This technique also finds application in book illustrations, where its fine detail suits limited-run publications and artist books, blending tactile quality with narrative imagery.^[1]^[16] Contemporary practitioners like Norman Ackroyd employ drypoint to capture atmospheric landscapes, using the medium's soft edges to evoke the mood of British and Irish coastlines in etched series. Experimental artists such as Paula Schuette Kraemer integrate drypoint into monoprints and mixed media, layering intaglio with monotype for abstract, textured compositions that push traditional boundaries. Integration with collage and other media further expands its role, as seen in Natalie Schorr's surreal drypoint collages that combine incised plates with assembled elements for hybrid narratives.^[61]^[62]^[63]^[13] Current trends emphasize sustainability, with artists repurposing recycled materials like Tetra Pak cartons as plates to reduce environmental impact and avoid metal waste. Digital-drypoint hybrids, such as those developed at Factum Arte, combine traditional incising with laser or CNC etching for precise, reproducible lines that enable larger or unlimited runs while retaining tactile qualities. Exhibitions in the 2020s, including those at Highpoint Center for Printmaking featuring Black contemporary printmakers, underscore a revival, showcasing drypoint's adaptability in addressing social themes through innovative, eco-conscious practices.^[64]^[65]^[66]^[67]^[68]

References

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The Printed Image in the West: Drypoint - The Metropolitan Museum ...
The simplest method for producing intaglio prints is drypoint, in which a sharp stylus or needle is used to scratch lines directly into the metal plate.
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Drypoint - Tate
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Drypoint, Mediums - Obelisk Art History
Drypoint is the simplest form of Intaglio—the printmaking practice of making marks on a metal plate, wiping ink across the plate so that it sticks to the marks ...
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Drypoint - Elizabeth Harvey-Lee | Print Dealer
In engraving this is polished away to give a sharp clean-cut line but the residual burr is the chief characteristic and beauty of drypoint. ... INTAGLIO PRINTS - ...Missing: definition | Show results with:definition
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Drypoint produces a velvety, lush black line due to the burr created by the etching needle. You're limited to about 25 prints for each drypoint plate, the ...Missing: definition | Show results with:definition
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The method of cutting produces a ridge along the incisions, called burr. This gives the dry-point line the characteristically soft, velvety appearance ...
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Copper plate is the ideal matrix for making mezzotints, it is not so hard that the mezzotint rocker will be damaged, yet it offers excellent retention of detail ...
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Apr 18, 2015 · I've worked on zinc before, but I've had numerous artists tell me that copper is superior in terms of line quality and ink retention. Copper's ...
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Printmaking 101: Preparing a Plate: Bevel, Polish, Degrease
Aug 22, 2012 · In this demo, I'll take you through beveling, polishing, and degreasing a copper plate. All photos for this demo were taken at Atelier Meridian.
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The edges of plates used in intaglio printmaking must always be broken and bevelled at a 45 degree angle before printing. This applies to all hard materials ...<|separator|>
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Etching Plates & Prep - Jackson's Art
4.9 1.5K · 3-day delivery · 60-day returnsChoose from etching plates in the form of copper and zinc, polished, backed or unpolished, as well as transparent printing plates for collagraph, monoprint, ...
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8mm to 2.mm in diameter. It comes with a double ended pointed angle shaped needle. US$12.65. 14130 Dry Point Tool with wooden handle
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Traditionally drypoint is done on copper plates with a diamond- or carbide-tipped needle. It is then inked (as in all intaglio methods) and cleaned, leaving ...
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### Wiping Techniques Summary
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Drypoint Printing
### Summary of Inking and Wiping for Drypoint Printing
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Although trained and active as a painter, Martin Schongauer's engravings are undoubtedly his most important contribution to the history of art.Missing: drypoint experiments
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Dry Point Print and my mini USB cordless grinder... (I loved the result)
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Scratchy Drawing! How to make a Drypoint Print at home
Jul 7, 2023 · What materials do I need? · A drypoint/etching needle. · A piece of metal/plastic to be your plate. · Ink. · Paper. · A metal spoon. · A loose-weave ...Missing: gauges | Show results with:gauges
[57]
Discover an Unexpected Way to Teach Value Through Drypoint ...
Nov 13, 2024 · Use a press, baren, roller, or spoon to press the paper onto the plate. Carefully lift the print, using scrap paper as tweezers to keep the ...
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https://www.nascoeducation.com/nasco-drypoint-etching-classroom-kit-9742778.html
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https://www.ironbridgeframing.co.uk/product/drypoint-starter-pack/
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Traditional Drypoint Printing Kit - - Intaglio Printmaker
£31.00 In stockSet comprises: 1 Artenia Junior Drypoint 3mm tool, 1 plastic ink knife, 1 Squeegee, 2 plastic and 4 paper drypoint plates, 1 aluminium plate, 1 clear acrylic ...Missing: workshops education
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New Landscape | Ackroyd, Norman - Explore the Collections - V&A
'New Landscape' by Norman Ackroyd, Aquatint and drypoint, 1968. Dimensions. Height: 50.3cm (Note: taken from departmental notes); Width: 55.6cm (Note: taken ...
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Ackroyd, Norman (b.1938) - Gerrish Fine Art
Norman Ackroyd (RA) is one of Britain's most celebrated living landscape artists. He is renowned for his evocative and atmospheric visions of the British Isles.
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Paula Schuette Kraemer - Breckenridge Gallery
Wisconsin artist Paula Schuette Kraemer is known for her drypoint monoprints and monotypes, although she works in other traditional intaglio techniques.
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Printmaking Explorations: Sustainable Drypoint | Art Gallery of Ontario
Experiment with eco-conscious approaches to drypoint printmaking. Using alternative plates such as plexiglass and recycled Tetra Pak, participants will explore ...
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Juliana Nelid's Sustainable Revolution in Intaglio Printmaking
May 11, 2024 · Nelid discovered that one way to do it is by using discarded milk and juice cartons. She uses tetra paks instead of metals as a base for her printing designs.
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Drypoint and Collagraph with Recycled Materials
In stockThis workshop introduces participants to non-toxic drypoint and collagraph intaglio printmaking using recycled tetrapak cartons and other found materials.
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[PDF] A DIGITAL MEDIATION STUDIO - Factum Arte
Digital drypoint test for WAQAS KAHN. Page 70. 137. 136. EL ANATSUI's Benchmark series was developed at Factum Arte. EL ANATSUI, Eclipse series, chine collé ...
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Highpoint News — Highpoint Center for Printmaking
The exhibition brings together work by Black contemporary artists who explore expanded modes of printmaking to question the complex interplay between race, ...