À la poupée:
A method of applying more than one color of ink by hand to an intaglio plate.

Aquatint:
An intaglio method on metal plates in which tones are obtained by powdered rosin or spray paint. Acid bites these tones into the plate to various depths, deeper bites yielding darker tones.

Bleed Print:
A print whose image extends beyond one or more edges of the paper.

Bon à tirer:
(“B.A.T.”, “good to print” or “ok to print”) The proof that the artist signs and designates as a reference for printing an open or limited edition.

chine collé:
(“papier collé” or “chine appliqué”) A term that refers to the process of simultaneously printing on and mounting a thin sheet of paper onto a sturdier backing sheet or cloth.

Chop:
An embossed, printed or dry-stamped mark, usually placed on the edge of each print, which identifies the printer, publisher or artist.

Debossment:
An image that is indented into the surface of the paper and generally left un-inked.

Direct Gravure:
A similar process to photogravure, but no photograph is used. The artist draws an image on Mylar, and that image is directly transferred to the photosensitized gelatin by shining light through it. Aquatint or a dot screen is used to provide tooth, and the tones of the drawing are etched into the plates in varying depths, just as they are in conventional aquatint processes.

Documentation:
A form that specifies pertinent information about the creation of an edition. This record is signed and dated by the artist and printer/publisher, and testifies to the print’s originality.

Drypoint Engraving:
An intaglio technique in which the line is scratched directly into the copper plate with a sharp metal point or "needle." As the needle scores the copper, it creates a ridge of metal or burr, that holds the ink and prints as a rich, velvety line. However the plate may wear out rapidly due to the pressure of the press, producing very small editions unless the plate is steel faced.

Limited Edition:
A fixed amount of prints that aims to match, as closely as possible, the bon à tirer. Each print is signed and designated as either a numbered print (i.e. 1/75, 2/75… 75/75) or one of various proofs (i.e. Artist’s Proof, Printer’s Proof, Presentation Proof, Publisher’s Proof, etc.).

Embossment:
An image that is raised above the surface of the paper and generally left un-inked, as in blind emboss.

Engraving:
An intaglio technique in which a metal plate is manually incised with a burin. The incised lines may vary in width and darkness when printed, depending on the angle of the incision and the amount of pressure applied. The result is a steady, considered line with crisp edges.

Hand Coloring:
The process of adding pigment(s) by hand to an original print after the printing is complete.

Hard Ground:
An acid-resistant substance that is heated until it softens so that it can be applied to a warm etching plate and rolled to a thin, even coating. When the coated plate is cooled, a hard ground is formed. Etching needles or other metal instruments can then be used to cut through the ground so as to expose the metal for subsequent etching.

Intaglio Print:
A method of printing in which ink is forced into incised lines or recessions on a plate, the surface wiped clean, dampened paper placed on top, and paper and plate run through an etching press to transfer the ink to the paper.

Letterpress:
A process of relief printing from type and blocks that has been almost completely replaced by offset lithography and photocopying.

Linocut:
Sheet linoleum gouged or cut to produce an image or texture, and then inked and printed by the relief or intaglio method.

Lithography:
Planographic printing process based on the principle of grease repelling water. The procedure creates two zones on a limestone surface or metal plate, which stand out due to their antagonistic properties. The areas of drawing are produced with grease media: they repel water and attract ink, while the untouched areas retain water while they are damp, preventing the ink from adhering during printing.

Monoprint:
Unique print pulled from a plate that already has an image incised into it.

Monotype:
Print pulled from a painting on a non-absorbent plate such as zinc, copper, or plastic. Usually one impression is made.

Photogravure:
A process for producing a photographic image as an intaglio print. It uses gelatin to transfer the image from a black and white negative to a copper printing plate. The gelatin carries the image because it hardens in proportion to its exposure to light. Areas of the gelatin not exposed stay soft and can be dissolved away in water. What remains is a gelatin version of the image which is then pressed onto a copper plate. The plate is placed in an acid bath. Where the gelatin is thick, the acid eats the metal away slowly, where the gelatin is thin or absent, the acid eats faster. Thus the plate is etched to different depths according to the tones of the original image. When inked for printing, the varying depths hold different amounts of ink.

Pochoir:
A method of applying color, usually by hand, through thin stencils of copper, brass or paper.

Reduction Woodcut:
An exacting process in which the artist uses only one block. The block is cut and used to print the first color; that same block is cut down (hence the term reduction woodcut) and used to print the second color over the first. The artist continues to cut and print until all the colors have been printed.

Relief Print:
A printmaking method in which the inked surface of the plate or block prints and area or lines that are below the surface do not print.

Rice Paper:
A more general term used to describe all types of Asian hand-made papers often used in chine collé.

Soft Ground:
An acid resistant coating used in etching that contains petroleum jelly or tallow to prevent it from hardening when dry, so that textures can be impressed into it.

Spit Bite:
Tones bitten into an aquatinted intaglio plate by direct application of acid solutions with a brush or dropper.

Steel Facing:
A think coating of iron electrolytically deposited on the surface of a copper plate to prolong its printing life.

Sugar Lift:
An process in which an image is drawn on the plate with a water-soluble liquid paint, the plate covered with hard ground, then submerged in water. The water swells the paint, thus breaking through the hard ground and resulting in a stencil that is aquatinted and then etched.

Varied Edition:
A fixed amount of prints that is made up different versions of the same image. Though these versions are all different the artist considers them all equal and aesthetically valuable. Each print is signed and designated as those of the limited edition, except that they are further identified by a V.E.

Watermark:
Slightly thicker part of the papermaker’s mold, usually in the form of a design or letter, that indicated the source of the paper. The resulting watermark is thinner than the rest of the sheet.

Washi:
Traditional Japanese hand-made paper typically referring to kozo, gampi and mitsumata, and commonly used for chine collé.

White Ground:
A mixture of white pigment, soap flakes, and linseed oil. It resists acid longer where it is applied heavily and bites faster in those areas where it is applied thinly, thus allowing for variations in tone. Also referred to as soap ground.

Woodcut:
A relief print taken from a side-grain or plankwood or any manufactured board such as plywood.

Wood Engraving:
A relief print taken from end-grain or cross-grain woodblocks. Occasionally the term is used for woodcuts that are very finely worked with engraving tools, particularly very early woodcuts.

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