The Artist makes the matrix for the purpose of a printed result. The matrix is not a finished work, only a means to realize the work on paper that will consequently called “Original”.

Matrixes can be engraved in relief for Xilography (Wood-engraving) or Linoleography (Linocut) or in concave for the Chalcography (Etching, Aquatint, Graver, Black Way, Dry point, Varnish motivatings force.

The matrix for the chalgography, a sheet of metal (zinc, copper, iron etc.) is engraved with a type of technique called “Direct” (the tool guided by the artist’s hand works directly on the metal) as in graver, Black Way, Prick-punch, Dry point, or the technique called “Indirect”as in Etching, Aquatint, Varnish motivatings force.

CHALCOGRAPHY ENGRAVING TECHNIQUES

- Etching, Aquatint, Varnish motivatings force-

Etching is a technique in which the Artist engraves, with a tool, the protective varnish of the sheet, previously treated, and uncovers parts of the sheet and later the sheet is immersed in a nitric acid solution: the engraved parts will deepen due to the corrosion by the acid.

This operation known as “Etching”, formerly known as “Acquaforte” is repeated many times with different duration to obtain the depth of the desired design.

Etching has medieval origins but only towards the end of the XV century has its definition on paper.

GIUSEPPE VIVIANI

MAN WITH CALLA 1957

ETCHING ON BRANCH

Aquatint invented by J.B. La Prince in 1767. Later used by artists such as M. Klinger, G. Rouault, and P. Picasso is also used to do coloured works.

Varnish motivatingsforce used for the first time in the XVIII century by J.C. Francois and in the present day by artist such as S.W. Hayter, R. Vespignani and others to obtain a granular design similar to pencil.

BURIN

(Graver)

Burin is the name of the engraving tool and also the name of the calchography technique (copperplate) and consists in engraving the sheet with this tool.

It is a small knob handled chisel with a sharp edged triangular point. Due to this detail the Burin not only scratches the metal but removes it. The Burin, being a hollow technique follows the same procedure for the inking as that of the etching.

This ancient technique appeared in Italy near the end of the XV century and was used by artist such as A.Pollaiolo, A. Mantegna and B. Baldini; in the present day by Armando donna and others.

ARMANDO DONNA

MONACHE 1951

BURIN ON BRANCH

DRY POINT

Dry point, hollow engraving in which ruts in the first sheet are obtained by the pressure of a pointed tool, guided by the Artist’s hand making the ruts by means of moving the metal sheet. In fact the metal is not cut but moved. This movement causes thin reliefs called shavings, along the ruts. From a Dry point engraved sheet it is not possible to make more than ten good copies due to the fact that the the pressure of the press graduallydelates the ruts and thus causes a poorer print quality.

Dry point has been constantly used since the XV century.

MAX BECKMANN

SELF-PORTRAIT WITH HAT 1921

PUNTASECCA

BLACK WAY

Black way or half Dyed (tint) is a chalcographic process in which the Artist prepares the sheet using a metal tool called “Berceau” usually of serrated half-moon shape, with which he covers the sheet with numerous small marks until he obtains smooth velvet like surface. During the printing phase this causes a near total black.

To make the “whites” visible, the Artist cancels the previously obtained signes either by pressure with the Burnisher or scraping with the Scraper.

The parts in the second phase will be lighter when printed.

The Black Way technique, invented in 1630 by Ludwig Von Siegen, is still used by Artists such as M. Avatì, A. Rocco, B. Missieri etc., for works expressly imagined for this technique.

MARIO AVATI’

WITHOUT TITLE

BLACK WAY

CHALCOGRAPHIC PRINT

The print is obtained by making the matrix by hand and removing the excess colour with a piece of gauze, (for each copy).

In this way the ink remains only in the ruts made by the etchings. By pressing the matrix using the star shaped chalcographic press on a previously dampened sheet of paper the engraving is obtained.

The paper must have specific characteristics to ensure good print output and long preservation. The heavy pressure of the press which enables the transfer of the ink to the paper causes the matrix to decay and therefore a very limited output of prints is produced.

To avoid ripples the sheets are dried by pressing them between vegetal cardboard for several days. The sheet is numbered and signed by the Artist and in some cases embossed by the printer.

The numeration consists of two numbers: the first is the copy number and the second is the total number of copies printed.

This information is pencilled on the lower part of the sheet: on the right the Artist’s signature and on the left the print numbers. To gurantee the declared number of prints produced the matrix is destroyed or “Biffata” (crossed cut), that is made useless by the addition of a heavily engraved mark.

XILOGRAPHIC ENGRAVING TECHNIQUES

XILOGRAPHY

The wood engraving matrix is made of a wooden tablet of specific hardness. It is called wood grain of cut lengthwise from the tree trunk and gives a smooth not very precise engraving, or “di testa” (head) if cut breadthwise and mounted joining together different compact and band free wedges. This method enables to engrave very close thin lines, resulting in a very rich and detailed final engraving.

The engraving is achieved leaving in relief parts of design meant to receive the ink using very sharp tools (corner chisel, sharp pointed blades etc.). This ancient techniques was used in Europe near the end of 1300’s to produce religions prints and was brought to its maximum level of perfection by A. Durer towards the end of the XV century. Widely used to illustrate books, Xilography in the last centuries has enjoyed alternate consideration.

In Italy, contemporary Artists such as L. Viani, A. DeCarolis, M. Maccari, B. da Osimo, L. Servolini, T. Marangoni, R. Wolf, G. Shialvino, G. Verna and others have used this method.

REMO WOLF

EX LIBRIS 1998

XILOGRAPHY

LINOLEOGRAPHY

(LINOCUT)

The matrix, a paste of linseed oil, cork and rosin (colophony) placed on a jute support (linoleum) gives a smooth and compact surface. It is engraved using corner chisel and sharp blades, however not very precise signs are obtained.

Linoleography was patented by F. Walton in 1863. In the 1900’s the linoleum technique was used widely by the Expressionists, by H. Matisse and P. Picasso and in italy by M. Maccari and others.

MINO MACCARI

BEASTS OF THE 1900'S 1951

LINOLEOGRAPHY TO THREE COLORS

XILOGRAPHIC AND LINOLEOGRAPHY PRINT

Xilographic and Linoleography print is obtained by inking with an ink roller the parts in relief of the sheet and then passing the combination of paper in a vertical press.

Prints can be also manually obtained by placing the sheet of paper on the inked metal sheet and then by pressing on the back of the paper with a spoon, flat bone or a pad.

BERTARELLI’S DECLARETION ON ORIGINAL ENGRAVING

( MILAN 5^TH MAY 1994)



1.    A design carried out on a hard surface either by hand using a pointed tool or chemically by using corrosive substances. The matrix must be hand engraved by the artist, therefore excluding any photomechanical means.

2.    The print must be made with a hand press.

3.    Each printed work must be hand signed and numbered (numerator and denominator) in pencil on each sheet by the engraver.

4.    For value reasons the print run must never exceed a limited number of copies.

5.    The print and author proofs must be in turn numbered.

6.    At the end of the print run (edition) the matrix must be crossed-out to prevent other edition. The crossed-out matrix must remain with the editors.

7.    Each engraving must have the editor’s embossing stamp and a manufacturer’s certificate.