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Gyotaku (魚拓, from gyo "fish" + taku "stone impression", fish print(ing)) is the traditional Japanese method of printing fish, a practice which dates back to the mid-1800s. This form of nature printing , where ink is applied to a fish which is then pressed onto paper, was used by fishermen to record their catches, but has also become an art ...
Printmaking techniques are generally divided into the following basic categories: Relief, where ink is applied to the original surface of the matrix, while carved or displaced grooves are absent of ink. Relief techniques include woodcut or woodblock, wood engraving, linocut and metalcut.
Printmaking is the making of a work of art by transferring ink from the surface upon which the work was originally drawn or otherwise composed to another surface. The main article for this category is Printmaking .
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Water transfer printing, also known as immersion printing, water transfer imaging, hydro dipping, watermarbling, cubic printing, Hydrographics, or HydroGraphics, is a method of applying printed designs to three-dimensional surfaces. The resulting combinations may be considered decorative art or applied art. The hydrographic process can be used ...
Wood engraving is a relief printing technique, with the images made by carving into fine-grained hardwood blocks. Ink is rolled onto the surface of the block, dry paper is placed on top of the block and it is printed either by rolling both through a press, or, by hand, using a baren to rub the ink from the surface of the block onto the paper.
Mezzotint is a monochrome printmaking process of the intaglio family. It was the first printing process that yielded half-tones without using line- or dot-based techniques like hatching, cross-hatching or stipple. Mezzotint achieves tonality by roughening a metal plate with thousands of little dots made by a metal tool with small teeth, called ...
The disk must then dry for a year before the baren is assembled. The coil and covering of the baren are woven and formed from parts of the bamboo plant, requiring the skill of a true master. Only one known person in Japan is still making traditional (hon) baren for a living — Hidehiko Goto of the Kikuhide workshop. [4]