版畫介紹

版畫

Printmaking is the process of creating originalartworks by printing from a block or plate onto a flatsurface.版畫是由一個塊或製版印刷在平面上創造原創藝術品的過程。 Fine Art Prints are created and printed by handand each print is original.美術版畫被建立並列印了手，每個列印是原來的。It isimportant to note that Fine Art Prints are very different tophotographic prints, which are direct copies of an originalartwork.需要注意的是美術版畫是非常不同的攝影照片，這是一個原始藝術品的直接複製是非常重要的。

Printmaking is not only popular due to itsability to create multiple impressions of an artwork but alsobecause of the individual outcomes that each printmaking techniquecreates.版畫不僅是流行，因為它創造的藝術作品，而且每一個的版畫技術創造了個人的成果，因為多重印象的能力。Thispage looks into more detail at some of the common printmakingtechniques used around theworld.這個頁面看起來更加詳細地在一些世界各地使用的通用版畫技巧。

鉛印

Reliefprinting is the oldest and most durable method of making prints,dating back eleven hundred years to hand printed scrolls made inChina.凸版印刷是製作版畫，距今1100年交出中國製造的印刷春聯的最古老，最持久的方法。Reliefprinting developed in Europe during the 1450s, influenced by thedevelopment of moveable type printing and the printingpress.凸版印刷在歐洲發展過程中的15世紀50年代，由活字印刷印刷和印刷機的發展的影響。Earlycommon relief printing methods used by artists include wood cuts,linocuts, rubber stamps, wood engravings andcollographs.用藝術家的早期常見凸版印刷方法包括木材切割，linocuts，橡皮圖章，木版畫和collographs。With thedevelopment of new technologies other printing techniques have beenintroduced, these include lithography, etching, screen printing anddigitalprocesses.隨著新技術的發展，其他的印刷技術已被引入，其中包括光刻，蝕刻，絲網印刷和數字化程序。

Linocutand woodcut are two of the most commonly recognised processes inthe relief printing cut和木刻兩個在凸版印刷媒體中最普遍認可的過程。 The relief printing process is similar to usingan inkpad and stamp.在凸版印刷過程類似於使用印泥和印章。 Linocut is a type of relief printing in whichlinoleum (as in lino flooring) is used as the printingsurface. Linocut是其中油氈（如在油布地板）是用來作為印刷表面的型凸版印刷的。Thematerial is cut with small pen-liketools.該材料被切割的小筆狀工具。 The tools have a variety of forms: straight androunded edge, double-pointed or a V-shaped chisel for a fewexamples.該工具有多種形式：直鏈和圓形邊緣，雙尖或V形鑿了幾個例子。 Using these gouges and knives, the artist cutsthe design into linoleum taking into consideration that the imagewill be reversed in the printingprocess.使用這些豁口和刀子，藝術家切割設計成油氈考慮到的影象將在印刷過程中被逆轉。That is,the lines that have been carved will be white and the parts thatare raised will have ink onthem.也就是說，已刻線將白色和所引發的部分會有墨水在他們身上。

Ink isapplied to the raised surface then rolled or stamped onto the paper(or other surface).墨施加到凸起表面進行軋製或衝壓到紙上（或其他表面）上。As linois a light material it can be printed by a press or by hand (via aJapanese barren or even a spoon), it can also be used forexceptionally large printed images, as seen in recent years fromFar North Queenslandartists.由於利諾是一種輕質材料它可以通過新聞或通過手工印刷（通過日本貧瘠，甚至一調羹），它也可以用於非常大的印刷影象，隨著近幾年從遠北昆士蘭的藝術家看到。

Due tothe relative ease of relief printing methods they are favoured bymany artists who personally produce smaller editions, though thedurability of a lino plate, with care, can also have the potentialto produce a large printrun.由於相對容易的，他們是由許多藝術家誰親自制作更小版本的青睞，雖然油布板的耐用性，小心，也會有產生大量列印的潛在凸版印刷方法。Colourmay be introduced to relief printing in a number ofways.顏色可以以多種方式引入到凸版印刷。 Artists may prefer to colour by hand and willoften use ink, watercolours or acrylic paint to add vibrancy to ablack and whiteprint.藝術家可能更喜歡的顏色用手將經常使用的油墨，水彩或丙烯酸塗料中新增活力的黑白列印。Separatelino blocks can be printed successively onto the same paper, eachadding a new dimension to the oneprint.獨立利諾塊可以連續列印到紙上一樣，每增加一個列印一個新的層面。 Another common method is reductiveprinting.另一種常用的方法是還原列印。 After a colour is printed onto the paper, theblock is cleaned, the artist then cuts away lino to achieve moredetail in thedesign.後一彩色印刷到紙張中，塊被清潔，藝術家然後切掉油布，以獲得更詳細的設計。Aftereach colour layer is printed the block is carved until the surfaceis no longer practical for furtheruse.後印刷每色層塊刻，直到表面不再實用的進一步使用。

Linocutsand wood cuts are also used to create cuts和木材切口還用於建立壓紋。 Embossing uses the same process as other reliefprintmaking techniques the only dffierence is that there is no ink,rather the image is pressed into thepaper.壓花使用相同的過程，作為其它浮雕版畫技巧的唯一dffierence是，有沒有墨水，而在影象被壓入紙張。

IntaglioPrinting凹版印刷

In the14 th century metal engraving was used to decoratearmour and precious metals, it wasn't until the early part of the15 th century that a print on paper was taken from anengraved line.在14世紀的金屬雕刻被用來裝飾盔甲和貴重金屬，它不是直到在紙上的列印是從一個刻線的15世紀的早期部分。 The word'intaglio' is derived from an Italian term meaning 'to beincised'.這個詞“凹版印刷”是從義大利術語，意思是“被切開”派生。 The image is created by a layer of ink held inthe recesses of the plate, which is wiped or dabbed into theengraved lines.該影象是由油墨中的板，其被擦淨或擦了擦到刻線的凹部持有一個層建立。Theserecesses may be either manually incised or chemically etchedthrough the surface of the plate, using a variety of chemicals,techniques andtools.這些凹部可以是手動陰刻或通過在板的表面化學蝕刻，使用各種化學物質，方法和工具。Thechemical processes and tools used distinguish the mediums inintaglio.所使用的化學過程和工具區分介質中凹版。

Unlikerelief printing, in intaglio printing the paper receives the inkfrom the incised marks and not from the top surface of the plate,although thin films of ink may be left on the surface to produce avariety of tonaleffects.不像凸版印刷，凹雕印刷紙張接收墨從切開標記，而不是從該板的頂面，儘管薄膜的油墨可能會留在表面上，以生產出各種色調的效果。As theink is held in the recesses of the plate a great deal of pressureis required to transfer the ink from the plate to thepaper.作為油墨是在所述板的所述凹部保持一個很大的壓力，需要將油墨從印版轉移到紙張上。Therefore unlike relief printing it is necessaryto use a press to adequately transfer the ink from plate topaper.因此不像凸版印刷，有必要使用一個按充分的墨從盤轉移到紙上。 The pressure required adds a unique element tointaglio prints as a plate mark or embossed shape is left frompressing the metal plate into thepaper.所需的壓力增加了一個獨特的元件凹版印刷印刷作為板標記或壓紋形狀由衝壓金屬板進紙離開。

Drypoint DRYPOINT

Adrypoint is created by working directly onto a metal plate (orlaminated cardboard as a cheap alternative) with a sharp pointedinstrument known as astylus.一個銅版畫是由工作直接在金屬板（或層壓紙板作為一種廉價的替代物）與被稱為手寫筆鋒利尖銳的工具建立的。Linesare scratched into the metal with the same freedom as a pencil, theeffect is spontaneous, notformal.線被劃傷入金屬具有相同的自由度作為一個鉛筆，其效果是自發的，不正規。

When themetal stylus is drawn through the surface it creates a rough raisededge known as a burr.當金屬觸針是通過表面繪製它建立一個粗糙凸起的邊緣被稱為毛刺。Thisburr means when the plate is printed the lines have a delicate"feathered" effect that is quite distinct to the drypointprocess.這意味著毛刺時板印刷的線條有一種微妙的“羽毛”的效果是截然不同的銅版畫的過程。The burrthat creates the distinctive drypoint line is quite delicate andcan wear quickly and therefore a great deal of care is taken increating the image and editioning the prints in order to preservethe integrity of theline.建立獨特的銅版畫線毛刺是相當細膩，能迅速，因此戴上很大的照顧是採取在創造的形象和editioning印刷品，以保持線路的完整性。

Engraving雕刻

Tocreate an engraving要建立一個雕刻 lines are incised on a highly polished metalplate by means of a sharp-pointed instrument, diamond-shaped incross section, called a burin orgraver.線是由尖頭文書的方式刻在高度拋光的金屬板，菱形截面，稱為刻刀或更嚴重。The toolworks like a plough cutting a rut.該工具的工作原理就像一個犁切一轍。Thestrength of the line may be increased by cuttingdeeper.線的強度可以增加切削更深。 The burin is held in a fixed position and, toproduce a curved line, the plate itself isturned.刻刀被保持在一個固定的位置，併產生一條曲線，該板本身被接通。 This makes engraving a slow and painstakingtechnique producing controlled, formalresults.這使得雕刻一個緩慢和艱苦的技術生產控制，正式結果。

Etching蝕刻

Etchingis one of the most important methods of intaglioprinting.蝕刻是凹版印刷的最重要方法之一。 It is a means of incising lines into a metalplate with acid.它是切割線成的金屬板帶酸的手段。 The plate is first coated with an acid-resistantsubstance (etching ground or varnish) through which the design isdrawn with a sharp tool (burin or other) that exposes the metalunderneath.該板第一塗有抗酸物質（蝕刻地面或清漆），通過該設計被吸入用尖銳的工具（刻刀或其它）暴露下面的金屬。The acidcorrodes or dissolves the metal plate through the exposedlines;酸腐蝕或通過暴露的線溶解的金屬板; the more time the plate is left in the acid, thedeeper the lines.更多的時間在板留在酸中，線越深。 When the plate is inked and its surface rubbedclean, it is covered with paper and passed between the cylinders ofan etching press under highpressure.當板被著墨和其表面擦乾淨，其上覆蓋著紙張和在高壓力下的蝕刻壓機的缸之間通過。The inkcaptured in the lines is transferred to thepaper.線上路捕捉的油墨轉移到紙張上。

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