Lithographs with handwork are created by drawing with paint onto existing lithographs after they are pulled from the press. In this instance, each object becomes a unique work since the print itself has been directly drawn on. Chihuly signs his prints with handwork in paint. Lithographs are created by Chihuly in different ways, including drawing with tusche (greasy ink) onto metal plates or by painting on sheets of mylar (a polyester film). One plate is needed for each color desired in the final artwork. For example, a six-color lithograph requires that Chihuly make six different drawings on six different plates, After further preparation of the plates by the master printmaker, the plates are inked and pulled over high-quality archival paper, with one pass required for each plate used. Thus, a six-color lithograph is run through the press six separate times. Drypoint is an intaglio (derived from the Italian, “to engrave”) method of printmaking, in which a sharp instrument is used to scratch a groove directly into a metal plate. A burr is raised along the groove. When the metal plate is inked and paper is pressed against the surface, the resulting line has a rich velvety quality. As this process is repeated, the burr wears down and the lines become less defined. For this reason, drypoint prints are made in small editions. Vitreographs represent another intaglio process making use of a glass plate rather than a metal one. The image is created by sandblasting pits into the surface of the glass plate. Again, each separate color requires a separate glass plate. Woodcuts are the earliest printing technique, dating from the late medieval period. The artist draws a composition on a wood block and then cuts away the areas of the block not covered by the design. The raised area of the design is then inked with a dauber or roller and transferred to paper using a press. What is a print? (Link courtesy of the Museum of Modern Art.) Main Print Page