版画介绍

Printmaking is the process of creating originalartworks by printing from a block or plate onto a flatsurface.版画是由一个块或制版印刷在平面上创造原创艺术品的过程。 Fine Art Prints are created and printed by handand each print is original.美术版画被创建并打印了手，每个打印是原来的。It isimportant to note that Fine Art Prints are very different tophotographic prints, which are direct copies of an originalartwork.需要注意的是美术版画是非常不同的摄影照片，这是一个原始艺术品的直接复制是非常重要的。

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.版画不仅是流行，因为它创造的艺术作品，而且每一个的版画技术创造了个人的成果，因为多重印象的能力。Thispage looks into more detail at some of the common printmakingtechniques used around theworld.这个页面看起来更加详细地在一些世界各地使用的通用版画技巧。

Reliefprinting is the oldest and most durable method of making prints,dating back eleven hundred years to hand printed scrolls made inChina.凸版印刷是制作版画，距今1100年交出中国制造的印刷春联的最古老，最持久的方法。Reliefprinting developed in Europe during the 1450s, influenced by thedevelopment of moveable type printing and the printingpress.凸版印刷在欧洲发展过程中的15世纪50年代，由活字印刷印刷和印刷机的发展的影响。Earlycommon relief printing methods used by artists include wood cuts,linocuts, rubber stamps, wood engravings andcollographs.用艺术家的早期常见凸版印刷方法包括木材切割，linocuts，橡皮图章，木版画和collographs。With thedevelopment of new technologies other printing techniques have beenintroduced, these include lithography, etching, screen printing anddigitalprocesses.随着新技术的发展，其他的印刷技术已被引入，其中包括光刻，蚀刻，丝网印刷和数字化进程。

Linocutand woodcut are two of the most commonly recognised processes inthe relief printing cut和木刻两个在凸版印刷媒体中最普遍认可的过程。 The relief printing process is similar to usingan inkpad and stamp.在凸版印刷过程类似于使用印泥和印章。 Linocut is a type of relief printing in whichlinoleum (as in lino flooring) is used as the printingsurface. Linocut是其中油毡（如在油布地板）是用来作为印刷表面的型凸版印刷的。Thematerial is cut with small pen-liketools.该材料被切割的小笔状工具。 The tools have a variety of forms: straight androunded edge, double-pointed or a V-shaped chisel for a fewexamples.该工具有多种形式：直链和圆形边缘，双尖或V形凿了几个例子。 Using these gouges and knives, the artist cutsthe design into linoleum taking into consideration that the imagewill be reversed in the printingprocess.使用这些豁口和刀子，艺术家切割设计成油毡考虑到的图像将在印刷过程中被逆转。That is,the lines that have been carved will be white and the parts thatare raised will have ink onthem.也就是说，已刻线将白色和所引发的部分会有墨水在他们身上。

Ink isapplied to the raised surface then rolled or stamped onto the paper(or other surface).墨施加到凸起表面进行轧制或冲压到纸上（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.由于利诺是一种轻质材料它可以通过新闻或通过手工印刷（通过日本贫瘠，甚至一调羹），它也可以用于非常大的印刷图像，随着近几年从远北昆士兰的艺术家看到。

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.由于相对容易的，他们是由许多艺术家谁亲自制作更小版本的青睐，虽然油布板的耐用性，小心，也会有产生大量打印的潜在凸版印刷方法。Colourmay be introduced to relief printing in a number ofways.颜色可以以多种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.艺术家可能更喜欢的颜色用手将经常使用的油墨，水彩或丙烯酸涂料中添加活力的黑白打印。Separatelino blocks can be printed successively onto the same paper, eachadding a new dimension to the oneprint.独立利诺块可以连续打印到纸上一样，每增加一个打印一个新的层面。 Another common method is reductiveprinting.另一种常用的方法是还原打印。 After a colour is printed onto the paper, theblock is cleaned, the artist then cuts away lino to achieve moredetail in thedesign.后一彩色印刷到纸张中，块被清洁，艺术家然后切掉油布，以获得更详细的设计。Aftereach colour layer is printed the block is carved until the surfaceis no longer practical for furtheruse.后印刷每色层块刻，直到表面不再实用的进一步使用。

Linocutsand wood cuts are also used to create cuts和木材切口还用于创建压纹。 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.压花使用相同的过程，作为其它浮雕版画技巧的唯一dffierence是，有没有墨水，而在图像被压入纸张。

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世纪的金属雕刻被用来装饰盔甲和贵重金属，它不是直到在纸上的打印是从一个刻线的15世纪的早期部分。 The word'intaglio' is derived from an Italian term meaning 'to beincised'.这个词“凹版印刷”是从意大利术语，意思是“被切开”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.该图像是由油墨中的板，其被擦净或擦了擦到刻线的凹部持有一个层创建。Theserecesses may be either manually incised or chemically etchedthrough the surface of the plate, using a variety of chemicals,techniques andtools.这些凹部可以是手动阴刻或通过在板的表面化学蚀刻，使用各种化学物质，方法和工具。Thechemical processes and tools used distinguish the mediums inintaglio.所使用的化学过程和工具区分介质中凹版。

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，凹雕印刷纸张接收墨从切开标记，而不是从该板的顶面，尽管薄膜的油墨可能会留在表面上，以生产出各种色调的效果。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.作为油墨是在所述板的所述凹部保持一个很大的压力，需要将油墨从印版转移到纸张上。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，有必要使用一个按充分的墨从盘转移到纸上。 The pressure required adds a unique element tointaglio prints as a plate mark or embossed shape is left frompressing the metal plate into thepaper.所需的压力增加了一个独特的元件凹版印刷印刷作为板标记或压纹形状由冲压金属板进纸离开。

Adrypoint is created by working directly onto a metal plate (orlaminated cardboard as a cheap alternative) with a sharp pointedinstrument known as astylus.一个铜版画是由工作直接在金属板（或层压纸板作为一种廉价的替代物）与被称为手写笔锋利尖锐的工具创建的。Linesare scratched into the metal with the same freedom as a pencil, theeffect is spontaneous, notformal.线被划伤入金属具有相同的自由度作为一个铅笔，其效果是自发的，不正规。

When themetal stylus is drawn through the surface it creates a rough raisededge known as a burr.当金属触针是通过表面绘制它创建一个粗糙凸起的边缘被称为毛刺。Thisburr means when the plate is printed the lines have a delicate"feathered" effect that is quite distinct to the drypointprocess.这意味着毛刺时板印刷的线条有一种微妙的“羽毛”的效果是截然不同的铜版画的过程。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.创建独特的铜版画线毛刺是相当细腻，能迅速，因此戴上很大的照顾是采取在创造的形象和editioning印刷品，以保持线路的完整性。

Tocreate an engraving要创建一个雕刻 lines are incised on a highly polished metalplate by means of a sharp-pointed instrument, diamond-shaped incross section, called a burin orgraver.线是由尖头文书的方式刻在高度抛光的金属板，菱形截面，称为刻刀或更严重。The toolworks like a plough cutting a rut.该工具的工作原理就像一个犁切一辙。Thestrength of the line may be increased by cuttingdeeper.线的强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.刻刀被保持在一个固定的位置，并产生一条曲线，该板本身被接通。 This makes engraving a slow and painstakingtechnique producing controlled, formalresults.这使得雕刻一个缓慢和艰苦的技术生产控制，正式结果。

Etchingis one of the most important methods of intaglioprinting.蚀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.它是切割线成的金属板带酸的手段。 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.该板第一涂有抗酸物质（蚀刻地面或清漆），通过该设计被吸入用尖锐的工具（刻刀或其它）暴露下面的金属。The acidcorrodes or dissolves the metal plate through the exposedlines;酸腐蚀或通过暴露的线溶解的金属板; the more time the plate is left in the acid, thedeeper the lines.更多的时间在板留在酸中，线越深。 When the plate is inked and its surface rubbedclean, it is covered with paper and passed between the cylinders ofan etching press under highpressure.当板被着墨和其表面擦干净，其上覆盖着纸张和在高压力下的蚀刻压机的缸之间通过。The inkcaptured in the lines is transferred to thepaper.在线路捕捉的油墨转移到纸张上。

梦想与现实之间的磨合让我读懂很多生活的语言，风虽改变了方向，却没有改变我的行程-----

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