教你如何鉴别三种版画的技巧 [美国媒体]

How to Identify Prints怎样鉴别版画

Before digital and photographic technology, images were transferred to paper from stone, metal, and wood. Part of a good education in art history involves studying and identifying these different printing processes. While printmaking is a field you can study for life, you can learn the basics of identifying relief, intaglio, and planographic lithography to start building your identification skills.

在数码照相技术出现之前，图像先是被人类刻画在了石头、金属和木材上，而后才落在了纸上。因此，想要具备良好的艺术史修养，研究以及鉴别不同的版画工艺算是一门必修课。尽管版画是一门可供人终生钻研的学科，我们还是可以简单学习一下鉴别浮雕、凹雕以及平板印刷的基础知识，从而开始磨练自己的鉴别技巧。

Method 1 of 3: Identifying Relief Prints

第一讲：鉴别浮雕版画



1、Understand the process of relief printing. Relief printing is the oldest and most traditional printing technology, and involves reproducing images at its most basic. In relief printing, a wood or metal relief block is carved by cutting away the areas of the picture that will not be printed, then ink is applied to the raised areas either by dabbing the areas to be printed, or rolling the ink on. The final stage of the process involves transferring the ink to the page by laying a sheet of paper and applying pressure. Examples of relief prints include:
Wood block printing
Linocut
Type-set

1、理解凸版印刷工艺。凸版印刷是最古老、最传统的印刷技术，其基础用途就是复制图像。将图案刻制在木质或者金属版材上，挖空非图案部分，在版材凸起部分上墨，施墨方式包括刷墨和滚墨两种。最后一步就是将纸张铺在版画上，施以压力进行转印。常见的浮雕版画包括：
木版印刷
麻胶版画
排字印刷



2、Examine the rim of the print. One of the quickest and most reliable ways of identifying relief prints is to examine the edges of the print for evidence. The process by which ink is transferred from the block via pressure will produce a characteristic rim around the edges of life. This is a feature that is only characterized by relief printing processes, so it's always a sure sign.
For comparison purposes, examine the serial number on any bill of US currency. You should notice the rim of the numbers is slightly darker than the inside. This is a sign of relief printing. Look for this tendency in the piece that you're examining.

2、检查版画边缘。鉴别浮雕版画最快捷可靠的方法之一就是检查版画的边缘，寻找鉴定证据。由于转印时需要施加压力，因此会在图案的外沿形成独特的边缘。这是浮雕版画工艺的特征之一，所以认准它肯定不会错。
来考察一下这种鉴别方法：检查任意面值美元纸币上的序号，你会发现数字的边缘比内里部分颜色略深。这就是凸版印刷的标志。当你进行鉴别时，记得寻找这种颜色变化趋势哦。



3、Look for signs of embossing. Another fairly reliable way of identifying relief printing is to look at the back of the piece for signs of embossing, another result of the transfer process in relief printing. Examine the page and feel with your hands for signs of raised perforation and pressure, signifiers of the paper being pressed on the relief block.
Compared with intaglio printing, the pressure required to make relief prints is relatively minor, meaning that embossing will sometimes be difficult to see and differentiate from that of intaglio printing, which is more severe.
Reflectance Transformation Imaging (RTI) is often used to highlight and document the physical signifiers of embossing in relief printing.

3、寻找浮凸凹印。另外一个相当可靠的鉴别凸版印刷的方法就是把版画反过来，在背面寻找压印浮凸图案时造成的凹印，这种凹印是凸版印刷转印工序造成的另一个结果。检查版画，用你的手去感受那浮雕版材压出的凹凸印记。
与凹版印刷相比，转印时所需的压力没那么大，因此浮凸凹印有时很难被发现，而凹版印刷所形成的凹凸则明显得多。
反射转换成像（RTI）常被用来突显并证明凸版印刷产生的物理凹凸印记。



4、Look for signs of cutting in the cross-hatching or shaded areas. While it might seem obvious, one of the best ways of distinguishing relief from intaglio printing is in examining the black marks as closely as possible and trying to decide whether it looks like they were raised, or the white marks were raised on the original block. This is part intuition and part experience, but one of the best places to look is in shaded or cross-hatched areas.
On relief prints, you should be able to see that shading is made by cutting out little wedges between short lines, then cutting a long line at right-angles, leaving smooth outside lines.

4、寻找交叉平行图案或者阴影部分的雕刻痕迹。这个技巧是鉴别凸版印刷和凹版印刷的最佳方式，实际操作的时候需要尽可能地靠近版画上的黑色印记，以判定它是高出版材的那部分，还是它周围白色的区域才是高出版材的那部分。这听起来好像很容易，但其实是既需要直觉，又需要经验的一种技巧。不过在运用这种鉴别方法时，最容易判断的区域之一就是阴影或者交叉平行图案。
在浮雕版画上，可以看到阴影是通过在短线之间刻出一个小楔形，然后再刻出一条与之垂直的长线来得到的，这样就会使阴影部分具有平滑的外边缘线。

Method 2 of 3: Identifying Intaglio Prints

第二讲：鉴别凹雕版画



1、Understand the process of intaglio printing. Intaglio is Italian for "incis-ing," and correspondingly revolves around a process of applying ink into the grooves or etches or engravings, then using a lot of pressure to transfer that ink from the indents onto the page. This usually results in slightly crisper, more substantial lines that you can learn to identify. The process was developed in the 1500s. Engraving and etching are both styles of intaglio printing, with slightly different techniques and signifiers.
Engraving is typically done on copper plates, using a burin, a v-shaped cutting tool, to remove slivers of metal from the surface of the plate. The shape of engraved lines are typically quite clean, and pointed at each end, where the lines will swell or shrink.
Etching is done using acid to draw freely over wax placed on the copper plating, using a needle. Etched lines will have a blunter end than engraved lines, and you should be able to see signs of the wax in unevenness and crumbling at the edge of the lines. In general, etched lines are less precise.

1、理解凹版印刷工艺。凹雕的英文名为Intaglio，该词其实是意大利语“刻”的意思，由此可知，这是一种围绕如何将印墨施入凹槽或者蚀痕或者刻痕中，再加以重压，使墨转印到纸张上的工艺。转印后得到的墨线略生硬，给人一种很结实的感觉，记住这点会有助于进行鉴别。这项工艺起源于16世纪。雕刻和蚀刻是凹版印刷的两大流派，在技术上略有差别，转印后产生的印记也不尽相同。
雕刻用于铜版，用V型雕刀去除铜版表面的金属，形成极为清晰的刻痕。而在刻痕的起止点，由于下刀停顿，会产生膨大或者缩小的线条。
蚀刻则是先在铜板上覆上一层防酸蜡，然后用蚀刻针（译注：在涂蜡的表面绘制出需要的图案。当针）划过，蜡被除去，露出金属。再将板浸在酸液中，酸侵蚀刻线（译注：但不会影响仍然被蜡覆盖着的金属部分）。蚀刻线较雕刻线圆钝，可以看到线条的边缘不甚清晰，还有些碎裂，而这正是蜡造成的特殊印记。一言以蔽之，蚀刻线条较不清晰。



2、Look for plate marks. Because lots of pressure is used to transfer the ink, the metal printing plate will leave an impression in the paper on intaglio prints. The corners of these marks should be rounded, since sharped edges would rip the paper, and the edges will often retain traces of ink that wasn't completely wiped off the plate during the printing process. Plate marks are always signifiers of intaglio printing, whether engravings or etchings.
If you don't see a plate mark, that isn't necessarily the sign that it isn't an intaglio print. It won't show up on every intaglio if the plate was wiped off completely.

2、寻找压印痕。由于在进行转印时施以了重压，所以金属版材会在凹雕版画的纸上留下压痕。而由于锋利的边缘线可能会割破纸张，而且在施墨过程中，由于没有把版材完全擦净，边缘线上常常会留有残墨，所以这种印痕的边角圆钝。压印痕是凹版印刷的特征，不论是采取雕刻还是蚀刻。
但如果没找到压印痕，并不能由此判断这不是凹雕版画。因为不是每一张凹雕版画上都会有这种压印痕，如果在转印前将版材完全擦干净了，则不会出现压印痕。



3、Look for raised ink. Because of the way the printing process works, the strongest and darkest lines should be raised when compared with the surrounding areas, because it will take more pressure and more ink to make the darker line pop out. This is one of the most reliable signifiers of intaglio printing, etched or engraved.

3、寻找高出的印墨。由于转印工艺的缘故，最强并且最深的线条应该是高出周围纸面的，这是因为它收到的压力更大，并且有更多的墨才能显出颜色更深的线条。对于蚀刻或雕刻的凹雕版画来说，这是最可信的特征之一。



4、Look for varying intensity of color in single lines. In intaglio printing, the lines will have varying levels of intensity in terms of the ink displacement, compared to relief printing, which should be relatively uniform. This is because the depth of the grooves can be adjusted, resulting in darker or lighter printed lines, accordingly, in the same line.
Look along longer lines to see whether or not they become darker in the interior. If so, it's almost surely a sign of intaglio printing.

4、寻找同一线条上不同浓淡的色彩。在凹版印刷中，版画的线条会由于墨量的变动而形成不同的浓淡。与之相比，凸版印刷形成的线条浓淡基本一致。这是因为刻痕的深度是不同的，即使在同一条线上，也可印出或深或浅的颜色。
在版画上找一条长些的线，观察是否线的中心颜色较深。如果确实如此，那么基本可以确定这是凹版印刷造成的痕迹了。



5、Look at the shape of the line. Engraved lines will flow smoothly, swelling some before tapering to a point, while etched lines lines will have shakier, round edges. Often, intaglio prints will involve bits of both types of printing, as is found on US currency, in the printed pictures on the front and back.

5、观察线条的形状。雕刻呈现的线条平滑流畅，在汇成一点之前会有所膨胀，而蚀刻呈现的线条则边缘略有不齐且较圆钝。有时候，凹雕版画会同时采用这两大流派的凹版印刷，例如美元纸钞，印制的前景、后景图案使用了不同的凹版印刷技术。



6、Study more intaglio techniques. There are lots of subcategories of intaglio printing that will display particulars of the process, so you can narrow your identification skills even more specifically. Other intaglio techniques include:
Aquatint
Mezzotint
Steel Engraving
Stipple Engraving

6、学习更多的凹雕技术。凹版印刷还有很多细类，每类的工艺各有不同，学习了解这些不同细类的技术，可以让你的鉴别技术更为精准。其他凹雕技术包括：
细点腐蚀法
美柔汀法
钢版雕凹线法
钢版面直接雕刻法

Method 3 of 3: Identifying Planographic Lithographs

第三讲：鉴别平版版画



1、Understand the different varieties of lithography. Lithography is a big term often used to refer to many different styles of printing, contemporary and classical. But, in pre-photographic terms, planographic lithography is that which is printed from a flat surface. In planographic printing, plates are prepared by laying down an image in a greasy or oily substance, typically called tusche, that will hold ink. The blank areas of the plate will then be washed off with water, removing the ink from those areas. Types of planographic lithography include:
Chalk-manner prints, which are made by using wax crayon to draw the image onto limestone.
Chromolithography, which are identifiable based on the stippling of multiple colors on the plate.
Tinted lithography is made via two plates, one of which uses broad individual background strokes of tinting to give the image background color.
Transfer lithography isn't transferred directly from stone to paper, but from transfer paper to the stone itself, meaning that the image needn't be drawn in reverse originally.

1、理解不同方式的平版印刷术。平版印刷术是一大类不同流派的印刷术的总称，既包括现代印刷术也包括古典印刷术。在照相技术问世之前，从一个平面上印出来的东西就叫做平版版画。在进行平版印刷时，版材上覆脂性或油性的物质，通常被称为汽水墨，用来吸附住印墨，然后将图像放在上面。图像外的空白区域则用水将印墨洗去。平版印刷术包括：
白垩法版画，是用蜡笔在石灰岩上绘制而成的。
分色平版印刷，很好辨认，基础做法就是在版材上用多种颜色进行点画。
染印平版印刷需使用两个版材，其中之一染上大面积的单色，用以印制版画的背景色。
转印平版印刷不是将石头上的团直接转印到纸张上面，而是先用转印纸将图案印到石头上，这意味着绘稿时无需左右颠倒。



2、Magnify the image. Unlike some of the other varieties of pre-photographic print identification, planographic lithography needs to be examined using at least 10x magnification to notice the signifiers necessary for proper identification. Since the absence of intaglio and relief printing marks doesn't necessarily mean you're dealing with a lithograph, it's important to look closely at the images and not take absence for proof.


2、放大图像。与另外几种早于照相术的版画不同，想要鉴定平版版画需要放大至少10倍来看，才能找到平版印刷的特征。由于即使缺乏凹版和凸版印刷造成的印记，也不意味着在你手上的就是平版版画，要想找到证据，细细查看是非常重要的。



3、Look for the absence of plate marks. If you find plate marks, you're always dealing with a relief or, more likely, an intaglio print. Because the image is taken directly from a flat stone, there will never be plate marks of the sort you'd find on those prints, on a lithograph.

3、确定没有压印痕。如果能找到压印痕，说明你手上的是浮雕版画，当然更可能是凹雕版画。而由于平版版画是直接从一块大石板上印下来的，所以在平版印刷品上，你永远找不到压印痕。



4、Look for the flatness of the ink. Upon close examination, you should notice that there is no difference in the depth of the ink and the blank paper. Everything should be on the same level, with no imprinting of whiteness or darkness. Noticing this will require serious magnification, but it's a good indication that you're dealing with some variety of planographic printing, since the ink has come from a flat surface that didn't imprint itself in the paper.

4、查看印墨是否是平平的。在靠近检查过后，你应该会注意到纸上有印墨的区域和空白的区域并没有高低差。白色和深色的地方都没有任何压痕，纸面非常平整。做这种检查时需要放大镜的帮忙，由于印墨来自于一个平面，而非压到纸上的，因此一旦发现没有印墨是平于纸面的，那么这会是鉴定出平版版画的一大证据。



5、Look for the illusion of shade, created by multiple layers. Since the planographic surface holds and repels ink on the same level, tonal variation is created by varying the amount of surface area covered and not covered by varying the quantity of ink deposited on the paper, either by using multiple layers and multiple prints, or by applying areas of heavier wax on the stone.
Usually, shaded areas will be spotty, shooting almost stipple-like dots that have the same tonal value. One mark will not be lighter or darker than the other surrounding marks, nor should they be evenly spaced. This creates the "illusion of shade."
A print with multiple colors will overlap those colors in certain areas. In general, you won't find green, but overlapping areas of blue and yellow, a more efficient process of printing. Shade in color prints is typically made via variation of tone.

5、查看由多种层次所致的阴影错觉。由于平版印刷吸附印墨和去除印墨的区域都在同一水平上，色调的变化必然是沉淀在纸面上的墨量多少决定的，要么是多层印刷，要么就是复合版画，或者是在石板上某些区域施以厚蜡。
阴影区域通常是由很多色点组成的，好像点画一样，这些色点都是相同的色调值。意即任意色点都不会比它周边的色点更亮或者更暗，甚至所有色点都是均匀分布的。这就造成了“阴影错觉”。
复色版画在同一区域可能会有多色叠加。通常你找不到绿色，但会在叠色区域找到蓝色和黄色，这是印刷工艺为了增进效率而采取的方法。彩色版画的阴影部分是由多种色调合成的。



6、Look for blurriness. Typically, fine details will be somewhat blurrier in transfer lithographs than in other types of printmaking. Often, the paper won't quite stick, or will otherwise shift around when pressure is applied to the paper, and the details tend to suffer when this happens. This is typically a sign of planographic lithography processes.

6、寻找模糊强度。与其他版画复制术相比。在转印平版印刷品时，小细节处总会有点儿模糊。因为在这个过程中纸张很难黏着牢靠，施加压力时也可能会使纸张略微移动，所以细节处就会受到影响。这可以算是平版印刷工艺的特有痕迹。