| Bleed Print | A print that has no margin; the print image extends to the paper edge. The irregular untrimmed edge of hand made paper is called the deckle edge or mini-tsuki |
| Block Out | A substance that when applied to a screen, plate, or stone will prevent the ink from reaching the paper during printing |
| Chine Colle | (French) A method of adhering thin pieces of colored paper to the larger printing paper at the same time that the inked image is printed |
| Chop | The impression made by an artist's of the painter's seal on the paper |
| Etching Blanket | A woven or felt blanket that acts as cushion between the plat and the rollers of the etching press; when the paper and plate are run through the press the blanket forces the paper into the deepest recesses of the plate |
| Embossing | An intaglio technique by which raised impressions are created in the dampened paper or other surface by a metal or collage plate. Embossments are often left unlinked |
| Epreuve D'artiste | French term utilized in numbering an edition to denote artist's proof |
| Gold/Silver Leafing | A process of applying metallic foil surfaces to a print; gold (kinpaku) or silver (ginpaku) |
| Hand-colored Prints | Prints that have pigment added to the original print (by hand) after the printing process |
| Hanga | A general Japanese term used for all types of prints |
| Kento | The marks made at the corners of a printing block are make to insure the exact positioning of the paper for the inking of each print. In multicolor printing, the blocks, plates, stones, or stencils are aligned with the paper so that each successive color will print precisely where the artist desires. This process is called registration |
| Mixed Media | A combination of techniques including colorless embossing. A single print may have been pulled from a woodblock or metal plate or from a lithograph and screen print or any combination. It may also have been printed with different pigments mixing oil-based and natural inks and so on |
| Monoprint | A print with an edition of one. The process involves making only one impression on to the paper from the image created on a plate, stone, plastic or other surface |
| Plate | A sheet of material such as metal, plastic, cardboard, the surface of which holds the design so that an image can be created from it |
| Open Edition | An unlimited number of impressions taken from a plate |
| Rice Paper | A generic term used by westerners to describe all types of Asian hand-made papers. The term really refers to ancient papyrus papers more than the actual papers made today |
| Sumi Ink | A black ink of Chinese origin, which the Japanese use for painting and brushwork and also for printmaking. Rubbing the ink with a little water on the inkstone produces an oily consistency. In liquid from it is called bokuju |
| Washi | The term for paper made by traditional Japanese hand-made methods usually containing no wood pulp. Fibers from most hand-made papers come from the inner bark of three different plants, each giving the paper its distinct quality. Paper made from the Kozo plant fibers (from the mulberry family) is widely used in printmaking, as it is rough and strong with a porous elasticity that is suitable from printing |
| Yoshi | The Japanese term for foreign type paper made by mechanical means containing wood pulp. |
REFERENCE: 49th CWAJ SHOW CATALOGUE