{"id":16789,"date":"2026-06-05T09:58:06","date_gmt":"2026-06-05T07:58:06","guid":{"rendered":"https:\/\/www.salvador-dali.org\/artwork\/cataleg-raonat-dobra-grafica\/sobre-el-cataleg-raonat-dobra-grafica\/glossari\/"},"modified":"2026-06-09T11:23:37","modified_gmt":"2026-06-09T09:23:37","slug":"glossary","status":"publish","type":"page","link":"https:\/\/www.salvador-dali.org\/en\/artwork\/catalogue-raisonne-of-graphic-works-by-salvador-dali\/about-the-catalogue-raisonne-of-graphic-works-by-salvador-dali\/glossary\/","title":{"rendered":"Glossary"},"content":{"rendered":"\n
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ES: ACUARELA, CA: AQUAREL\u00b7LA \u2212 FR: AQUARELLE, EN: WATERCOLOUR<\/p>\n\n\n\n

A highly luminous water-based paint characterised by the transparency of its colours, the lightest tone being the white of the paper.<\/p>\n\n\n\n

Ref.: BLAS, CIRUELOS, BARRENA (1996: 20), CLARKE (2001: 256).<\/p>\n\n\n\n

ES: AGLUTINANTE, CA: AGLUTINANT \u2013 FR: LIANT, EN: BINDER<\/p>\n\n\n\n

A colloid substance giving cohesion and viscosity to the pigments used in inks and paints.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 181), CLARKE (2001: 30).<\/p>\n\n\n\n

ES: AGUAFUERTE, CAT: AIGUAFORT\u2013 FR: Eau-forte, EN: Etching<\/p>\n\n\n\n

An indirect incision engraving technique using a mordant (nitric acid or ferric chloride) to bite into the incision made by the burin on a steel or copper plate previously coated with a protective layer of varnish. The corrosive fluid acts on the exposed incisions of the plate to facilitate subsequent inking.<\/p>\n\n\n\n

2. Plate engraved using this process.<\/p>\n\n\n\n

3. Print or sheet obtained by this process.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 113), BLAS, CIRUELOS, BARRENA (1996: 80), BRUNNER (1975: 115), CLARKE (2001: 91), GOLDMAN (1981: 4), HIND (1952: 33), RIAT (1983: 189), SOUSA (2004: 37, 465), VIVES (2000: 177), NADEAU (1997: 103).<\/p>\n\n\n\n

ES:AGUATINTA, CA: AIGUATINTA \u2013 FR: AQUATINTE, EN: AQUATINT<\/p>\n\n\n\n

An indirect intaglio engraving technique and a type of etching capable of a range of different tones, which can approximate  the appearance of a watercolour. A technique almost always used in combination with etching, the main element of the process is the partial protection of the copper engraving plate with a powdered resin varnish sprinkled over the surface. The plate is then subjected to uniform heating and etched with acid. As the resin is impermeable to acid, only the exposed areas between the grains are etched, and contain enough ink to create a wash effect when printed.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 27), BLAS, CIRUELOS, BARRENA (1996: 82), BRUNNER (1975: 143), CLARKE (2001: 13), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2002: 123), GOLDMAN (1981: 1), HIND (1952: 49), NADEAU (1997: 34), RIAT (1983: 193), RUBIO (1979: 287), SOUSA (2004: 38, 465), VIVES (2000: 178).<\/p>\n\n\n\n

ES: ARTE(S) GR\u00c1FICA(S), CA: ARTS GR\u00c0FIQUES \u2013 FR: ART(S) GRAPHIQUE(S), EN: GRAPHIC ART<\/p>\n\n\n\n

The generic \u2018graphic art\u2019 encompasses the various modes of original expression or representation of visual elements on an opaque or transparent surface. However, this term is usually applied to works resulting from the use of artisanal or industrial processes to reproduce visual elements in the creation of printed works encompassing specialised techniques and procedures characterised by their ability to produce precisely repeatable images.<\/p>\n\n\n\n

Ref.: BLAS, CIRUELOS, BARRENA (1996: 85), CLARKE (2001: 113), DREYFUS, RICHAUDEAU (1990: 29), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2011: 158), SOUSA (2004: 65).<\/p>\n\n\n\n

ES: BISEL, CA: BISELL \u2013 FR: BISEAU, EN: BEVEL<\/p>\n\n\n\n

Filing of the sharp edges of the metal plate (usually copper) prior to printing, to prevent the paper from being cut when it receives the pressure of the press.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 43), CLARKE (2001: 28), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2002: 338), RUBIO (1979: 287), VIVES (2015: 300).<\/p>\n\n\n\n

ES: <\/strong>BURIL, CA: BUR\u00cd \u2013 FR: BURIN, EN: BURIN \/ GRAVER<\/p>\n\n\n\n

A pointed steel engraving tool used to cut directly into the metal matrix without leaving a burr. In contrast to the drypoint technique, engravings made with a burin are distinguished by the sharpness of their lines.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 62), BLAS, CIRUELOS, BARRENA (1996: 89), BRUNNER (1975: 81), CLARKE (2001: 113), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2002: 401-406), HIND (1952: 21), NADEAU (1997: 153), VIVES (2000: 180), VIVES (2015: 72, 301).<\/p>\n\n\n\n

ES: <\/strong>CALCO, CA: CALC \u2013 FR: CALQUE, EN: TRACING<\/p>\n\n\n\n

A method of reproducing a drawing using various transfer media such as tracing paper, carbon paper, or similar, to copy the relevant lines of the original image.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 77), BLAS, CIRUELOS, BARRENA (1996: 24, 91), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2002: 429), VIVES (2015: 301).<\/p>\n\n\n\n

ES: <\/strong>CALCOGRAF\u00cdA, CA: CALCOGRAFIA \u2013 FR: CHALCOGRAPHIE, EN: INTAGLIO (CHALCOGRAPHY)<\/p>\n\n\n\n

A generic term referring to the art of engraving on metal plates, encompassing all engravings made on metal plates and printed using a printing press. It includes both direct processes (burin, drypoint) and indirect processes (etching, aquatint, etc.).<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 82), BLAS, CIRUELOS, BARRENA (1996: 92), CLARKE (2001: 126), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2002: 499), GOLDMAN (1981: 5), HIND (1952: 7), NADEAU (1997: 62), RIAT (1983: 304), RUBIO (1979: 288), SOUSA (2004: 137), VIVES (2000: 181), VIVES (2015: 301).<\/p>\n\n\n\n

ES: <\/strong>CHINE COLL\u00c9, CA: CHINE COLL\u00c9 <\/strong>\u2013 FR: CHINE COLL\u00c9 \/ CHINE APPLIQU\u00c9, EN: CHINE COLL\u00c9<\/em><\/p>\n\n\n\n

A technique that uses two paper supports to receive the print: a very thin paper\u2014formerly imported from China\u2014combined with a larger, thicker printing paper. The two papers are placed on top of the inked plate and printed simultaneously. The pressure of the press fuses the papers together, with the thinner sheet on top, to create a very delicate background, thus enhancing the printed image.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 87), MoMA | Glossary of Art Terms (accessed 18\/05\/2022).<\/p>\n\n\n\n

ES: <\/strong>CLICH\u00c9 or CLIS\u00c9, CA: CLIX\u00c9 \u2013 FR: CLICH\u00c9, EN: BLOCK, PROCESS WORK, PLATE<\/p>\n\n\n\n

A general term for the element to be printed, in the form of a single sheet of metal or other material, formed by one unique component.<\/p>\n\n\n\n

In photography, a cliche stereotype block, which may be positive or negative, line or halftone, is used to prepare the final printing plate for letterpress and offset printing.<\/p>\n\n\n\n

In letterpress: printing plates are the blocks that bear the elements of the image to be printed in relief and reverse. They are divided into line, stroke, or pen plates and halftone or direct plates.<\/p>\n\n\n\n

In the offset process, the printing plate is usually of zinc or aluminium.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 89), DREYFUS, RICHAUDEAU (1990: 105-106), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2002: 542), RUBIO (1979: 288).<\/p>\n\n\n\n

ES: <\/strong>COLLAGE, CA: COLLAGE \u2013 FR: COLLAGE, EN: COLLAGE<\/p>\n\n\n\n

A pictorial technique in which various elements are combined to create a work of art.<\/p>\n\n\n\n

Ref.: CLARKE (2001:61), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2002: 564).<\/p>\n\n\n\n

ES: <\/strong>COLOF\u00d3N, CA: COLOF\u00d3 \u2013 FR: ACHEV\u00c9 D\u2019IMPRIMER, EN: COLOPHON<\/p>\n\n\n\n

A printed sheet at the end of a book indicating the name of the printer and any other printing workshop involved, the date of printing, and other details of the edition.<\/p>\n\n\n\n

Ref.: DREYFUS, RICHAUDEAU (1990: 108), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2002: 17, 577), SOUSA (2004: 198).<\/p>\n\n\n\n

ES: <\/strong>CONTRATO DE EDICI\u00d3N, CA: CONTRACTE D\u2019EDICI\u00d3 \u2013 FR: CONTRAT D\u2019\u00c9DITION, EN: EDITION CONTRACT<\/p>\n\n\n\n

A document establishing the agreement between the artist and the publisher for production of an edition of a work, noting the relevant details, such as number of copies, materials, dimensions, etc.<\/p>\n\n\n\n

Ref.: SOUSA (2004: 231), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2002: 630), FGSD: Thesaurus | Fundaci\u00f3 Gala – Salvador Dal\u00ed (salvador-dali.org)<\/p>\n\n\n\n

ES: <\/strong>CUBETA, CA: CUBETA \u2013 FR: EMPREINTE, CUVETTE, EN: PLATE MARK<\/p>\n\n\n\n

See PLATE MARK<\/em>.<\/p>\n\n\n\n

ES: <\/strong>EDICI\u00d3N, CA: EDICI\u00d3 \u2013 FR: \u00c9DITION, EN: EDITION<\/p>\n\n\n\n

In printing, the complete set of copies of a work that are published together to constitute a single edition.<\/p>\n\n\n\n

Ref.: https:\/\/www.getty.edu\/vow\/AATServlet?english=N&find=EDITION&logic=AND&page=1&note= (accessed 12\/17\/2024).<\/p>\n\n\n\n

ES: <\/strong>EDICI\u00d3N LIMITADA, CA: EDICI\u00d3 LIMITADA \u2013 FR: \u00c9DITION \u00c0 TIRAGE LIMIT\u00c9, EN: LIMITED EDITION<\/p>\n\n\n\n

A limited edition comprises a run of copies, the number of which is determined in advance by the artist and the publisher and may not be increased at a later date. The copies that make up the edition are usually numbered consecutively. A limited edition can refer to a single work or a group of works printed at the same time from the same printing plate. After the limited edition is completed, the plates or moulds are generally cancelled or destroyed.<\/p>\n\n\n\n

Ref.: CLARKE (2001: 140), GOLDMAN (1981: 6), SOUSA (2004: 340), FGSD: https:\/\/www.salvador-dali.org\/ca\/obra\/obra-escultorica\/tesaurus\/<\/p>\n\n\n\n

ES: <\/strong>EDITOR, CA: EDITOR \u2013 FR: EDITEUR, EN: PUBLISHER<\/p>\n\n\n\n

A natural person or legal entity responsible, together with the artist, for the publication of a printed work by taking charge of the processes of its production and subsequent distribution.<\/p>\n\n\n\n

Ref.: BLAS, CIRUELOS, BARRENA (1996: 98), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2005: 30), SOUSA (2004: 342), VIVES (2015: 304), FGSD: Thesaurus | Fundaci\u00f3 Gala-Salvador Dal\u00ed (salvador-dali.org)<\/p>\n\n\n\n

ES: <\/strong>EJEMPLAR, CA: EXEMPLAR \u2013 FR: \u00c9XEMPLAIRE, EN: COPY, SPECIMEN<\/p>\n\n\n\n

Each of the works belonging to the same original limited edition. Each specimen must be duly identified by a number that allows its individual identification within the total number of specimens in the edition.<\/p>\n\n\n\n

Ref.: FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2005: 156), SOUSA (2004: 348), STRACHAN (1969: 346), FGSD: Thesaurus | Fundaci\u00f3 Gala-Salvador Dal\u00ed (salvador-dali.org)<\/p>\n\n\n\n

ES: <\/strong>ELEMENTOS GR\u00c1FICOS, CA: ELEMENTS GR\u00c0FICS \u2013 FR: \u00c9LEMENTS GRAPHIQUES, EN: GRAPHIC ELEMENTS<\/p>\n\n\n\n

The graphic representations of the work that can be considered individually. These include the vignettes or other illustrative elements that may appear on the printed pages of the work.<\/p>\n\n\n\n

Ref.: SOUSA (2004: 352).<\/p>\n\n\n\n

ES: <\/strong>ENTINTAR, CA: ENTINTAR \u2013 FR: ENCRER, EN: INK UP<\/p>\n\n\n\n

The act of applying ink. In intaglio printing, ink is applied with a pad to the surface of the printing plate so that it penetrates the incised grooves. The excess is then cleaned with tarlatan so that the ink remains only in the incisions.<\/p>\n\n\n\n

The term \u00e0 la poup\u00e9e<\/em> refers to the application of different coloured inks to the same printing plate for a single printing. See \u00a0POUP\u00c9E, \u00c0 LA<\/em>.<\/p>\n\n\n\n

Ref.: SOUSA (2004: 372), VIVES (2000: 184).<\/p>\n\n\n\n

ES: ENTRAPADO (RETROUSSAGE), CA: RETROSSAR (RETROUSSAGE) \u2013 FR: RETROUSSAGE, EN: DRAGGING OUT, RETROUSSAGE<\/em><\/p>\n\n\n\n

A method of wiping the printing plate that leaves a small amount of ink visible on the surface, softening the definition of the lines during printing.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 305), CLARKE (2001: 208), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2011: 562), GOLDMAN (1981: 12), VIVES (2015: 107).<\/p>\n\n\n\n

ES: <\/strong>ESCARTIVANA (CARTIVANA), CA: FRONTISSA \u2013 FR: ONGLET, EN: CONCERTINA GUARD<\/p>\n\n\n\n

A strip of paper, parchment, or other folded material, of the same length as the height of the volume in question, to which a loose sheet is glued or sewn.<\/p>\n\n\n\n

Ref.: FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2011: 67), SOUSA (2004: 152, 378).<\/p>\n\n\n\n

ES: <\/strong>ESTADO, CA: ESTAT \u2013 FR: \u00c9TAT, EN: STATE<\/p>\n\n\n\n

During the process of creating a print, several proofs are usually run off to monitor the progress of the work. Each state refers to a print that bears witness to the latest work carried out on the plate, whether or not it was done by the artist.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 136), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2005: 133), GOLDMAN (1981: 13), VIVES (2015: 305).<\/p>\n\n\n\n

ES: <\/strong>ESTAMPA, CA: ESTAMPA \u2013 FR: ESTAMPE (GRAVURE), EN: PRINT<\/p>\n\n\n\n

1. Image obtained by printing from an engraved plate.<\/p>\n\n\n\n

Work transferred to paper or other material by means of a printing process.<\/p>\n\n\n\n

2. Printed artwork created by the artist or under their direction.<\/p>\n\n\n\n

3. Printed text on a separate sheet of paper.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 12), BLAS, CIRUELOS, BARRENA (1996: 101), CLARKE (2001: 199), DREYFUS, RICHAUDEAU (1990: 199), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2005: 122), MALENFANT, STE-MARIE (2000: 32), SOUSA (2004: 397), VIVES (2000: 185), VIVES (2015: 305).<\/p>\n\n\n\n

ES: <\/strong>ESTAMPACI\u00d3N, CA: ESTAMPACI\u00d3 \u2013 FR: ESTAMPAGE (GRAVURE), EN: PRINTING<\/p>\n\n\n\n

Action and effect of printing.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 135), SOUSA (2004: 397), BLAS, CIRUELOS, BARRENA (1996: 102).<\/p>\n\n\n\n

ES: <\/strong>ESTARCIDO, CA: ESTERGIT \u2013 FR: POCHOIR, EN: STENCIL<\/p>\n\n\n\n

A highly specialised technique used to colour prints individually using a sheet of cardboard or metal cut into a template.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 279), BRUNNER (1975: 365), BLAS, CIRUELOS, BARRENA (1996: 107), CLARKE (2001: 190), DREYFUS, RICHAUDEAU (1990: 199), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2011: 283), SAUD\u00c9 (1925: 1), SOUSA (2004: 398), STRACHAN (1969: 347), VIVES (2015: 62, 316).<\/p>\n\n\n\n

ES: <\/strong>EXLIBRIS, CA: EXLIBRIS \u2013 FR: EX-LIBRIS, EN: EX LIBRIS, BOOK-PLATE<\/p>\n\n\n\n

Image or mark of ownership usually attached to the flyleaf of a book in the form of a handwritten or printed identification in a vignette indicating ownership.<\/p>\n\n\n\n

Since the late 19th century, book-plates have frequently been included in collections and conserved separately from the books from which they are taken.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 136), BLAS, CIRUELOS, BARRENA (1996: 107), DREYFUS, RICHAUDEAU (1990: 202), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2005: 159), SOUSA (2004: 405).<\/p>\n\n\n\n

ES: <\/strong>FILIGRANA, CA: FILIGRANA \u2013 FR: FILIGRANE, EN: WATERMARK<\/p>\n\n\n\n

A mark or imprint on a sheet of paper, often only fully visible when held up to the light, generally specific to the maker of the paper.<\/p>\n\n\n\n

Ref.: CLARKE (2001: 257), DREYFUS, RICHAUDEAU (1990: 207), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2005: 192), SOUSA (2004: 421), STRACHAN (1969: 346), VIVES (2015: 167, 305).<\/p>\n\n\n\n

ES: <\/strong>SIGNATURA, CA: SIGNATURA \u2013 FR: SIGNATURE, EN: SIGNATURE<\/p>\n\n\n\n

The handwritten signature in pencil was included on the print from the late 19th century onwards. The handwritten signature incorporates two main concepts: that the artist participated in the process of creating the print; and that the artist approves the work as their own authentic creation.<\/p>\n\n\n\n

Ref.: BLAS, CIRUELOS, BARRENA (1996: 108), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2011: 718), SOUSA (2004: 422), VIVES (2000: 187).<\/p>\n\n\n\n

ES: <\/strong>FOTOGRABADO, CA: FOTOGRAVAT \u2013 FR: PHOTOGRAVURE, EN: PHOTOENGRAVING, PHOTOGRAVURE<\/p>\n\n\n\n

A set of photomechanical engraving processes using a photographic plate of zinc, copper, etc.<\/p>\n\n\n\n

In letterpress photogravure, the printing elements are raised.<\/p>\n\n\n\n

In offset photogravure, the printing and non-printing elements are practically on the same plane, while in intaglio photogravure (heliogravure), the printing elements are recessed.<\/p>\n\n\n\n

The photogravure process allows the combining of manual and photomechanical processes to achieve an original work created using both kinds of intervention.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 275), BLAS, CIRUELOS, BARRENA (1996: 110), BRUNNER (1975: 162,341), CLARKE (2001: 186), DREYFUS, RICHAUDEAU (1990: 226-231), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2011: 259,220), SOUSA (2004: 439-443), VIVES (2000: 187), VIVES (2015: 305). <\/p>\n\n\n\n

ES: <\/strong>FOTOGRABADO DE L\u00cdNEA \/ FOTOGRABADO TIPOGR\u00c1FICO, CA: FOTOGRAVAT TIPOGR\u00c0FIC\u2013 FR: PHOTOGRAVURE TYPOGRAPHIQUE \/ CLICH\u00c9 [AU] TRAIT, EN: LINE BLOCK \/ LINE PHOTOENGRAVING<\/p>\n\n\n\n

A process of photomechanical reproduction that produces relief prints without a halftone screen for printing. The process allows for the reproduction of an artist\u2019s drawing by photomechanical transfer onto a metal plate. The plate is then engraved in relief without a halftone screen for letterpress printing. The line print is without colour gradations, as the process cannot reproduce intermediate tonal values.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 275), BRUNNER (1975: 66, 327), DREYFUS, RICHAUDEAU (1990: 230), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2002: 542; 2011: 227), NADEAU (1997: 152, 384), PETRINA (n.d.: 117), SOUSA (2004: 441, 468).<\/p>\n\n\n\n

ES: <\/strong>FOTOLITOGRAF\u00cdA, CA: FOTOLITOGRAFIA \u2013 FR: PHOTOLITHOGRAPHIE, EN: PHOTOLITHOGRAPH<\/p>\n\n\n\n

A process by which an image is reproduced on a metal lithographic plate by photographic transfer.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 225, 275), BLAS, CIRUELOS, BARRENA (1996: 110), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2011: 259, 221), MALENFANT, STE-MARIE (2000: 63), NADEAU (1997: 374), SOUSA (2004: 443).<\/p>\n\n\n\n

FOTOTIPIA, COLOTIPIA, CAT: FOTOT\u00cdPIA \u2013 FR: PHOTOTYPIE, ING: COLLOTYPE, PHOTOTYPE<\/p>\n\n\n\n

A photomechanical process based on the same principle as lithography: the mutual repulsion between oil and water. It allows the reproduction of images by exposing a light-sensitive gelatin solution to a glass or metal plate in contact with a photographic negative. The gelatin\u2014which forms a network of very fine grains on the surface\u2014hardens in proportion to the strength of the light that passes through the negative. These hardened areas are receptive to the printing ink, unlike the areas that retain moisture.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 91, 275), BRUNNER (1975: 268, 357), CLARKE (2001: 61), DREYFUS, FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2011: 224), RICHAUDEAU (1990: 233), SOUSA (2004: 444), VIVES (2015: 101, 306).<\/p>\n\n\n\n

ES: <\/strong>FRONTISPICIO, CA: FRONTISPICI \u2013 FR: FRONTISPICE, EN: FRONTISPIECE<\/p>\n\n\n\n

A full-page illustration on the title page of a book, in some instances printed separately and inserted by hand. An illustrated page that was formerly placed at the beginning of a book.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 140), BLAS, CIRUELOS, BARRENA (1996: 110), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2005: 319), SOUSA (2004: 446).<\/p>\n\n\n\n

ES: <\/strong>GOFRADO, CA: GOFRAT \u2013 FR: GAUFRAGE, EN: GOFFERING, BLIND EMBOSSING<\/p>\n\n\n\n

A dry printing process on a support of paper, cardboard, etc., in relief or indentation.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 145), BLAS, CIRUELOS, BARRENA (1996: 111), SOUSA (2004: 464), Art & Architecture Thesaurus Full Record Display (Getty Research).<\/p>\n\n\n\n

ES: <\/strong>GRABADO, CA: GRAVAT \u2013 FR: GRAVURE, EN: ENGRAVING, ETCHING<\/p>\n\n\n\n

1. The art of making incisions in relief.<\/p>\n\n\n\n

2. Various engraving processes.<\/p>\n\n\n\n

3. The reproduction of images using plates engraved by a manual or mechanical, artistic or industrial process.<\/p>\n\n\n\n

4. The image obtained by one of these processes.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 153), BLAS, CIRUELOS, BARRENA (1996: 112), CLARKE (2001: 90), DREYFUS, RICHAUDEAU (1990: 651), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2005: 405), SOUSA (2004: 465),<\/p>\n\n\n\n

GEAA: Art & Architecture Thesaurus Full Record Display (Getty Research).<\/p>\n\n\n\n

ES: <\/strong>GRABADO A LA PUNTA SECA SOBRE CELULOIDE, CAT: GRAVAT A LA PUNTA SECA SOBRE CEL\u00b7LULOIDE \u2013 FR: CELLULOTYPIE \/ GRAVURE \u00c0 LA POINTE S\u00c8CHE SUR CELLULO\u00cfDE, EN: DRYPOINT ON CELLULOID \/ CELLULOID ETCHING\/ENGRAVING<\/p>\n\n\n\n

This is a simplified process employed in teaching the technique of drypoint engraving, using a celluloid plate instead of metal. The incised plate\u2014which is transparent\u2014is printed in the same way as an intaglio print, with intaglio ink or a mixture of coloured pigments with a binder. See also GRABADO A LA PUNTA SECA SOBRE CELULOIDE \/ GRAPHITE PROOF<\/em>.<\/p>\n\n\n\n

Ref.: BAYARD (1901: 11), B\u00c9GUIN (1998: 82), MASON (1993: 20), NADEAU (1997: 61), PETRINA (n.d.: 41).<\/p>\n\n\n\n

ES: <\/strong>GRABADO AL BURIL, CA: GRAVAT AL BUR\u00cd \u2013 FR: GRAVURE AU BURIN, EN: ENGRAVING<\/p>\n\n\n\n

The engraving is obtained without the use of acids, with the incisions made directly into the plate with a burin, a steel tool with a distinctive square or rhomboidal cross-section.<\/p>\n\n\n\n

Ref.: CLARKE (2001: 89), SOUSA (2004:467), VIVES (2015: 72-78).<\/p>\n\n\n\n

ES: <\/strong>GUACHE, CA: GUAIX \u2013 FR: GOUACHE, EN: GOUACHE<\/p>\n\n\n\n

Opaque water-medium pigment. Unlike watercolour, the lighter tones of gouache are obtained by adding white.<\/p>\n\n\n\n

Ref.: BLAS, CIRUELOS, BARRENA (1996: 34), CLARKE (2001: 111).<\/p>\n\n\n\n

ES: <\/strong>HELIOGRABADO, CA: HELIOGRAVAT\u2013 FR: H\u00c9LIOGRAVURE, EN: HELIOGRAVURE\/ PHOTOGRAVURE\/ PHOTO-INTAGLIO<\/p>\n\n\n\n

The photogravure is a photomechanical variant of etching, from which it differs by being engraved in intaglio. The method follows that of the aquatint process: the surface of the metal plate is uniformly sprayed with bitumen, which is fixed to the metal by heat, and then coated with a layer of bichromated gelatin\u2014a photosensitive substance insoluble in water after exposure to light; the transparency of the image is projected onto the gelatin, and the lines corresponding to the drawing do not receive light.<\/p>\n\n\n\n

The lines of the drawing appear when the plate has been cleaned with warm water and the gelatin removed; the plate is then immersed in an acid bath so that it is etched in halftones, similar to an aquatint. The procedure lies halfway between conventional aquatint and photogravure.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 160), BRUNNER (1975: 162), BLAS, CIRUELOS, BARRENA (1996: 118), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2005: 460),NADEAU  (1997: 125,372,374), <\/a>RIAT (1983: 200), SOUSA (2004: 479), VIVES (2000: 189), VIVES (2015: 99, 308).<\/p>\n\n\n\n

ES: <\/strong>HUELLA, CAT: PETJADA \/ CUBETA \u2013 FR: EMPREINTE \/ CUVETTE, EN: PLATE MARK<\/p>\n\n\n\n

Impression produced on the substrate by the pressure from the printing plate.<\/p>\n\n\n\n

In intaglio, it refers to the mark left by the bevel of the metal plate on the paper.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 121), CLARKE (2001: 189), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2005: 50), GOLDMAN (1981: 10), SOUSA (2004: 487), VIVES (2000: 183), VIVES (2015: 131, 303).<\/p>\n\n\n\n

ES: <\/strong>IMPRESI\u00d3N, CA: IMPRESSI\u00d3 \u2013 FR: IMPRESSION, EN: IMPRESSION<\/p>\n\n\n\n

Reproduction of an image by direct or indirect transfer onto a support using a printing element designed for this purpose.<\/p>\n\n\n\n

Ref.: CLARKE (2001: 124), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2005: 527), SOUSA (2004: 504).<\/p>\n\n\n\n

ES: <\/strong>IMPRESOR-A, CA: IMPRESSOR-A \u2013 FR: IMPRIMEUR, EN: PRINTER<\/p>\n\n\n\n

Person responsible for printing; the person who performs the printing.<\/p>\n\n\n\n

Ref.: SOUSA (2004: 508), VIVES (2015: 308).<\/p>\n\n\n\n

ES: <\/strong>JUSTIFICACI\u00d3N DE LA TIRADA, CA: JUSTIFICACI\u00d3 DEL TIRATGE \u2013 FR: JUSTIFICATION DU TIRAGE, EN: COLOPHON<\/p>\n\n\n\n

Information about the print run with details of the edition, including the exact number of copies of the limited edition.<\/p>\n\n\n\n

Ref.: DREYFUS, RICHAUDEAU (1990: 443), VIVES (2015: 309).<\/p>\n\n\n\n

ES: <\/strong>LIBRO DE ARTISTA, CA: LLIBRE D\u2019ARTISTA \u2013 FR: LIVRE D\u2019ARTISTE \/ LIVRE DE PEINTRE, EN: LIVRE D\u2019ARTISTE (ARTIST\u2019S BOOK)<\/p>\n\n\n\n

A book whose conception and creation are directly ascribed to a visual artist\u2014particularly a painter, sculptor, or printmaker. Traditionally, it is an illustrated book created using manual engraving processes. Today, the term encompasses a range of more heterogeneous forms, with the common thread being the desire to express different artistic mediums in the format of a book.<\/p>\n\n\n\n

Ref.: FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2005: 793), STRACHAN (1969: 19, 347).<\/p>\n\n\n\n

ES: <\/strong>LITOGRAF\u00cdA, CA: LITOGRAFIA \u2013 FR: LITHOGRAPHIE, EN: LITHOGRAPHY \/ LITHOGRAPH<\/p>\n\n\n\n

1. A planographic printing technique that allows the reproduction of multiple copies from a line drawn on stone (historically, Bavarian limestone) or on a zinc plate, using an oil-based ink prepared with gum arabic and nitric acid. A unique characteristic of this technique lies in the mutual repulsion between oil and water, which causes the ink to adhere to the oily areas of the line and be repelled by the absorbent areas of the printing plate.<\/p>\n\n\n\n

2. Image obtained by this process.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 184), BLAS, CIRUELOS, BARRENA (1996: 123), CLARKE (2001: 141), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2005: 780), GOLDMAN (1981: 6), HIND (1952: 8, 52), NADEAU (1997: 155), SOUSA (2004: 624), VIVES (2000: 192), VIVES (2015: 114, 394).<\/p>\n\n\n\n

ES: <\/strong>MACULATURA, CA: MACULATURA \u2013 FR: MACULATURE, EN: MACULATURE (GHOST \/ COGNATE)<\/p>\n\n\n\n

Second printing of a plate without re-inking. The result is a print with very little ink. The term is also applied to ink proofs prior to the final printing.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 231), BLAS, CIRUELOS, BARRENA (1996: 125), CLARKE (2001: 146), DREYFUS, RICHAUDEAU (1990: 537), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2005: 834), GOLDMAN (1985: 8),<\/p>\n\n\n\n

HIND (1952: 60), WELSH REED, MAZUR (1980: 3, 62), GEAA: Art & Architecture Thesaurus Results List (Getty Research).<\/p>\n\n\n\n

ES: <\/strong>MARCA DE AGUA \/ MARCA AL AGUA, CA: MARCA D\u2019AIGUA \u2013 FR: FILIGRANE, EN: WATERMARK<\/p>\n\n\n\n

See also FILIGRANA<\/em>.<\/p>\n\n\n\n

ES: <\/strong>MATRIZ, CA: MATRIU \u2013 FR: MATRICE, EN: MATRIX, PLATE<\/p>\n\n\n\n

The base support for any printing process (a plate of metal, stone, celluloid, etc.) worked on by the artist or under their supervision. The plate thus worked on may then be inked and the ink transferred to the final support of the artwork, usually paper. <\/a><\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 235), BLAS, CIRUELOS, BARRENA (1996: 127), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2005: 909), SOUSA (2004: 658). <\/a><\/strong><\/p>\n\n\n\n

ES: <\/strong>MONOTIPO, CA: MONOTIP <\/strong>\u2013 FR: MONOTYPE, EN: MONOTYPE<\/strong><\/p>\n\n\n\n

An artistic printing technique that consists of transferring a single image, previously painted or marked on a plate, which will usually have a smooth, unworked surface, onto a paper support.<\/p>\n\n\n\n

In some instances, a second, appreciably paler print is obtained. See MACULATURA<\/em>.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 240), BLAS, CIRUELOS, BARRENA (1996: 128), CLARKE (2001: 156), GOLDMAN (1981: 10), HIND (1952: 56), WELSH REED, MAZUR (1980: 3, 62), RUBIO (1979: 289), SOUSA (2004: 672), VIVES (2000: 193), VIVES (2015: 125, 311).<\/p>\n\n\n\n

ES: <\/strong>NUMERACI\u00d3N, CA: NUMERACI\u00d3 \u2013 FR: NUM\u00c9ROTATION, EN: NUMBERING<\/p>\n\n\n\n

A system by which the limited number of impressions from a single printing plate is expressed in writing and numerically, establishing this limit.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 253), BLAS, CIRUELOS, BARRENA (1996: 129), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2011: 43), VIVES (2000: 194), VIVES (2015: 311).<\/p>\n\n\n\n

ES: <\/strong>N\u00daMERO DE EJEMPLAR, CA: N\u00daMERO D\u2019EXEMPLAR \u2013 FR: NUM\u00c9ROTATION D\u2019EXEMPLAIRE, EN: COPY NUMBER<\/p>\n\n\n\n

The identification number assigned to each copy of a numbered edition. In general, the copy number appears in the lower left margin of the paper, followed by the denominator\u2014the total number of copies in the limited edition.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 253), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2011: 43), SOUSA (2004: 682), VIVES (2015: 311).<\/p>\n\n\n\n

ES: <\/strong>OFFSET<\/em> (LITOGRAF\u00cdA OFFSET<\/em>), CAT: \u00d2FSET \u2013 FR: OFFSET (LITHOGRAPHIE-OFFSET), EN: OFFSET (OFFSET LITHOGRAPHY)<\/p>\n\n\n\n

An indirect planographic printing process using one of the basic principles of lithography\u2014the mutual repulsion of oil-based inks and water\u2014in which the paper substrate comes into direct contact not with the printing elements but with a rubber cylinder, which transfers the image from the printing elements of the inked plate. This process is used for the industrial reproduction of lithographs.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 255), BRUNNER (1975: 270), BLAS, CIRUELOS, BARRENA (1996: 129), DREYFUS, RICHAUDEAU (1990: 566), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2011: 59), NADEAU (1997: 348), RUBIO (1979: 290), SOUSA (2004: 693), VIVES (2015: 118, 311).<\/p>\n\n\n\n

ES: <\/strong>PAPEL, CA: PAPER \u2013 FR: PAPIER, EN: PAPER<\/p>\n\n\n\n

A characteristic printing support, generally made from plant fibres, mixed with water to form a pulp or slurry and subjected to different processes to form a flexible and resistant support.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 260), BLAS, CIRUELOS, BARRENA (1996: 131), CLARKE (2001: 179), DREYFUS, RICHAUDEAU (1990: 594), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2011: 101), SOUSA (2004: 714), TURNER (1991: 9).<\/p>\n\n\n\n

ES: PAPEL CUCH\u00c9, CA: PAPER CUIX\u00c9 \u2013 FR. PAPIER COUCH\u00c9, EN: COATED PAPER \/ ENAMEL PAPER \/  GLOSS PAPER<\/p>\n\n\n\n

Satin-finish paper, coated on one or both sides with a special paste to improve surface smoothness. It is mainly used for glossy magazines, and for engravings and photographs.<\/p>\n\n\n\n

Ref.: FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2002: 664), VIVES (2015: 303), SOUSA (2004: 719).<\/p>\n\n\n\n

ES: <\/strong>PAPEL JAPON\u00c9S \/ PAPEL JAP\u00d3N, CA: PAPER JAP\u00d3 \u2013 FR: PAPIER JAPON, EN: JAPAN PAPER \/ JAPANESE PAPER<\/p>\n\n\n\n

Traditionally high-quality paper from Japan, generally made from a pulp of the inner bark of the ganpi shrub or the mulberry tree. The pulp is combined with a small amount of rice flour, a binder used exclusively by Japanese papermakers, which increases the paper\u2019s viscosity and restricts the potential bleed-through of ink.<\/p>\n\n\n\n

Ref.: BLAS, CIRUELOS, BARRENA (1996: 135), SOUSA (2004: 720), TURNER (1991: 36), VIVES (2000: 191), VIVES (2015: 164, 312).<\/p>\n\n\n\n

ES: <\/strong>PAPEL VITELA \/ PAPEL AVITELADO, CA: PAPER VITEL\u00b7LA \u2013 FR: PAPIER V\u00c9LIN, EN: WOVE PAPER<\/p>\n\n\n\n

High-quality paper with an appearance similar to that of calfskin (in Latin, vitella<\/em>).<\/p>\n\n\n\n

Ref.: BLAS, CIRUELOS, BARRENA (1996: 132), CLARKE (2001: 260), DREYFUS, RICHAUDEAU (1990: 683), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2011: 958), STRACHAN (1969: 348), TURNER (1991: 12), VIVES (2015: 163, 312).<\/p>\n\n\n\n

ES: <\/strong>PAPEL VERJURADO, CA: PAPER VERJURAT \u2013 FR: PAPIER VERG\u00c9, EN: LAID PAPER<\/p>\n\n\n\n

Paper made in a mesh wire mould that leaves its mark in the form of the vertical chain lines and horizontal laid lines on its surface.<\/p>\n\n\n\n

Ref.: BLAS, CIRUELOS, BARRENA (1996: 136), CLARKE (2001: 137), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2011: 967), STRACHAN (1969: 348), TURNER (1991: 12), VIVES (2015: 161, 312).<\/p>\n\n\n\n

ES: <\/strong>PLANOGRAF\u00cdA, CA: PLANOGRAFIA \u2013 FR: PLAN\u00c9IFORME \/ PLANOGRAPHIQUE, EN: PLANOGRAPHIC PRINTING<\/p>\n\n\n\n

General term used to refer to all flat-surface planographic printing processes that do not use a relief or intaglio printing plate. It includes lithography, offset printing, phototype, etc., although it is primarily applied to lithography.<\/p>\n\n\n\n

Ref.: CLARKE (2001: 188), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2011: 259, 261), NADEAU (1997: 388), SOUSA (2004: 740).<\/p>\n\n\n\n

ES: <\/strong>PAPIRO, CA: PAPIR \u2013 FR: PAPYRUS, EN: PAPYRUS<\/p>\n\n\n\n

A paper-like material produced in thin sheets from the pith of the papyrus plant, used as a writing surface in Antiquity and during the Middle Ages.<\/p>\n\n\n\n

Ref.: CLARKE (2001: 179), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2011: 116), SOUSA (2004: 722), TURNER (1991: 45).<\/p>\n\n\n\n

ES: <\/strong>PERGAMINO, CA: PERGAM\u00cd\u2013 FR: PARCHEMIN, EN: PARCHMENT<\/p>\n\n\n\n

Animal hide\u2014traditionally sheep, goat, or calf\u2014treated through cleaning, scraping, and drying processes for use as a surface for drawing and writing.<\/p>\n\n\n\n

Ref.: BLAS, CIRUELOS, BARRENA (1996: 39), CLARKE (2001: 179), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2011: 126), SOUSA (2004: 731), TURNER (1991: 46), VIVES (2015: 313).<\/p>\n\n\n\n

ES: <\/strong>PLANCHA, CA: PLANXA \u2013 FR: PLANCHE, EN: PLATE<\/p>\n\n\n\n

A sheet of a sufficiently hard material such as metal, wood, celluloid, etc., for use as a printing surface.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 278), CLARKE (2001: 189), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2011: 259), NADEAU (1997: 388), SOUSA (2004: 739), VIVES (2015: 313).<\/p>\n\n\n\n

ES: <\/strong>POUP\u00c9E, \u00c0 LA, CA: POUP\u00c9E, \u00c0 LA \u2013 FR: POUP\u00c9E, \u00c0 LA, EN: POUP\u00c9E, \u00c0 LA<\/em><\/p>\n\n\n\n

\u00c0 la poup\u00e9e<\/em> refers to the application of inks of different colours on the same plate to enable a single printing of the plate Though difficult to execute, this process avoids the multiplication of plates.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 286), CLARKE (2001: 196), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2011: 336).<\/p>\n\n\n\n

ES: <\/strong>PORTADA, CA: PORTADA \u2013 FR: PAGE DE TITRE, EN: TITLE PAGE<\/p>\n\n\n\n

The odd-numbered page at the beginning of a book bearing the author\u2019s name, the title of the work, and the publisher.<\/p>\n\n\n\n

Ref.: FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2011: 850), SOUSA (2004: 747).<\/p>\n\n\n\n

ES: <\/strong>PORTADILLA, ANTEPORTADA, CA: PORTADELLA \u2013 FR: FAUX-TITRE, EN: HALF TITLE \/ FLY TITLE \/ BASTARD TITLE<\/p>\n\n\n\n

The first printed page of a book; it usually contains only the title of the work.<\/p>\n\n\n\n

Ref.: FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2005: 192), SOUSA (2004: 750).<\/p>\n\n\n\n

ES: <\/strong>PRUEBA, CA: PROVA \u2013 FR: \u00c9PREUVE, EN: PROOF<\/p>\n\n\n\n

Any copy obtained from a printing element during the production process, before the plate is \u200b\u200bfinished and before the final print run:<\/p>\n\n\n\n

ES: PRUEBA AL GRAFITO, CA: PROVA AL GRAFIT \u2013 FR: EPREUVE DE GRAPHITE, EN: GRAPHITE PROOF<\/p>\n\n\n\n

Also called a \u2018carbon black\u2019 or \u2018wax\u2019 proof. A proof from an incised plate printed with graphite powder or carbon black pigment with a binder. Graphite powder or pigment is applied to the grooves, and the image is then transferred to paper or another support using a press, or by a process that involves rubbing the reverse side of the paper with a burnisher.<\/p>\n\n\n\n

This process has frequently been used particularly with transparent plates or sheets of celluloid. See DRYPOINT ENGRAVING ON CELLULOID<\/em>.<\/p>\n\n\n\n

Ref.: RMM (1992: 34-35).<\/p>\n\n\n\n

ES: PRUEBA DE ARTISTA (E.A. \/ P.A.), CAT: PROVA D\u2019ARTISTA (P.A.) \u2013 FR: \u00c9PREUVE D\u2019ARTISTE (E.A.), EN: ARTIST\u2019S PROOF (A.P.)<\/p>\n\n\n\n

A copy of an original edition traditionally reserved for the artist. Such copies are identified by the initials A.P. or E.A.<\/p>\n\n\n\n

Ref.: FGSD: Thesaurus | Fundaci\u00f3 Gala-Salvador Dal\u00ed (salvador-dali.org), VIVES (2015: 176, 322).<\/p>\n\n\n\n

ES: <\/strong>PRUEBA DE ESTADO, CA: PROVA D\u2019ESTAT \u2013 FR: \u00c9PREUVE D\u2019\u00c9TAT, EN: PROOF<\/p>\n\n\n\n

A proof made by the artist in the process of creating their work before the final edition, generally indicating the specific condition of the catalogued copy in relation to the final print.<\/p>\n\n\n\n

Ref.: VIVES (2015: 173-176, 220, 322).<\/p>\n\n\n\n

ES: <\/strong>PRUEBA DE ENSAYO, CA: PROVA D\u2019ASSAIG \u2013 FR: \u00c9PREUVE D\u2019ESSAI, EN: TRIAL PROOF<\/p>\n\n\n\n

A proof made after the work is completed, to adjust the pressure, paper, or ink for the final edition.<\/p>\n\n\n\n

Ref.: VIVES (2015: 176, 322).<\/p>\n\n\n\n

ES: <\/strong>PRUEBA CON REMARQUES<\/em>, CA: PROVA AMB REMARQUES<\/em> \u2013 FR: \u00c9PREUVE AVEC REMARQUES, EN: PROOF WITH REMARQUES<\/em><\/p>\n\n\n\n

A working proof that includes sketches or trials drawn in the margin of the work, which are usually removed before the final print run.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 133).<\/p>\n\n\n\n

ES: <\/strong>PRUEBA DEFINITIVA \/ BON A TIRER<\/em> (B.A.T), CA: PROVA DEFINITIVA \/ BON A TIRER<\/em> (B.A.T)\u2013 FR: \u00c9TAT DEFINITIF \/ BON A TIRER, EN: FINAL PROOF \/ BON A TIRER<\/em><\/p>\n\n\n\n

The final, artist-approved proof an to be reproduced by the printer in the edition. Generally indicated with the initials of the French term, B.A.T.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 136) VIVES (2015: 176).<\/p>\n\n\n\n

ES: PRUEBA FUERA DE COMERCIO \/ HORS COMMERCE<\/em> (H.C.), CA: PROVA FORA DE COMER\u00c7 \/ HORS<\/em> COMMERCE<\/em> (H.C.) \u2013 FR: HORS COMMERCE (H.C.), EN: HORS COMMERCE<\/em> (H.C.)<\/p>\n\n\n\n

Proofs that are not for sale, reserved for the artist or the printer. Generally indicated with the initials of the French term, H.C.<\/p>\n\n\n\n

Ref.: VIVES (2015: 176, 322). Ref.: BEGUIN (1998: 27, 82, 133), BLAS, CIRUELOS, BARRENA (1996: 89), CLARKE (2001: 200), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2005: 94), GOLDMAN (1985: 11), MASON (1992: 34-35), SOUSA (2004: 763), VIVES (2015: 313), FGSD: Thesaurus | Fundaci\u00f3 Gala-Salvador Dal\u00ed (salvador-dali.org).<\/p>\n\n\n\n

ES: <\/strong>PUNTA (DE GRABADO), CA: PUNTA \u2013 FR: POINTE DE GRAVURE, EN: ETCHING NEEDLE<\/p>\n\n\n\n

Engraving tool. A steel rod with a sharp point, used in particular for drypoint and etching.<\/p>\n\n\n\n

Ref.: VIVES (2015: 314).<\/p>\n\n\n\n

ES: <\/strong>PUNTA SECA, CA: PUNTA SECA \u2013 FR: POINTE S\u00c8CHE, EN: DRYPOINT<\/p>\n\n\n\n

A direct intaglio printing technique that begins with a drawing on a plate\u2014usually metal\u2014made by incising it with a steel point. Ink is then applied to the plate, which is then wiped with tarlatan cloth or tissue paper, so that the ink remains only in the grooves. A sheet of paper is then placed on top and passed through a high-pressure press so that the paper takes up the ink from the plate. A distinctive feature of this technique is the burr\u2014the small, raised areas that form on either side of the incision. In the printing process, these burrs collect ink, giving the final print a glazed effect.<\/p>\n\n\n\n

The term \u2018drypoint\u2019 applies to any point used to draw directly on the plate, hence the name of the process.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 282), BLAS, CIRUELOS, BARRENA (1996: 141), BRUNNER (1975: 101), CLARKE (2001: 79), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2011: 294), GOLDMAN (1981: 2), HIND (1952: 31),<\/p>\n\n\n\n

RUBIO (1979: 290), SOUSA (2004: 469, 767), VIVES (2000: 196), VIVES (2015: 314).<\/p>\n\n\n\n

ES: <\/strong>REMARQUE, CA: REMARQUE \u2013 FR: REMARQUE, EN: REMARQUE<\/p>\n\n\n\n

A small marginal sketch or drawing on the margin of a print.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 298), BLAS, CIRUELOS, BARRENA (1996: 145), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2011: 530), GOLDMAN (1981: 11), STRACHAN (1969: 348), VIVES (2015: 130, 314).<\/p>\n\n\n\n

ES: <\/strong>REPRODUCCI\u00d3N, CA: REPRODUCCI\u00d3 \u2013 FR: REPRODUCTION, EN: REPRODUCTION<\/p>\n\n\n\n

1. A copy or imitation of a work, particularly literary or artistic, to enable this to be communicated without the intervention of the artist.<\/p>\n\n\n\n

2. An exact copy of a document in its content and form, but not necessarily in its dimensions.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 300), SOUSA (2004: 787), MALENFANT, STE-MARIE (2000: 34).<\/p>\n\n\n\n

ES: <\/strong>REPRODUCCI\u00d3N FOTOMEC\u00c1NICA, CA: REPRODUCCI\u00d3 FOTOMEC\u00c0NICA \u2013 FR: REPRODUCTION PHOTOM\u00c9CANIQUE, EN: PHOTOMECHANICAL PRINT (PROCESS PRINT)<\/p>\n\n\n\n

Any process by which an image is photographically transferred to a printing surface. This includes photogravure, phototypography, photolithography, and phototype, among others.<\/p>\n\n\n\n

Ref.: BLAS, CIRUELOS, BARRENA (1996: 145), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2011: 259, 222),<\/p>\n\n\n\n

GOLDMAN (1981: 10), NADEAU (1997: 377, 378), SOUSA (2004: 443).<\/p>\n\n\n\n

ES: <\/strong>ROTOGRABADO (HUECOGRABADO), CA: ROTOGRAVAT \u2013 FR: ROTOGRAVURE, EN: ROTOGRAVURE<\/p>\n\n\n\n

A rotary intaglio printing process using halftone screens, engraved on cylinders, enabling illustrations and text to be printed in a single process.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 162, 305), NADEAU (1997: 418), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2011: 600), SOUSA (2004: 485).<\/p>\n\n\n\n

ES: <\/strong>RULETA, CA: RULETA \u2013 FR: ROULETTE, EN: ROULETTE<\/p>\n\n\n\n

A tool consisting of a small, rotating toothed wheel with a handle for creating dotted effects on the copper plate.<\/p>\n\n\n\n

Ref.: BRUNNER (1975: 339), CLARKE (2001: 212), SOUSA (2004: 794), VIVES (2015: 315).<\/p>\n\n\n\n

ES: <\/strong>SERIGRAF\u00cdA, CA: SERIGRAFIA \u2013 FR: SERIGRAPHIE, EN: SCREENPRINTING, SILKSCREEN, SERIGRAPHY<\/p>\n\n\n\n

A planographic printing technique derived from stencilling, using a template (which may be positive or negative) through which the ink is applied.<\/p>\n\n\n\n

The process involves blocking the areas that will not be printed and applying the ink uniformly to the open areas using a rubber squeegee, which forces the ink through the mesh and onto the corresponding substrate. Nowadays, a frame with a vacuum table is generally used, and there are various types of stencils. One of the characteristics of screen printing is that it leaves no plate mark on the paper.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 311), BLAS, CIRUELOS, BARRENA (1996: 147), BRUNNER (1975: 173, 339)<\/p>\n\n\n\n

CLARKE (2001: 219), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2011: 711), SOUSA (2004: 804), VIVES (2015: 123, 315).<\/p>\n\n\n\n

ES: <\/strong>SERIE, CA: S\u00c8RIE\u2013 FR: S\u00c9RIE, EN: SERIES<\/p>\n\n\n\n

A series of conceptually and thematically related works created by the artist, and published together.<\/p>\n\n\n\n

Ref.: BLAS, CIRUELOS, BARRENA (1996: 147), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2011: 711).<\/p>\n\n\n\n

ES: <\/strong>SUITE<\/em>, CA: SUITE<\/em> \u2013 FR: SUITE, EN: SUITE<\/p>\n\n\n\n

A set of prints that are related to each other, and also a group of prints presented together at the end of a book.<\/p>\n\n\n\n

Ref.: STRACHAN (1969: 348), VIVES (2015: 315).<\/p>\n\n\n\n

ES: <\/strong>TALLA DULCE, CA: TALLA DOL\u00c7A \u2212 FR: TAILLE-DOUCE, EN: INTAGLIO<\/p>\n\n\n\n

A generic term for the various manual intaglio engraving techniques: burin, etching, drypoint, aquatint, mezzotint.<\/p>\n\n\n\n

In a more restricted sense, it refers only to engraving with a burin.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 326), BLAS, CIRUELOS, BARRENA (1996:148), CLARKE (2001: 126), DREYFUS, RICHAUDEAU (1990: 651), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2011:808), NADEAU (1997:133),<\/p>\n\n\n\n

VIVES (2000: 199), VIVES (2015: 315).<\/p>\n\n\n\n

ES: <\/strong>TARLATANA \/ TARLAT\u00c1N, CA: TARLATANA \u2013 FR: TARLATANE, EN: TARLATAN<\/p>\n\n\n\n

A loose cotton fabric traditionally used to wipe away surplus ink in intaglio printing.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 134, 327), BLAS, CIRUELOS, BARRENA (1996: 149), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2011: 813), VIVES (2015: 316).<\/p>\n\n\n\n

ES: <\/strong>T\u00c9CNICA MIXTA, CA: T\u00c8CNICA MIXTA \u2013 FR: TECHNIQUE MIXTE, EN: MIXED MEDIA (TECHNIQUE)<\/p>\n\n\n\n

A print that combines two or more printmaking techniques.<\/p>\n\n\n\n

Ref.: BLAS, CIRUELOS, BARRENA (1996: 149).<\/p>\n\n\n\n

ES: <\/strong>TIPOGRAF\u00cdA, CA: TIPOGRAFIA \u2013 FR: TYPOGRAPHIE, EN: LETTERPRESS, RELIEF PRINTING<\/p>\n\n\n\n

A printing process in which the printing elements are raised in relief.<\/p>\n\n\n\n

Ref.: CLARKE (2001: 139), SOUSA (2004: 839), DREYFUS, RICHAUDEAU (1990: 662).<\/p>\n\n\n\n

ES: <\/strong>TIRADA, CA: TIRATGE \u2013 FR: TIRAGE, EN: PRINT RUN<\/p>\n\n\n\n

The total number of prints in a limited edition, duly numbered and authenticated by the artist and the publisher. The print run of the limited edition includes the not-for-sale hors<\/em> commerce<\/em> (H.C.) copies, the artist\u2019s proofs (A.P.), and the commercial edition, numbered with Arabic or Roman numerals. These prints share identical characteristics: format, paper type, ink colour, and printing method. See JUSTIFICACI\u00d3N DE LA TIRADA \/ COLOPHON<\/em>.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 328), BLAS, CIRUELOS, BARRENA (1996: 150), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2011: 844), MALENFANT, STE-MARIE (2000: 42), SOUSA (2004: 846), VIVES (2015: 316).<\/p>\n\n\n\n

ES: <\/strong>VI\u00d1ETA, CA: VINYETA \u2013 FR: VIGNETTE, EN: VIGNETTE<\/p>\n\n\n\n

General term for the ornamental motifs that decorate a book. A decorative drawing or print, usually inserted at the beginning or end of a book or a chapter.<\/p>\n\n\n\n

 –             ES: <\/strong>VI\u00d1ETA CABECERA, CA: VINYETA DE CAP\u00c7ALERA \u2013 FR: VIGNETTE EN T\u00caTE, EN: HEADPIECE<\/p>\n\n\n\n

Panel at the beginning of a chapter.<\/p>\n\n\n\n

–              ES: <\/strong>VI\u00d1ETA FINAL, CA: VINYETA FINAL \u2013 FR: VIGNETTE FINAL, EN: TAILPIECE VIGNETTE<\/p>\n\n\n\n

Panel at the end of the chapter. Also called a cul-de-lampe<\/em>.<\/p>\n\n\n\n

Ref.: B\u00c9GUIN (1998: 333), BLAS, CIRUELOS, BARRENA (1996: 151), CLARKE (2001: 252), DREYFUS, RICHAUDEAU (1990: 682), FOUCH\u00c9, P\u00c9CHOIN, SCHUWER (2011: 980), SOUSA (2004: 871), STRACHAN (1969 :345, 349).<\/p>\n\n\n\n

MAIN BIBLIOGRAPHY<\/strong><\/p>\n\n\n\n

B\u00c9GUIN, Andr\u00e9, Dictionnaire Technique de L\u2019Estampe<\/em>,Andr\u00e9 Beguin, Paris, 1998.<\/p>\n\n\n\n

BLAS BENITO, J., CIRUELOS, Gonzalo. A., BARRENA FERN\u00c1NDEZ, C., Diccionario del Dibujo y la Estampa<\/em>,Real Academia de Bellas Artes de San Fernando, Calcograf\u00eda Nacional de Espa\u00f1a, Madrid, 1996.<\/p>\n\n\n\n

BRUNNER, F., A Handbook of Graphic Reproduction Processes<\/em>, Handbuch der Druckgraphik, Manel de la Gravure<\/em>, Visual Communication Books, New York, 1968, 5th ed. 1975.<\/p>\n\n\n\n

CLARKE, Michael, The Concise Dictionary of Art Terms<\/em>, Oxford University Press, 2001.<\/p>\n\n\n\n

DREYFUS, J., RICHAUDEAU, F., Diccionario de la edici\u00f3n y de las artes gr\u00e1ficas,<\/em> Biblioteca del Libro, Fundaci\u00f3n German S\u00e1nchez Ruip\u00e9rez, 1990.<\/p>\n\n\n\n

FOUCH\u00c9, P., P\u00c9CHOIN, D., SCHUWER, P., Dictionnaire Encyclop\u00e9dique du Livre<\/em>, Electre – \u00c9ditions du Cercle de la Librairie, Paris 2002, 2005, 2011.<\/p>\n\n\n\n

GOLDMAN, P., Looking at Prints. A Guide to Technical terms, <\/em>The British Museum Publications, London, 1985.<\/p>\n\n\n\n

HIND, Arthur M., British Museum Processes and Schools of Engraving, A Guide,<\/em> British Museum, London, 1952.<\/p>\n\n\n\n

MALENFANT, N., STE-MARIE, R., Code d\u2019\u00e9thique de l\u2019\u00e9tampe originale<\/em>, Conseil qu\u00e9b\u00e9cois de l\u2019estampe, Conseil des arts et des lettres du Qu\u00e9bec, Montreal, 2000.<\/p>\n\n\n\n

MASON. R.M., Dal\u00ed verdadero\/Grabado falso, la obra impresa 1930-1934, <\/em>IVAM Centre Julio Gonz\u00e1lez, Valencia, 1992.<\/p>\n\n\n\n

NADEAU. L., Encyclopedia of Printing, Photographic and Photomechanical Processes, <\/em>Atelier Luis Nadeau, New Brunswick, 1997.<\/p>\n\n\n\n

PETRINA. J., Art Work, How Produced, How Reproduced<\/em>, [1934] Isaac Pitman & Sons Ltd, London, date unknown.<\/p>\n\n\n\n

RIAT, M., T\u00e8cniques Gr\u00e0fiques, <\/em>Editorial Aubert, Olot, 1983.<\/p>\n\n\n\n

RUBIO MART\u00cdNEZ, M., Ayer y hoy del grabado y sistemas de estampaci\u00f3n, <\/em>Ediciones Tarraco, Tarragona, 1979.<\/p>\n\n\n\n

STRACHAN, W.J., The Artist and The Book in France<\/em>, The 20th Century Livre d\u2019artiste, <\/em>Peter Owen, London, 1969.<\/p>\n\n\n\n

MART\u00cdNEZ DE SOUSA, Jos\u00e9, Diccionario de bibliolog\u00eda y ciencias afines<\/em>, Ediciones Trea, 2004.<\/p>\n\n\n\n

TURNER, Silvie, Which Paper?<\/em>, Estamp 204, London, 1991.<\/p>\n\n\n\n

VIVES PIQUE, R., Del cobre al papel la imagen multiplicada<\/em>, Icaria editorial, Barcelona, 2000.<\/p>\n\n\n\n

VIVES PIQUE, R., Gu\u00eda para la identificaci\u00f3n de grabados<\/em>, Arco\/Libros-La Muralla, Madrid, 2015.<\/p>\n\n\n\n

WELSH REID., S., MAZUR, M., et al., The Painterly Print<\/em>, The Metropolitan Museum of Modern Art, Rizzoli, New York, 1980.<\/p>\n\n\n\n

Online references<\/strong><\/p>\n\n\n\n

BLAS, CIRUELOS, BARRENA: https:\/\/realacademiabellasartessanfernando.com\/assets\/docs\/arte_grafico\/diccionario.pdf<\/a> <\/p>\n\n\n\n

FGSD: Tesaurus | Fundaci\u00f3 Gala – Salvador Dal\u00ed (salvador-dali.org)<\/a><\/p>\n\n\n\n

GEAA: Art & Architecture Thesaurus in (Getty Research Institute)<\/a><\/p>\n\n\n\n

INSTITUT D\u2019ESTUDIS CATALANS : Institut d\u2019Estudis Catalans – Diec2<\/a><\/p>\n\n\n\n

MOMA: MoMA | Glossary of Art Terms<\/a> https:\/\/www.moma.org\/learn\/moma_learning\/glossary\/ – c<\/a>(Ref. for chine coll\u00e9)<\/p>\n\n\n\n

OPTIMOT CONSULTES LING\u00dc\u00cdSTIQUES: Optimot, consultes ling\u00fc\u00edstiques – Llengua catalana<\/a><\/p>\n\n\n\n

RAE: Diccionario de la lengua espa\u00f1ola | RAE – ASALE<\/a>  <\/p>\n\n\n\n

TERMCAT CENTRE DE TERMINOLOGIA: TERMCAT | Centre de Terminologia<\/a><\/p>\n\n\n\n

TESAURO DE T\u00c9CNICAS ONLINE: Tesauros – Diccionarios del patrimonio cultural de Espa\u00f1a – Acceso a los tesauros (mecd.es)<\/a><\/p>\n\n\n\n

UNIVERSIDAD COMPLUTENSE MADRID: https:\/\/www.ucm.es\/gabinetestampa\/<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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