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394:, usually copper, plate is roughened evenly, manually with a rocker, or mechanically. If the plate were printed at this point it would show as solid black. The image is then created by selectively burnishing areas of the surface of the metal plate with metal tools; the smoothed parts will print lighter than those areas not smoothed by the burnishing tool. Areas smoothed completely flat will not hold ink at all; such areas will print "white," that is, the colour of the paper without ink. This is called working from "dark to light", or the "subtractive" method. It was first used by
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today is to use a steel rocker approximately five inches wide, which has between 45 and 120 teeth per inch on the face of a blade in the shape of a shallow arc, with a wooden handle projecting upwards in a T-shape. Rocked steadily from side to side at the correct angle, the rocker will proceed forward creating burrs in the surface of the
77:. Mezzotint achieves tonality by roughening a metal plate with thousands of little dots made by a metal tool with small teeth, called a "rocker". In printing, the tiny pits in the plate retain the ink when the face of the plate is wiped clean. This technique can achieve a high level of quality and richness in the print, and produce a
495:...the uncertainty as to the number of impressions this kind of engraving will afford—some plates failing after fifty or even a less number are printed; from two to three hundred are the most that can be taken off, and then it is often necessary to refresh the ground and restore the lights during the progress of the printing."
437:(1667-1741) used the dark to light method and invented the three and four-colour mezzotint printing technique by using a separate metal plate for each colour. Le Blon's colour printing method applied the RYB colour model approach whereby red, yellow and blue were used to create a larger range of colour shades. In
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were made using the light to dark method. The metal plate was tooled to create indentations and parts of the image that were to stay light in tone were kept smooth. This method was referred to as the 'Additive method'; that is, adding areas of indentations to the plate for the areas of the print that
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Plates can be mechanically roughened; one way is to rub fine metal filings over the surface with a piece of glass; the finer the filings, the smaller the grain of the surface. Special roughening tools called 'rockers' have been in use since at least the eighteenth century. The method commonly in use
243:
In the first half of the 19th century the "mixed" technique was popular in
England, with other intaglio techniques, often used to start a plate off, combined with mezzotint. Mezzotint was also often used for landscapes, being especially suited to rather gloomy British skies and twilights, that were
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two basic styles of collection: some concentrated on making a complete collection of material within a certain scope, while others aimed at perfect condition and quality (which declines in mezzotints after a relatively small number of impressions are taken from a plate), and in collecting the many "
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were routinely, and profitably, reproduced in mezzotint throughout this period, and other mezzotinters reproduced older portraits of historical figures, or if necessary, made them up. The favourite period to collect was roughly from 1750 to 1820, the great period of the
British portrait. There were
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Because the pits in the plate are not deep, only a small number of top-quality impressions (copies) can be printed before the quality of the tone starts to degrade as the pressure of the press begins to smooth them out. Perhaps only one or two hundred really good impressions can be taken, although
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were to appear darker in tone. This technique meant that it was possible to create the image directly by only roughening a blank plate selectively, where the darker parts of the image are to be. By varying the degree of smoothing, mid-tones between black and white can be created, hence the name
441:, his book of 1725, Le Blon refers to red, yellow and blue as "primitive" colours and that red and yellow make orange; red and blue, make purple/violet; and blue and yellow make green (Le Blon, 1725, p. 6). A similar process was used in France later in the century by Le Blon's pupil
461:; the whole surface is inked, the ink is then wiped off the surface to leave ink only in the pits of the still rough areas below the original surface of the plate. The plate is put through a high-pressure printing press next to a sheet of paper, and the process repeated.
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proper, as well as giving a rich range of tones. Mezzotints could be produced very quickly to respond to or depict events or people in the news, and larger sizes of print were relatively easy to produce. This was crucial for what was known at the time as the
520:. The plate is then moved – either rotated by a set number of degrees or through 90 degrees according to preference – and then rocked in another pass. This is repeated until the plate is roughened evenly and will print a completely solid tone of black.
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says of an example he illustrates with before and after details "the dark tones have been clumsily renewed with the roulette; the result is brutal in close-up but will seem adequate when the whole print is viewed at a normal distance".
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Mezzotint is known for the luxurious quality of its tones: first, because an evenly, finely roughened surface holds a lot of ink, allowing deep solid colours to be printed; secondly because the process of smoothing the plate with
426:, a mezzotint that was large enough and with sufficiently bold tonal contrasts to hold its own framed and hung on the wall of a room. Since mezzotints were far cheaper than paintings, this was a great attraction.
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Standard sizes used in
England were known as "“royal,” 24 x 19 in., “large,” 18 x 24 in., “posture,” 14 x 10 in., and “small,” 6 x 4 in", and ready-made frames and albums could be bought to fit these.
1846:
Mezzotint / Art of
Darkness, An exhibition of classical and contemporary mezzotints curated by Carol Wax and Earl Retif at the New Orleans Museum of Art. Illustrated with 58 artist biographies
194:, who is said to have lived in his house for a period; he created about 500 mezzotints, some 300 copies of portrait paintings. In the next century over 400 mezzotints after portraits by Sir
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to reproduce portraits and other paintings, rather than for original compositions. From the mid-18th century it was somewhat in competition with the other main tonal technique of the day,
131:, burnisher and scraper allows fine gradations in tone to be developed. The scraper is a triangular ended tool, and the burnisher has a smooth round end – not unlike many spoon handles.
1475:
Mortimer, Cromwell (1731). "An
Account of Mr. J. C. Le Blon's Principles of Printing, in Imitation of Painting, and of Weaving Tapestry, in the Same Manner as Brocades".
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Coloritto; or the
Harmony of Colouring in Painting: Reduced to Mechanical Practice under Easy Precepts, and Infallible Rules; Together with some Colour'd Figures
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526:
333:, Siegen's assistant or tutor. Young man reading, with statue of Cupid. Probably made using light to dark technique. 27.5 cm Ă— 21.3 cm (
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Barker, Elizabeth E. . “The
Printed Image in the West: Mezzotint”, 2003, Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art,
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During the 20th century the technique went into decline, in great part because it was so time consuming to rock the plates. Rare proponents include
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317:. The Wax book was responsible for a substantial upsurge in the number of artists creating mezzotints in the United States and worldwide.
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171:, regent for her son, and von Siegen's employer. This was made by working from light to dark. The rocker seems to have been invented by
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Gascoigne, section 16a; Griffiths (1996b), 83-84, for detailed contemporary instructions see the
National Portrait Gallery link below.
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and his sons; their work included anatomical illustrations for medical books. Other black and white prints were hand-coloured in
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saw the potential for using it to publicise his portraits, and encouraged a number of Dutch printmakers to come to
England.
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However, if performed by the printer or the artist's apprentice, refreshing the plate was often done to a lower standard.
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National
Portrait Gallery, London: The early history of mezzotint and the prints of Richard Tompson and Alexander Browne
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family. It was the first printing process that yielded half-tones without using line- or dot-based techniques like
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of 1929, also spreading to America. The main area of collecting was British portraits; hit oil paintings from the
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96:. The process was especially widely used in England from the eighteenth century, and in France was called
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309:. Wider interest in learning and using the technique revived after the publication in 1990 of the book
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How to Identify Prints: A Complete Guide to Manual and Mechanical Processes from Woodcut to Inkjet
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Two great advantages of the technique were that it was easier to learn and also much faster than
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119:(1857–1945) was an important pioneer of the mezzotint revival in the United Kingdom along with
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Landmarks in Print Collecting - Connoisseurs and Donors at the British Museum since 1753
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The mezzotint printmaking method was invented by the German soldier and amateur artist
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was one of a number of Amsterdam printmakers to use it, but in the 18th century only
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Muscles of the sole of the foot, Colour mezzotint by A.E. Gautier d'Agoty (son of
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1724:. Vol. 18 (11th ed.). Cambridge University Press. pp. 351–353.
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100:(“the English manner”). Until the 20th century it has mostly been used for
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which is large and bold enough to be framed and hung effectively in a room.
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plates were often "refreshed" by further rocker work. In 1832 a writer in
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Continental use of the technique was much less; in the late 17th century
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Since the mid-nineteenth century it has been relatively little used, as
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Printing the finished plate is the same for either method, and follows
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This includes a detailed description of mezzotint history and methods.
1035:(1667–1741, German, developed colour printing, using different plates)
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British mezzotint collecting was a great craze from about 1760 to the
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Prints and Printmaking: an Introduction to the History and Techniques
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This became the most common method. The whole surface (usually) of a
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152:, 1642, is the first known mezzotint, using the light to dark method.
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Mezzotint is often combined with other intaglio techniques, usually
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167:). His earliest mezzotint print dates to 1642 and is a portrait of
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1621:. Vol. 21. New York: Grove's Dictionaries. pp. 414–418.
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179:, who was the next to use the process, and took it to England.
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and other techniques produced comparable results more easily.
1053:(1716–1785, French, developed a four-colour mezzotint process)
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449:, which was especially useful after the plate became worn.
1477:
Philosophical Transactions of the Royal Society of London
1189:(1808–1897, English pioneer of the technique in America)
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294:) had schools, led by artists following London styles.
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Mayor, 512-513; Griffiths (1996b), 83-84; D'Oench, 7-8
1813:
Mezzotint and the Artist's Book: a forty year journey
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Mezzotint and the Artist's Book: a forty year journey
1676:, 1986 (2nd Edition, 2004), Thames & Hudson,
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1017:(1623–1677, the first professional mezzotinter)
1363:Griffiths (1996a), 134–137 and 141–142; Barker
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169:Countess Amalie Elisabeth of Hanau-MĂĽnzenberg
149:Countess Amalie Elisabeth of Hanau-MĂĽnzenberg
1153:(c. 1760–c. 1823, British, moved to Russia)
1029:(c. 1650–1727, Dutchman working in England)
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1405:Griffiths (1996b), 85; Mayor, 511; Barker
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1299:Portrait of Miss Voss as St Agnes 1690s
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25:. For the Compton Mackenzie novel, see
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1081:, who worked in mezzotint himself, too
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1781:The Mezzotint: History and Technique
604:Mezzotint engravers by date of birth
459:the normal way for an intaglio plate
311:The Mezzotint: History and Technique
216:William Eaton, 2nd Baron Cheylesmore
175:, a famous cavalry commander in the
1774:
19:For the M R James short story, see
13:
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1753:, 2nd edn., British Museum Press,
1451:Le Blon, Jakob Christophe (1725).
1195:(1822–1895, Scottish, moved to US)
244:popular subjects in the Victorian
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1345:Mayor, 511; Griffiths (1996b), 85
1708:Robinson, Gerald Philip (1911).
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532:A mezzotint of mezzotint tools.
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1843:with Rita Vandevorst, at Vimeo
1736:, 1996, British Museum Press,
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1381:Griffiths (1996b), 87; Barker
1077:(1736–1784), youngest son of
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443:Jacques-Fabien Gautier-Dagoty
198:are known, by various hands.
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1650:Copper into Gold: Prints by
1395:(The Red Hen Press), pp. 1-4
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1784:. New York: H. N. Abrams.
1010:Prince Rupert of the Rhine
396:Prince Rupert of the Rhine
173:Prince Rupert of the Rhine
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18:
1615:. In Turner, Jane (ed.).
1611:Alexander, David (1996).
1583:"Holly Downing Biography"
1201:(1840–1906), engraver of
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1203:James McNeill Whistler's
812:Photostat and rectigraph
365:The first mezzotints by
123:(1864–1933) in Denmark.
1811:Jones, Shirley (2019).
1721:Encyclopædia Britannica
1275:Holly Downing (b. 1948)
1248:Mario Avati (1921–2009)
1033:Jacob Christoph Le Blon
611:Part of a series on the
435:Jacob Christoph Le Blon
411:Jacob Christoph Le Blon
1834:with Guy Langevin, at
1587:www.annexgalleries.com
1554:Gascoigne, ills. 60-62
1489:10.1098/rstl.1731.0019
1391:Shirley Jones (2019).
1336:Mayor, 511-513; Barker
662:Intaglio (printmaking)
538:A Dark Side of the Sun
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478:after the painting by
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405:4-colour mezzotint of
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63:monochrome printmaking
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1657:Yale University Press
1618:The Dictionary of Art
1372:Griffiths (1996b), 87
1327:Griffiths (1996b), 87
1193:Alexander Hay Ritchie
1157:Charles Howard Hodges
1087:(1737–1797, Scottish)
1079:Johann Elias Ridinger
1075:Johann Jacob Ridinger
782:Hot metal typesetting
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382:" or "half-painted".
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280:Johann Elias Ridinger
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16:Printmaking technique
1870:Printing terminology
1763:83 US edition online
1646:D'Oench, Ellen Gates
1545:Quoted by D'Oench, 8
1071:(1730?–1785?, Irish)
802:Daisy wheel printing
386:Dark to light method
321:Light to dark method
190:worked closely with
73:, cross-hatching or
1880:Artistic techniques
1815:(The Red Hen Press)
1221:(1861–1933, Danish)
1065:(1729?–1765, Irish)
842:Dot matrix printing
617:History of printing
552:Two sizes of rocker
476:Henry Hoppner Meyer
470:Emma, Lady Hamilton
329:Early mezzotint by
220:John Chaloner Smith
102:reproductive prints
1652:John Raphael Smith
1441:Barker; Mayor, 513
1318:Mayor, 511; Barker
1121:John Raphael Smith
1015:Wallerant Vaillant
927:Solid ink printing
642:Woodblock printing
511:Detailed technique
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331:Wallerant Vaillant
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98:la manière anglais
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1875:Visual arts media
1747:Griffiths, Antony
1730:Griffiths, Antony
1711:"Mezzotint"
1691:Prints and People
1670:Gascoigne, Bamber
1207:Whistler's Mother
1115:William Dickinson
1105:(about 1740–1811)
1027:Jan van der Vaart
1023:(c. 1652–c. 1742)
1004:Ludwig von Siegen
1000:
999:
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832:Spirit duplicator
742:Chromolithography
482:, "posture" size.
367:Ludwig von Siegen
292:Ignaz Unterberger
276:Johann Jacob Haid
268:Abraham Bloteling
218:and the Irishman
177:English Civil War
158:Ludwig von Siegen
144:Ludwig von Siegen
94:stipple engraving
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1631:– via the
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1057:Richard Houston
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246:Etching Revival
196:Joshua Reynolds
188:Godfrey Kneller
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117:Sir Frank Short
79:furniture print
65:process of the
52:Godfrey Kneller
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1047:(c. 1684–1732)
1042:
1039:Bernhard Vogel
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299:Yozo Hamaguchi
260:Terra Contigua
258:, 'Eternity',
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534:Shirley Jones
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307:Shirley Jones
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256:Shirley Jones
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236:Putney Bridge
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29:
24:
23:
22:The Mezzotint
1812:
1804:Google Books
1802:– via
1780:
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1673:
1649:
1616:
1592:27 September
1590:. Retrieved
1586:
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1550:
1541:
1532:
1523:
1514:
1505:
1480:
1476:
1470:
1458:. Retrieved
1453:
1446:
1437:
1432:D'Oench, 7-9
1428:
1419:
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1314:
1305:
1294:
1231:M. C. Escher
1219:Peter Ilsted
1205:
1187:John Sartain
1151:James Walker
1085:David Martin
1059:(1721?–1775)
1045:George White
752:Rotary press
701:
652:Movable type
597:Peter Ilsted
592:
537:
514:
506:
498:
494:
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389:
371:
364:
310:
296:
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259:
242:
233:
212:proof states
200:
181:
155:
147:
125:
121:Peter Ilsted
110:
97:
92:, including
83:
78:
58:
57:
43:
39:
27:
21:
1860:Printmaking
1613:"Mezzotint"
1518:D'Oench, 76
1254:(1929-2000)
1245:(1909–2000)
1239:(1905-1985)
1233:(1898–1972)
1227:(1877–1942)
1215:(1857–1945)
1183:(1800–1838)
1177:(1789–1854)
1175:John Martin
1171:(1774–1857)
1165:(1764–1834)
1163:William Say
1147:(1757–1782)
1141:(1755–1825)
1135:(1755–1799)
1123:(1751–1812)
1117:(1746–1823)
1111:(1743–1822)
1099:(1739–1813)
1041:(1683–1737)
947:3D printing
920: 1972
732:Lithography
695: 1515
680: 1440
474:, print by
447:watercolour
372:mezzo-tinto
230:Frank Short
203:Great Crash
165: 1680
113:lithography
40:Saint Agnes
1854:Categories
1791:0810936038
1776:Wax, Carol
1759:071412608X
1742:0714126098
1703:0691003262
1682:050023454X
1605:References
1270:Toru Iwaya
1225:T.F. Simon
1139:John Young
1127:John Jones
1103:John Dixon
1021:John Smith
1006:– inventor
852:Xerography
792:Mimeograph
762:Hectograph
634:Techniques
593:Sunshine V
313:by artist
234:Ebb Tide,
192:John Smith
184:Peter Lely
48:John Smith
1841:Mezzotint
1832:Mezzotint
1800:556199574
1749:(1996b),
1497:186212141
1281:(b. 1953)
1279:Carol Wax
1272:(b. 1936)
1260:(b. 1931)
1237:Lynd Ward
702:Mezzotint
472:as Nature
439:Coloritto
419:engraving
380:half-tone
374:which is
361: in)
315:Carol Wax
284:Nuremberg
90:engraving
59:Mezzotint
44:mezzotint
28:Mezzotint
1865:Printing
1778:(1990).
1655:, 1999,
1266:(b.1934)
722:Aquatint
453:Printing
407:Louis XV
272:Augsburg
106:aquatint
71:hatching
67:intaglio
1836:YouTube
1718:(ed.).
687:Etching
580:), 1773
491:noted:
376:Italian
356:⁄
342:⁄
135:History
86:etching
75:stipple
30:(novel)
1798:
1788:
1757:
1740:
1701:
1680:
1663:
1641:online
1625:
1563:Barker
1509:Barker
1495:
1460:4 July
1414:Barker
540:(1986)
518:copper
430:Colour
413:, 1739
288:Vienna
262:(2009)
239:, 1885
160:(1609–
50:after
1714:. In
1493:S2CID
1286:Notes
392:metal
378:for "
129:burin
61:is a
1796:OCLC
1786:ISBN
1755:ISBN
1738:ISBN
1699:ISBN
1678:ISBN
1661:ISBN
1623:ISBN
1594:2023
1462:2020
961:1991
951:1986
941:1981
931:1972
906:1969
896:1957
886:1950
876:1949
866:1940
856:1938
846:1925
836:1923
826:1911
816:1907
806:1889
796:1885
786:1884
776:1875
766:1860
756:1843
746:1837
736:1796
726:1772
716:1690
706:1642
666:1430
656:1040
305:and
286:and
278:and
182:Sir
88:and
1485:doi
646:200
409:by
282:),
248:.
108:.
46:by
1856::
1794:.
1761:,
1697:,
1689:,
1672:.
1659:,
1648:,
1585:.
1491:.
1481:37
1479:.
917:c.
692:c.
677:c.
595:,
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162:c.
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358:8
354:3
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