böyle klişe ile resim basmak, bakır klişe, bakır klişe ile basmak, çelik klişe, metal tabağa baskı, bir çeşit bakır veya çelik klişe, (isim) bakır klişe ile basmak, çelik klise,
a form of intaglio etching in which a metal plate is roughened evenly and then smoothed to bring out an image, to make such etchings, an etching or print made using this method, mezzotinto, the engraver "seeds" all of the plate with repeated criss-cross passages over the plate using a crescent-shaped tool The plate (which if printed now would yield a uniform black) is then smoothed using burnishers, paper and scrapers to determine the light passages in the print, print produced by an engraving that has been scraped to represent light or shade, > An intaglio printmaking method in which the entire surface of the plate is roughened by a spiked tool ("rocker") so that, if inked, the entire plate would print in solid black The artist then works from "black" to "white" by scraping (or burnishing) out areas to produce lighter tones, A patterned screen used to create the effect of a true mezzotint, which is a copper or steel engraving that creates the effects of light and shadow to top, To engrave in mezzotint, An intaglio process that is tonal rather than linear A metal plate is first worked with a curved serrated tool called a rocker, raising burrs over the surface to hold the ink and print as a soft dark tone The design is then created in lighter tones by scraping out and burnishing areas of the roughened plate so that they hold less ink, or none, in the highlights, An intaglio process in which a texture is produced on a metal plate with a " rocker " By scraping or burnishing the surface, gradations of light and shade may then be produced Mezzotints are characterized by a rich, velvet overall appearance with numerous tonal ranges, A manner of engraving on copper or steel by drawing upon a surface previously roughened, and then removing the roughness in places by scraping, burnishing, etc, is a form of intaglio printing, so as to produce the requisite light and shade, Also, an engraving so produced, (or mezzoprint ) In printmaking, an engraving process that is tonal rather than linear, or prints produced by this process Developed in the seventeenth century, mezzotint was used widely as a reproductive printing process, especially in England, until photographic processes overtook it in the mid-nineteenth century, A plate is roughened with a network of small burred dots, applied by a toothed "rocker", and which, if printed, would produce a rich black To achieve tonal variations, up to white, the plate is scratched and brushed to various degrees, to determine how much ink is accepted To smoother the surface, the less receptive it is to ink It is inked and printed as above, An intaglio technique The artist begins by roughening the entire plate surface with a scratching tool He or she then scrapes the design into the scratched areas In printing, the ink sticks to the roughened areas but not the design The result is an image in white on a black background See Frank Stella, Nemrik, An intaglio process in which the plate surface is roughened to the point where it prints black when inked Then an image is created by smoothing and scraping the surface to hold less ink, creating tonal variations in the finished print, An intaglio process The plate is prepared by completely roughening (grounding) the plate with a spiked tool (rocker) that produces an overall burr The artist develops the image by scraping and burnishing to produce gradations of dark through light This technique was used widely in 18th century England for the reproduction of portraits, A intaglio process in which the plate is roughened with a toll called a rocker (see: rocker), producing a black background The printmaker then works from black to white in establishing the design, scraping and burnishing the roughened surface to the desired degree of white In this sense, true white will be unprinted paper top, (mezzo = half and tinta = tone), a reverse engraving process used on a copper or steel plate to produce illustrations in relief with effects of light and shadow The surface of a master plate is roughened with a tool called a rocker so that if inked, it will print solid black The areas to be white or gray in the print are rubbed down so as not to take ink It was widely used in the 18th and 19th centuries to reproduce portraits and other paintings, but became obsolete with the introduction of photoengraving, An intaglio method in which the artist works from dark to light The plate is systematically roughened with a spurlike tool called a rocker If inked in this state, it will print a velvety black Graduated highlights are then smoothed out by scraping and burnishing the plate Mezzotint is often combined with other intaglio methods, A process of engraving in which the design is produced by scraping the half tones and highlights from a specially roughened black printing surface The copper plate is first roughened with a rocker, ( a tool with a wide, curved, serrated edge) which is used to rock the surface of the plate uniformly at a number of different angles causing an even burr, which holds the ink and makes it possible to print a rich, velvety black The artist then scrapes out with a rnezzotint scraper those areas of his design which he desires to print in a lighter tone, or completely rubs the burr out for those areas to be printed white, The plate is roughened uniformly with a tool called a rocker, after which the burr in certain areas is burnished (rubbed) down so it will hold less ink, engraving, printing - A form of tonal engraving which, works from dark to light The plate is prepared with a dense mesh of small burred dots created by a toothed, chisel-like tool known as a 'rocker' If inked and printed at this stage, the print would be black Tonal gradations are achieved by using a scraper to remove greater or lesser amounts of the small burred dots, the areas of most intense light being created by burnishing the plate When inked, the areas retaining the most burred dots create the darkest zones because they retain the most ink, while burnished areas create the highlights as they are not able to hold ink, A patterned screen used to create the effect of a true mezzotint, which is a copper or steel engraving that creates the effects of light and shadow, the dots which form a contact screen for making simulated halftone effects that are irregular in shape and size and non-uniform in position, An intaglio process in which the plate surface is roughened and then an image is created by smoothing the areas to be printed, (mezzo=half + tinta=tone): This is a reverse engraving process that produces illustrations in relief, displaying the effects of light and shadow The surface of a master plate, usually copper or steel, is roughened with a tool called a rocker so that if inked, it will print solid black The areas to be white or gray in the print are rubbed down so they will pick up ink in various degrees It was widely used in the 18th and 19th centuries to reproduce portraits and other paintings, but has become obsolete with the introduction of photo-engraving, A method of engraving in tone much used in the 17th, 18th and early 19th centuries for the reproduction of paintings, characterized by soft and hazy gradations of tone and richness in the dark areas, A tonal, rather linear, engraving process made by first roughening the surface of the plate with a mesh of small burred dots and then producing the picture by flattening and burnishing selected areas which print as highlights It is rarely practiced now since photographic methods have superseded it, a picture printed from a metal plate that is polished in places to produce areas of light and shade (mezzatinta, from mezza + tinta ). (from Italian mezza tinta, "halftone") Engraving produced by pricking the surface of a metal plate with innumerable small holes that will hold ink. When the engraving is printed, the ink produces large areas of tone with soft, subtle gradations. Engraved or etched lines are often introduced to give the design greater definition. Mezzotint was invented in Holland by German-born Ludwig von Siegen in the 17th century but thereafter was practiced primarily in England. Its adaptability to making colour prints made it ideal for the reproduction of paintings. After the invention of photography, it was rarely used. In recent years the technique has been revived, especially by U.S. and Japanese printmakers,
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a form of intaglio etching in which a metal plate is roughened evenly and then smoothed to bring out an image
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to make such etchings
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an etching or print made using this method
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mezzotinto
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the engraver "seeds" all of the plate with repeated criss-cross passages over the plate using a crescent-shaped tool The plate (which if printed now would yield a uniform black) is then smoothed using burnishers, paper and scrapers to determine the light passages in the print
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print produced by an engraving that has been scraped to represent light or shade
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> An intaglio printmaking method in which the entire surface of the plate is roughened by a spiked tool ("rocker") so that, if inked, the entire plate would print in solid black The artist then works from "black" to "white" by scraping (or burnishing) out areas to produce lighter tones
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A patterned screen used to create the effect of a true mezzotint, which is a copper or steel engraving that creates the effects of light and shadow to top
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To engrave in mezzotint
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An intaglio process that is tonal rather than linear A metal plate is first worked with a curved serrated tool called a rocker, raising burrs over the surface to hold the ink and print as a soft dark tone The design is then created in lighter tones by scraping out and burnishing areas of the roughened plate so that they hold less ink, or none, in the highlights
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An intaglio process in which a texture is produced on a metal plate with a " rocker " By scraping or burnishing the surface, gradations of light and shade may then be produced Mezzotints are characterized by a rich, velvet overall appearance with numerous tonal ranges
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A manner of engraving on copper or steel by drawing upon a surface previously roughened, and then removing the roughness in places by scraping, burnishing, etc
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is a form of intaglio printing
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so as to produce the requisite light and shade
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Also, an engraving so produced
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(or mezzoprint ) In printmaking, an engraving process that is tonal rather than linear, or prints produced by this process Developed in the seventeenth century, mezzotint was used widely as a reproductive printing process, especially in England, until photographic processes overtook it in the mid-nineteenth century
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A plate is roughened with a network of small burred dots, applied by a toothed "rocker", and which, if printed, would produce a rich black To achieve tonal variations, up to white, the plate is scratched and brushed to various degrees, to determine how much ink is accepted To smoother the surface, the less receptive it is to ink It is inked and printed as above
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An intaglio technique The artist begins by roughening the entire plate surface with a scratching tool He or she then scrapes the design into the scratched areas In printing, the ink sticks to the roughened areas but not the design The result is an image in white on a black background See Frank Stella, Nemrik
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An intaglio process in which the plate surface is roughened to the point where it prints black when inked Then an image is created by smoothing and scraping the surface to hold less ink, creating tonal variations in the finished print
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An intaglio process The plate is prepared by completely roughening (grounding) the plate with a spiked tool (rocker) that produces an overall burr The artist develops the image by scraping and burnishing to produce gradations of dark through light This technique was used widely in 18th century England for the reproduction of portraits
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A intaglio process in which the plate is roughened with a toll called a rocker (see: rocker), producing a black background The printmaker then works from black to white in establishing the design, scraping and burnishing the roughened surface to the desired degree of white In this sense, true white will be unprinted paper top
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(mezzo = half and tinta = tone), a reverse engraving process used on a copper or steel plate to produce illustrations in relief with effects of light and shadow The surface of a master plate is roughened with a tool called a rocker so that if inked, it will print solid black The areas to be white or gray in the print are rubbed down so as not to take ink It was widely used in the 18th and 19th centuries to reproduce portraits and other paintings, but became obsolete with the introduction of photoengraving
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An intaglio method in which the artist works from dark to light The plate is systematically roughened with a spurlike tool called a rocker If inked in this state, it will print a velvety black Graduated highlights are then smoothed out by scraping and burnishing the plate Mezzotint is often combined with other intaglio methods
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A process of engraving in which the design is produced by scraping the half tones and highlights from a specially roughened black printing surface The copper plate is first roughened with a rocker, ( a tool with a wide, curved, serrated edge) which is used to rock the surface of the plate uniformly at a number of different angles causing an even burr, which holds the ink and makes it possible to print a rich, velvety black The artist then scrapes out with a rnezzotint scraper those areas of his design which he desires to print in a lighter tone, or completely rubs the burr out for those areas to be printed white
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The plate is roughened uniformly with a tool called a rocker, after which the burr in certain areas is burnished (rubbed) down so it will hold less ink
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engraving, printing - A form of tonal engraving which, works from dark to light The plate is prepared with a dense mesh of small burred dots created by a toothed, chisel-like tool known as a 'rocker' If inked and printed at this stage, the print would be black Tonal gradations are achieved by using a scraper to remove greater or lesser amounts of the small burred dots, the areas of most intense light being created by burnishing the plate When inked, the areas retaining the most burred dots create the darkest zones because they retain the most ink, while burnished areas create the highlights as they are not able to hold ink
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A patterned screen used to create the effect of a true mezzotint, which is a copper or steel engraving that creates the effects of light and shadow
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the dots which form a contact screen for making simulated halftone effects that are irregular in shape and size and non-uniform in position
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An intaglio process in which the plate surface is roughened and then an image is created by smoothing the areas to be printed
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(mezzo=half + tinta=tone): This is a reverse engraving process that produces illustrations in relief, displaying the effects of light and shadow The surface of a master plate, usually copper or steel, is roughened with a tool called a rocker so that if inked, it will print solid black The areas to be white or gray in the print are rubbed down so they will pick up ink in various degrees It was widely used in the 18th and 19th centuries to reproduce portraits and other paintings, but has become obsolete with the introduction of photo-engraving
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A method of engraving in tone much used in the 17th, 18th and early 19th centuries for the reproduction of paintings, characterized by soft and hazy gradations of tone and richness in the dark areas
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A tonal, rather linear, engraving process made by first roughening the surface of the plate with a mesh of small burred dots and then producing the picture by flattening and burnishing selected areas which print as highlights It is rarely practiced now since photographic methods have superseded it
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a picture printed from a metal plate that is polished in places to produce areas of light and shade (mezzatinta, from mezza + tinta ). (from Italian mezza tinta, "halftone") Engraving produced by pricking the surface of a metal plate with innumerable small holes that will hold ink. When the engraving is printed, the ink produces large areas of tone with soft, subtle gradations. Engraved or etched lines are often introduced to give the design greater definition. Mezzotint was invented in Holland by German-born Ludwig von Siegen in the 17th century but thereafter was practiced primarily in England. Its adaptability to making colour prints made it ideal for the reproduction of paintings. After the invention of photography, it was rarely used. In recent years the technique has been revived, especially by U.S. and Japanese printmakers
Some etymologies, pronunciations, function and usage date content for the English translation portion are from Merriam-Webster Online at www.Merriam-Webster.com. Thanks to Online Yunanca Dil Eğitimi for providing some parts of online greek dictionary. To contribute more resources please contact us. Visuals(images) are provided by Google Image Search API. Some parts of the dictionary is contributed by many users, thank you! The content on this site is for informational purposes only. Bu aramada mezzotint kelimesinin sözlük anlamı ve eşanlamı nedir, nasıl okunur hakkında bilgi verilmektedir. mezzotint kelimesinin etimolojik ve eşanlamları ile ilgili açıklamalar ve bilgiler eksiksiz ve hatasız olarak anılmamalıdır. Burada yer alan mezzotint kelimesi ile ilgili tüm açıklamalar bilgi amaçlıdır. Eksik ve hatalı çevirileri lütfen bildiriniz.
