Imitation (art of drawing)

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Johann Anton de Peters : Study and a copy on the right (18th century)

When imprinting in the art of drawing , an unmarked, often previously moistened paper is placed flush on a drawing or fresh painting (clapped) and both rubbed on top of each other or printed with a copying press. The drawing or painting is transferred to the opposite surface as a mirror image, but mostly less so. Dry, powdery drawing materials are particularly suitable for this, such as broad-drawing pencils made of charcoal , chalk and red chalk . They allow the set-off by releasing excess pigment through targeted contact with the opposing surface.

The imitation (English counterproof , French contre-épreuve, Italian stampe sopra i disegni ) serves as a synonymous umbrella term for numerous transmission processes that use the same principle, including monotype , transfer printing , printing , squeeze drawing , folding impression , natural self-printing. See also the article Abklatsch (printing technology) .

history

The set-off occurs primarily in the art of drawing from the 16th to around the middle of the 19th century.

literature

  • Thomas Ketelsen (Hrsg.): Der Abklatsch - An art in itself , Volume 15 of the series The uncertain view , 102 p., Cologne 2014

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