Drypoint
- Marco Poma
- Oct 8
- 8 min read
The drypoint technique is part of the direct intaglio printmaking methods; it takes its name, as with the burin, from the tool used to create it.
HISTORY
The drypoint technique was introduced by an anonymous German artist known as the Master of the Amsterdam Cabinet or the Housebook Master (late 15th century), named after a manuscript containing his watercolor drawings and prints, some executed entirely in drypoint, now preserved at the Rijksmuseum in Amsterdam.
From its origin up until the early 20th century, drypoint remained primarily a supporting technique for printmakers. This is because its distinctive feature, the velvety line that emerges in the print, is produced by the burr, the tiny ridge of metal raised along the edge of the incised line. However, due to the fragility of this burr, the plate rarely withstands more than about twenty good impressions. Considering that the period was characterized by large print editions numbering in the hundreds, it was unthinkable to rely on drypoint as an independent technique.
Engravers used drypoint to outline the drawing on the plate before engraving it with the burin, removing the burrs, which were considered unnecessary.
Another use of drypoint was to outline background elements that appeared perspectivally distant, since the light pressure of the needle on the copper produced delicate lines that were more difficult to achieve with a burin; in this case as well, all burrs were removed.
Some of the first printmakers to employ the drypoint technique were, first and foremost, Albrecht Dürer (1471–1528), followed by Martin Schongauer (1448–1491) and Hendrick Goltzius (1558–1617), leading up to Rembrandt (1606–1669), who combined drypoint with etching in his prints. After that period, the technique saw limited use until its revival by more modern artists.
The decline of reproductive engraving and the rise of new artistic movements allowed artists to express themselves with greater creative freedom and fewer technical constraints, finally giving drypoint a prominent role within their works. Among these artists:
Edward Thomas Daniell (1804 - 1842)
Lesser Ury (1861 - 1931)
Käthe Kollwitz (1867 - 1945)
Lovis Corinth (1858 - 1925)
Max Beckmann (1884 - 1950)
Stanley William Hayter (1901 - 1988)
A special mention goes to Guido Strazza (1922), a pivotal artist for the generations that followed. His drypoints, marked by great strength and expression, are part of his significant research on “Il Gesto e il Segno”, from which the well-known manual on printmaking techniques of the same name was derived, a text studied by all Fine Art Printmaking students in Italian academies.
TOOLS
One of the distinctive features of drypoint is its expressive versatility, made possible by the wide variety of tools that can be used to create it. As a direct and free technique, it allows the use of any instrument capable of scratching the surface of the plate, offering endless creative possibilities suited to every artistic need.
Drypoint: This tool, called a “drypoint needle,” is essentially a steel point set into a wooden handle, whose finely sharpened tip is drawn directly across the smooth surface of the plate.
The tool itself remains constant in its basic form, a point, but it varies in thickness and shape depending on its intended use:
- Fine needles and thin points: for delicate and precise lines.
- Wide and heavy points: made from steel rods, their weight and shape allow for a “blade-like” grip, producing deep, textured marks.
- Diamond point: due to its hardness, it can engrave even the finest lines without ever needing to be resharpened.
Opus Mallei: a sturdy steel rod with a pointed tip that is struck with a hammer against the plate to create a stippled effect on the matrix. The depth and intensity of the mark depend on the strength of the hammer blow. The punch may also have a flattened end with a crosshatched engraved texture to enlarge the stippled surface impressed on the plate.
This tool is used exclusively in the stippling technique, which is useful for filling areas of form and creating effects of distance or atmospheric depth in the background.
Roulette: a tool consisting of a knurled wheel mounted on a rotating axle connected to a wooden handle.
The pressure exerted by the wheel on the plate produces a textured, grained effect that varies aesthetically depending on the type of wheel used. Unlike the punch, the roulette works more quickly but with less precision. It was also used to create an effect similar to a pencil mark on paper, which is why it was sometimes referred to as the “manière au crayon” (pencil manner).
Rocker: a tool best known for its use in the mezzotint technique, also called berceau in French or rocker in English. Mezzotint, in fact, is essentially a form of drypoint executed on the plate to completely darken the printing surface, which is then worked with burnishing tools to bring out the lights.
The toothed rocker can therefore be used on the plate as a complementary tool to enhance and deepen the tonal range of a composition—something between a punch and a roulette.
Sandpaper: support made of paper or fabric coated with abrasive grains such as silicon or emery, which, depending on their size and density, allow for scratching or polishing effects.
Metal brushes: like sandpaper, the metal bristles of the brush scratch the plate, allowing for effects similar to fine multiline textures.
Scraper: a versatile tool consisting of a body with three flat faces that form a sharp edge at each end, tapering to a point. It is primarily used to remove engraved marks from a plate, as its function is to scrape away the incised line, smoothing the surface. However, the scraping action—if not softened with a burnisher—leaves a clearly visible mark on the plate, which, when used consciously, can produce lines of varying thickness.
MAKING A DRYPOINT NEEDLE FROM A STEEL ROD
This section of the topic is taken from a short workshop held at the Il Bisonte Foundation for new students of the specialization course. Each student creates a drypoint needle from a steel rod, symbolically beginning the year with a personal tool dedicated to the new works they will produce.
- Steel rod (diameter 4/6 mm)
- Bench grinder
- Protective gloves
- Safety goggles
- Sharpening stone
- Lubricating oil
- Sandpaper
Start with a stainless steel rod measuring between 4 and 6 mm in diameter; those who prefer a heavier and sturdier point can choose a larger size. The most commonly available stainless steel type is labeled AISI 304, which does not require tempering.
The ideal length for a drypoint needle is about 15 cm. The rod can be cut using a bench grinder, which is also the tool used to shape the drypoint itself.
Once the steel rod has been cut to size, proceed to shape the tip using the bench grinder, wearing protective gloves and safety goggles. The goggles protect the eyes from metal fragments, while heavy-duty leather work gloves prevent burns and abrasions on the hands.
Hold the drypoint needle with both hands and press it at an angle against the grinding wheel. One hand applies pressure while the other continuously rotates the needle to create an even conical shape.
The grinding process produces a tip that is nearly ready for use, which can be further refined using a sharpening stone. To do this, press and rotate the tip in circular motions on the stone; applying a small amount of lubricating oil can make the process smoother.
To check the sharpness of the tip, press it against a metal plate at a steep angle — if the point catches and doesn’t slip, it means it’s properly sharpened. As a final step, polish the tip using sandpaper to remove any grinding marks and achieve a smooth finish.
On the opposite end of the drypoint needle, you can create a “Callot point”, named after its inventor Jacques Callot (1592–1635). He is credited with developing an obliquely shaped oval tip, similar to that of a fountain pen, which produces a more calligraphic line with varying thickness. To create this type of point, simply press the drypoint needle against the side of the grinding wheel, maintaining a consistent angle until the desired shape is achieved.
When working the point on the grinder, it’s advisable to cool it frequently in a cup of water to prevent it from overheating and burning your hands during handling.
DRYPOINT ENGRAVING
- Drypoint
- Scraper/Burnisher
- Sandpaper
The use of the drypoint needle is usually the first approach for those beginning to engrave, as the technique itself is immediate and helps develop confidence in drawing on metal.
It is a tough, resistant technique, not suited to calculated gestures, metal against metal does not allow for the same fluidity as drawing on paper. Since it is a direct process, one must apply a certain amount of pressure to achieve deep, dark lines, and as you continue engraving, the tool often follows the grooves of previous marks.
For this reason, drypoint is characterized by a constant cycle of engraving, flattening, and re-engraving. The scraper is ideal for removing burrs, although they can also be simply flattened with the burnisher to reduce the velvety quality of the line.
Sandpaper is very useful for softening the marks of drypoint, finer grits will only lighten the image, while coarser ones can create new textures of their own.
In truth, almost any tool can be used as a drypoint; it is about scratching the plate, treating it almost like a sculpture. Every action performed on the matrix becomes a trace embedded in the metal, you can’t go back, only forward.
PRINTING
- Ink
- Leather/Felt dabber
- Tarlatan
- Tissue paper
Printing a drypoint requires some specific care during the inking and wiping stages due to the presence of burrs. Starting with the ink, it should be applied using a leather dabber with hair or a small felt tampon, never a plastic spatula. The burrs would otherwise scratch and damage the spatula, making it unusable for future prints.
Wiping is done first with tarlatan and then with tissue paper. The tissue wipe enhances the appearance of the burrs, as the ink tends to settle beneath them. To reduce this effect, you can apply more pressure with the tissue in the direction of the line, or use a clean piece of tarlatan instead, which, being softer, can reach under the burrs more easily.
The term “veil wiping” refers to cleaning the plate using only tarlatan. This method leaves a thin gray veil on the surface of the plate, creating a subtle background tone for the image.
Drypoint plates can also be wiped entirely with the palm of the hand, similar to the mezzotint technique. The softness of the skin gives the printed line a more velvety quality.
When printing, it is not necessary to apply high pressure on the press, as this would quickly wear down the burrs over a series of prints. A medium pressure is recommended, since drypoint lines are never as deep as those of etching. What matters most is to highlight the more superficial marks and their soft tonal veils created by the burrs.
BIBLIOGRAPHY
- Incisione calcografica e stampa originale d'arte - Renato Bruscaglla
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