Know Your Print History

The Cubist Who Learned to Draw in Copper: Georges Braque and the Slow Art of the Print

Why 100? Why 34? Why 44? The Secret Maths of Print Editions

Carborundum Prints: The Gritty Secret of Printmaking

The Disciple Who Became His Own Printer: Theodore Roussel and the Art of the Whole Print

Is a Fine Print a “Work on Paper”? The Art World’s Most Slippery Category

Colour You Cannot Mix With a Brush: Josef Albers and the Logic of the Screen

Blood, Sweat, and Ink: The Brutal Physicality of Making a Print

The Printmaker Who Attacks the Plate: The Hardware-Store Approach to Editions of Jim Dine

WIAP Printmaking Winner 2026

The Primitive Matrix: How Paul Gauguin Scratched, Sanded, and Reinvented the Woodcut

The Backwards Kingdom: What Printmaking Teaches Every Artist Who Dares to Slow Down

The Poison in the Print Room

The Mop, the Stone, and the Gesture: The Accidental Printmaking Career of Willem de Kooning

The Hands Behind the Masterpiece: Who Was the First Master Printer?

Cyanotype: The Printmaking Technique Invented by a Scientist Studying Something Else Entirely

The Impressionist Who Printed for No One But Himself: Camille Pissarro

The Physics of a Press: What Is Actually Happening When You Pull A Print

Drypoint: The Printmaking Technique Built to Disappear

Elizabeth Murray: Sculpture, Disguised as a Print

Silkscreen: The Printmaking Technique That Started in a Factory, Not a Studio

Mezzotint: The Printmaking Technique That Starts With Total Darkness

Piranesi Etching Rome Into Eternity

Infinity, Multiplied: How Yayoi Kusama Turned Printmaking Into a Machine for Repetition

Paper: The Silent Collaborator

When You Change Something, You Change Everything: Wayne Thiebaud in the Print Shop

The Restless Plate: How Richard Hamilton Made Printmaking His Real Laboratory

Chine Collé: The Art of Cheating Your Paper

Ink, Stone, and Genius: The Secret Life of Atelier Mourlot

Martin Lewis: The Shadow Master Who Taught America How to See the Night

The Aquatint: The Secret Tonal Weapon Of Printmakers

Stanley William Hayter: The Man Who Rewrote the Rules of Printmaking

Ink and Injustice: How the Humble Print Became the Weapon of Social Realism

Against the Grain: How Printmaking Set Helen Frankenthaler Free

The Many Lives of a Single Image: Why Artists Release Prints in Different States

The Painter Who Never Stopped Carving Light: Zao Wou-ki and the Secret Life of His Prints

Ink, Dots, and Rebellion: How the Printing Press Gave Birth to Pop Art

The Stencil That Painted the Jazz Age: A History of Pochoir Prints

In Search of the Essential: Life in Prints For Matisse

Drawing on Rock: The Secret Life of the Lithographic Stone

The Woodcut Rebel: How Erich Heckel Carved a New Language for German Expressionism

The Armourer Who Accidentally Invented an Art Form - Etching

The Hands That Carve Also Ink: Why Sculptors Fall for Printmaking

The Butcher of Canvas Turns to the Press: Why Francis Bacon Made Prints

Ink for the Many: 250 Years of American Printmaking

Where Vision Meets Press: The Colour Conversation

The Man Who Broke Printmaking: How Frank Stella Turned Paper Into Sculpture

The Stone That Learned to Write: How Lithography Was Born by Accident

The Japanese Got It Right: What Ukiyo-e Can Teach the Western Art World About Respecting Prints