What is metal engraving?
There are numerous printing techniques on metal plates, also known as intaglio. The process involves creating marks on a metal surface, then inking and wiping the plate so that the ink remains in the grooves and can be transferred onto a support, usually paper, using a press. The two main categories of techniques are engraving and etching. Engraving involves directly incising the metal with a tool. In traditional engraving, lines are cut with a burin, a hand-held cutting tool. Drypoint, similar in principle, uses a sharp point that allows for a freer gesture. Etching, on the other hand, relies on the corrosive action of acid to bite into the metal in the areas intended for printing.
Metal Engraving: The Process
There are two main categories of metal engraving techniques. The first includes direct incision methods, where the artist manually carves the plate using tools such as a burin or drypoint. The metal is physically removed to create lines and textures that will hold the ink. After engraving, the plate is inked and wiped so that the ink remains only in the grooves before being printed under a press.
The second category involves corrosion techniques, where the image is created through the action of acid or mordant. The plate is coated with a protective varnish, and the artist draws by removing this varnish to expose the metal. When the plate is immersed in the acid bath, only the exposed areas are etched. Once the biting is complete, the varnish is removed, the plate is inked, and the image is printed.
These two families offer complementary approaches: one emphasizes direct gesture and tool precision, while the other favors the fluidity of drawing and the subtlety of chemical biting.
Direct Incision Engraving
Explore all the techniques in detail
BURIN ENGRAVING
Burin engraving is one of the oldest and most demanding intaglio techniques. It relies on the use of a burin, a steel cutting tool with a beveled tip. The artist pushes the tool into the metal, removing small chips and creating highly precise lines. The movement must be firm and controlled, as the burin glides along the plate according to the angle set by the hand. This method produces clean lines, very clear contours, and subtle light effects through variations in line depth and spacing. Once the plate is complete, it is inked, the surface is wiped so that ink remains only in the incisions, and it is printed under a press to reveal a highly detailed image.
DRYPOINT
Drypoint is a freer incision technique, created by scratching directly onto the metal surface with a very fine steel needle. Unlike the burin, the tool does not cut cleanly; it raises a slight ridge of metal called a burr. During printing, this burr holds ink and gives the lines a velvety, deep, almost fuzzy appearance. This method imparts great spontaneity and a unique texture to the images, highly valued for its expressiveness. However, the plate wears down quickly under the press, which often limits the number of prints.
MEZZOTINT
Mezzotint, or manière noire, is a unique technique based on the inverse principle of other engravings: the plate is first made entirely black, then the artist works back towards the light. Using a tool called a rocker, which has a serrated blade, the surface is roughened with thousands of micro-incisions. A fully rocked plate would produce a deep, velvety black when printed. The artist then gradually smooths certain areas so they hold less ink. The more polished the surface, the lighter the area appears in the print. This technique allows for very soft gradients, intense shadows, and a richness of tonal variation reminiscent of early photographic prints.
Etching (Acid-Based Engraving)
Explore all the techniques in detail
ETCHING
Etching involves covering the metal plate with a protective varnish, then drawing directly into this varnish with a pointed tool, as if drawing with a pen on paper. The drawn lines expose the metal, and the plate is then immersed in an acid bath, which bites into the exposed areas. The artist can control the depth of the lines by adjusting the biting time. This technique is close to traditional drawing, allowing for fluid lines, great gestural freedom, and a wide range of expressions—from delicate graphic marks to stronger, more pronounced lines. Once the etching is complete, the varnish is removed, the plate is inked, and the image is printed.
AQUATINT
Aquatint is a technique derived from etching that allows for the creation of tonal areas, similar to a wash or watercolor. The plate is sprinkled with powdered resin and then heated so that each grain adheres to the metal. This fine dust forms countless tiny dots that protect the surface. During the acid bath, the spaces between the grains are etched, creating a texture of more or less dense points. By varying the biting times or protecting certain areas, the artist can achieve tones ranging from light gray to deep black. After inking and wiping, the print reveals soft gradients and highly pictorial atmospheric effects.
Soft ground
Soft ground is a variant of etching that makes it possible to reproduce textures or obtain softer, more fluid lines. The plate is coated with a varnish that is softer than traditional hard ground and able to retain the imprint of a material. A thin sheet of paper can be laid over the plate and drawn on: the varnish adheres to the paper in the compressed areas, pulls away from the metal, and leaves those parts exposed to the acid. This process captures effects similar to pencil or charcoal, and can even imprint real textures such as fabric or leaves. The result is very organic, light, and expressive.
ALL THE TOOLS FOR METAL ENGRAVING
Gravers
Gravers for metal plate engraving come in a wide range of sizes and shapes to meet your needs. We offer high-quality gravers with various angles and handle styles — square-handled gravers from No. 2 to No. 12, and oval-handled gravers from No. 2 to No. 8.
Our wooden mushroom-shaped handles are ergonomic, short, and hollow, designed to fit comfortably in the palm of the hand.
Rocker
The rocker is the essential tool for mezzotint. It consists of a curved blade fitted with fine teeth, used to roughen the plate through a regular rocking motion. Our rockers are available in various widths and tooth densities to offer precise control over texture and grain depth. Each tool is designed to ensure a comfortable grip and uniform work, making it ideal for creating the rich, velvety blacks characteristic of this technique.
Drypoint
Our drypoint needles are designed to deliver clean, fluid, and controlled incisions on all types of metal plates. Made from hardened steel, they allow you to create expressive lines and raise a rich burr that gives prints their characteristic velvety quality. Available in various diameters, they are suitable for both delicate gestures and more assertive marks. Their ergonomic handle ensures a stable, comfortable grip throughout the engraving session.
Rollers
Charbonnel rollers are specially designed for the even application of inks in intaglio or letterpress printing. Their rubber or gelatin surface — selected according to use — ensures smooth spreading and optimal control of the ink film. Available in various widths, they are suitable for plate work, tests, artistic prints, and precise applications. Their sturdy, well-balanced handle provides smooth and effortless handling.
Zinc Plate
Zinc plates offer a slightly softer surface, appreciated for its ease of biting and compatibility with techniques such as etching and aquatint. Their natural grain allows for lines that react well to the bite and for delicate tonal variations. Our plates are carefully rolled to ensure consistent thickness, a clean surface, and trouble-free working conditions. They are an ideal choice for beginners and professional creation alike.
Copper Plate
Metal plates, particularly copper, are renowned for their fine incision quality and exceptional durability. Copper provides a hard yet even surface, perfect for burin work, drypoint, and precise etching bites. Our plates are carefully calibrated to guarantee flawless flatness and impeccable quality in every print. They allow for crisp lines, subtle contrasts, and remarkable longevity of the matrix.
Metal Engraving artists
CORINNE LEPEYTRE
Corinne Lepeytre explores architecture with passion, particularly that of Paris.
A master of aquatint, she captures subtle light and textures to reveal hidden facets of the cathedral. Her work invites us to see Paris from a new perspective.
To create her prints, Corinne uses Charbonnel ink, renowned for its quality and depth. Her black-and-white zinc engravings are crafted with great care, offering delicate nuances and wash-like effects. Inspired by masters such as Piranesi and Canaletto, she develops thematic series centred on architectural details.
GUY BRAUN
Guy Braun is a printmaking artist whose work is rooted in the demanding tradition of mezzotint. Fascinated by the interplay of light and shadow, he explores the subtleties of this technique to bring forth forms imbued with silence, depth, and mystery. Through the patient use of the rocker, he sculpts the plate until achieving a nearly tactile density of blacks, contrasted by the luminous delicacy of the lighter areas.
His works reflect a constant search for balance between technical precision and sensitive expression. The eye drifts through the gradients, glides across the textures, and lingers on the details revealed through his mastery of the medium. His favourite subjects are wildlife and nature.
MATTHIEU PERRAMANT
Trained at École Estienne, Matthieu Perramant continued his apprenticeship in Quebec in the workshop of master printer Alain Piroir. Back in France, he completed his studies with a professional degree in art entrepreneurship while working with art printer Éric Seydoux. He later returned to intaglio thanks to a grant from the City of Paris, which enabled him to join Ateliers Moret, before also working at Atelier Rigal.
Since 2015, Matthieu Perramant has co-directed Ateliers Moret. Alongside his work as an art printer, he has developed his own printmaking practice, initially abstract and gradually shifting toward figuration. Influenced by photography, his work explores places marked by human traces, evoking memory, passage, inner struggle, and hope.
MILA GOMEZ
Mila Gomez draws inspiration mainly from toys, childhood, monsters, and popular culture. She enjoys telling stories through her images, often dense and populated with strange creatures, creating her own mythology.
Her universe blends popular icons, myths, legends, personal memories, and simple observational drawings. By combining her grandmother, Godzilla, and strangers from the subway, this large patchwork takes shape.
She has a particular fondness for direct techniques, such as drypoint and mezzotint, which allow her to bring her creatures and stories to life with great expressiveness.