{"id":"intaglio","no":132,"name":"Intaglio","ja":"凹版印刷","era":"15th century–","family":"凹版印刷","kind":"技法","collection":"Dictionary expansion 07","addedAt":"2026-08-18","source":{"title":"MoMA — Intaglio","url":"https://www.moma.org/collection/terms/intaglio"},"reference":{"status":"verified","pageUrl":"https://www.moma.org/collection/terms/intaglio","credit":"MoMA — Intaglio","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Albrecht%20D%C3%BCrer%20-%20Melencolia%20I%20-%20Google%20Art%20Project%20(427760).jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Albrecht%20D%C3%BCrer%20-%20Melencolia%20I%20-%20Google%20Art%20Project%20(427760).jpg","credit":"デューラー『メレンコリアI』1514 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Hendrick%20Goltzius%20-%20Farnese%20Hercules%20-%20Google%20Art%20Project.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Hendrick%20Goltzius%20-%20Farnese%20Hercules%20-%20Google%20Art%20Project.jpg","credit":"ゴルツィウス『ファルネーゼのヘラクレス』1592頃 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/B159%20Rembrandt.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:B159%20Rembrandt.jpg","credit":"レンブラント《貝（コーヌス・マルモレウス）》1650 — Wikimedia Commons / Public domain"}]},"essence":"金属板の表面より低い線や窪みにインクを残し、強い圧力で湿った紙を押し込んで、精密な線と版端の痕跡を写す。凹ませ方の違いがそのまま技法の名になり、酸で腐食させればエッチング、面を荒らして磨けばメゾチントになる。","cues":["沈んだ線","プレートマーク","湿った紙","高圧プレス"],"intents":["高級","静けさ","技術"],"works":["証券や証書のように、複製を難しくしたい精密な線の印刷","紙の凹凸まで含めて手に取らせる、少部数の版画や名刺"],"recipe":{"type":"文字は彫れる太さに設計し、細部が潰れる小サイズを避ける","layout":"プレートマークを構図の枠として扱い、外側に余白を広く取る","material":"銅や亜鉛の板を使い、湿らせた厚手の紙へ強い圧で押し込む"},"avoid":"彫刻、腐食、ささくれ、面の粗し方で線質と階調がどう変わるかを区別する。余白と圧を雑に扱えば、紙が線の周りで盛り上がらない平板な刷りになる。","colors":["#e5dfd3","#7b7065","#252323"],"motif":"print","pair":["etching","mezzotint"],"study":["engraving","drypoint","aquatint","plate tone"],"en":{"essence":"Ink is left in lines and hollows cut below the surface of a metal plate, and heavy pressure drives damp paper into them, picking up precise lines and the trace of the plate's edge. How the plate is lowered gives each technique its name, so a plate bitten with acid is an etching and a plate roughened then burnished is a mezzotint.","cues":["Sunken lines","Plate marks","Damp paper","High-pressure press"],"works":["Precise line work meant to resist copying, as on certificates and securities","Small editions and cards where the relief in the paper is part of the object"],"recipe":{"type":"Design letters at a weight that can be cut, avoiding sizes that fill in","layout":"Treat the plate mark as the frame and leave wide margins beyond it","material":"Copper or zinc, damp heavy paper, and enough press pressure to emboss"},"avoid":"Distinguish how engraving, biting, burr and roughened ground change line quality and tone. Treating margin and pressure casually gives a flat print where the paper never rises around the lines.","study":["engraving","drypoint","aquatint","plate tone"]},"links":{"page":"https://indexstyle.org/styles/intaglio","json":"https://indexstyle.org/api/styles/intaglio","designSpec":"https://indexstyle.org/styles/intaglio/design.md","imagePrompt":"https://indexstyle.org/styles/intaglio/prompt.txt"},"usage":{"license":"CC-BY-4.0","licenseName":"Creative Commons Attribution 4.0 International","licenseUrl":"https://creativecommons.org/licenses/by/4.0/","attribution":"IndexStyle — https://indexstyle.org","attributionUrl":"https://indexstyle.org","scope":"Original IndexStyle text and structured data. Reference images, quoted works, and third-party material are excluded and retain their own rights."}}