Mezzotint

A print produced by a tonal rather than linear engraving process. It was a popular eighteenth century method of printing used to produce effects of light and shade. A copper or steel plate is worked all over with a curved, serrated tool called a rocker, making a burr over the surface to hold the ink that will print as a soft dark tone. The design is then created in lighter tones by scraping and burnishing areas of the roughened plate so that they hold less ink, or none in highlights.

Film

Watch printmakers Sarah Gillespie and Paul Kirkup make an engraving and a mezzotint, demonstrating the tools and techniques used in making this type of portrait.

An audio-described version of this film is available.

 
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In the Gallery's Collection

Detail from the Sistine Madonna, by William Say, after Raphael (Raffaello Santi), circa 1803-1834 (circa 1512-1514), NPG D11342, © National Portrait Gallery, London Detail from the Sistine Madonna, by William Say, after Raphael (Raffaello Santi), circa 1803-1834 (circa 1512-1514)
Mary, Princess Royal and Princess of Orange, by William Faithorne Jr, after Adriaen Hanneman, circa 1680 (1660), NPG D10636, © National Portrait Gallery, London Mary, Princess Royal and Princess of Orange, by William Faithorne Jr, after Adriaen Hanneman, circa 1680 (1660)
Isaac Watts, by George White, sold by Edward Dilly, and sold by Charles Dilly, 1727, NPG 640, © National Portrait Gallery, London Isaac Watts, by George White, sold by Edward Dilly, and sold by Charles Dilly, 1727
Pierre Jean Baptiste Chardin, by and sold by John Faber Jr, after Jean Baptiste Siméon Chardin, 1740 (1737), NPG D10658, © National Portrait Gallery, London Pierre Jean Baptiste Chardin, by and sold by John Faber Jr, after Jean Baptiste Siméon Chardin, 1740 (1737)
Young man holding candlestick, by Thomas Frye, published 1760, NPG D11289, © National Portrait Gallery, London Young man holding candlestick, by Thomas Frye, published 1760
George Douglas, by William Say, published by Edward Orme, after Caroline Lucy Douglas, circa 1803-1834, NPG D11329, © National Portrait Gallery, London George Douglas, by William Say, published by Edward Orme, after Caroline Lucy Douglas, circa 1803-1834
James Gillray, by Charles Turner, after James Gillray, circa 1819 (circa 1800), NPG D2775, © National Portrait Gallery, London James Gillray, by Charles Turner, after James Gillray, circa 1819 (circa 1800)
'Othello', by William Say, after Henri Jean-Baptiste Victoire Fradelle, circa 1825-1834, NPG D11374, © National Portrait Gallery, London 'Othello', by William Say, after Henri Jean-Baptiste Victoire Fradelle, circa 1825-1834
The Bridal Morn (Queen Victoria; Prince Albert of Saxe-Coburg and Gotha), by Samuel William Reynolds Jr, published by John William Laird, after Frederick William Lock, published 1844 (circa 1840-1841), NPG D11227, © National Portrait Gallery, London The Bridal Morn (Queen Victoria; Prince Albert of Saxe-Coburg and Gotha), by Samuel William Reynolds Jr, published by John William Laird, after Frederick William Lock, published 1844 (circa 1840-1841)
Conference of Engineers at the Menai Straits Preparatory to Floating one of the Tubes of the Britannia Bridge, by James Scott, published by Henry Graves & Co, after John Lucas, published 25 January 1858, NPG D10713, © National Portrait Gallery, London Conference of Engineers at the Menai Straits Preparatory to Floating one of the Tubes of the Britannia Bridge, by James Scott, published by Henry Graves & Co, after John Lucas, published 25 January 1858
Fictitious portrait called Lady Jane Grey, by George Dawe, after John Graham, circa 1795, NPG D11096, © National Portrait Gallery, London Fictitious portrait called Lady Jane Grey, by George Dawe, after John Graham, circa 1795
Arthur Cohen, by Frank Short, after John Singer Sargent, 1917 (1906), NPG D12034, © National Portrait Gallery, London Arthur Cohen, by Frank Short, after John Singer Sargent, 1917 (1906)