For engraving, an object with a flat surface, such as wood, metal or plastic, is prepared in appropriate dimensions. The design is made by the artist on the flat surface or the previously made design is transferred. Pits and bumps are created on the surface with applications such as hand tools or acid work. After the acid work, paint is loaded on high or hollow places and unwanted paints are cleaned. The sheet is placed on the table of the press machine and moist engraving paper and felt are laid on it. Finally, it is pressed and the paint on the plate is transferred to the paper. Thus, an engraving image is obtained. Since ancient times, works such as carving and ornamentation have been carried out. However, the first studies in the engraving painting style started to be made in the 15th century with the effect of the invention of the printing press in Germany. German artist Albert Dürer mastered woodcutting, and in the following process, printmaking became widespread in Europe and the Far East. Copper engraving, acid engraving, mezotinta, aquatinta, etc. techniques have been developed over time in prints made in response to more needs. Today, the rich material and technical capacity created by technological developments have started to be used by artists in the field of engraving, as in every branch of art. This study aims to investigate the aquatinta technique, which has an important place in the art of engraving, to evaluate by taking examples from the works of the main Turkish artists who paint with this technique, and to reveal the relationship between the aquatinta technique and painting. Within the scope of the study, one of the works of Turkish artists Ferruh Başağa, Fethi Kayaalp, Fevzi Tüfekçi, Hayri Esmer, Melihat Tüzün, Mustafa Küçüköner, Lütfü Kaplanoğlu and Hava Küçüköner with the aquatinta technique has been evaluated. As a method, first the definition and historical process of engraving painting art was researched, then the historical process and definition of the aquatinta technique was researched and added to the study. Then, among the Turkish artists, those who made engravings with the aquatinta technique were researched, and the artists who were observed to use this technique constantly were selected and included in the study. Finally, the engravings included in the study were evaluated as artistic and the processing of the aquatinta technique.

Engraving, Aquatinta, Printmaking, Turkish Art