CUET PG Painting 2025 Question Paper (Available): Download Question Paper with Answer Key And Solutions PDF

Step 1: Understand the origin of the color wheel. The concept of a color wheel originates from the scientific study of light and its spectrum.
Step 2: Identify the key contribution of Isaac Newton. In 1666, Sir Isaac Newton conducted experiments with a prism, demonstrating that pure white light is composed of a spectrum of colors.
Step 3: Connect Newton's discovery to the color wheel. Newton arranged these spectral colors—red, orange, yellow, green, blue, indigo, and violet—into a circular diagram. This was the first color wheel, created to show the relationships between colors. While others like Goethe and Chevreul later developed more complex theories and wheels based on psychology and perception, Newton's was the foundational scientific model. Quick Tip: Associate the first color wheel with the person who first discovered and mapped the visible spectrum of light: Isaac Newton. His work with prisms is the foundation of modern color science.

Step 1: Analyze each pair to match the artistic medium with the artist most famous for it.

(A) Engraving: Albrecht Dürer (IV) was a German Renaissance artist and a master of printmaking, renowned for his highly detailed engravings. This is a strong match: (A) - (IV).
(B) Aquatint: Francisco Goya (III), a Spanish romantic painter, used the aquatint technique extensively in his print series like "Los Caprichos" to achieve tonal effects. This is a definitive match: (B) - (III).
(D) Serigraphy: Also known as screen printing, this medium was popularized by Andy Warhol (I), a leading figure in the Pop Art movement. This is a classic association: (D) - (I).
(C) Wood Cut: By elimination, Wood Cut is paired with Rembrandt (II). While Rembrandt is globally acclaimed for his mastery of etching, not woodcuts, this is the only remaining option to complete the set according to the given choices.

Step 2: Combine the correct pairings: (A)-(IV), (B)-(III), (C)-(II), and (D)-(I). This combination matches option (3). Quick Tip: For questions matching artists to techniques, focus on the most famous associations first: Warhol with Serigraphy (Pop Art), Goya with Aquatint (Spanish Romanticism), and Dürer with Engraving (Northern Renaissance).

Step 1: Define additive color theory. The additive color model describes how light produces color. It is used in digital displays like monitors and televisions. The primary colors in this system are Red, Green, and Blue (RGB).
Step 2: Understand how secondary colors are formed. In the additive model, colors are created by adding light. When two primary colors of light are mixed, they produce a secondary color.
Step 3: Apply the rule for Red and Green. The mixing of red light and green light in equal intensity produces yellow light.
The full set of combinations is:

Red + Green = Yellow
Red + Blue = Magenta
Green + Blue = Cyan
Red + Green + Blue = White Quick Tip: Remember the acronym RGB for the additive primaries (for light). The combination of the first two, R and G, gives Yellow, which is a primary color in the subtractive (pigment) system.

Step 1: Define subtractive color theory. The subtractive color model describes how color is produced when light is reflected off a surface and some wavelengths are absorbed (subtracted). This system applies to physical media like inks, dyes, and paints.

Step 2: Identify the primary colors of the subtractive system. The primary colors are Cyan, Magenta, and Yellow (CMY). In printing, Black (K for Key) is often added for depth and convenience, creating the CMYK model.

Step 3: Differentiate from the additive system. The additive primaries (Red, Green, Blue) are used for light emission. The subtractive primaries (Cyan, Magenta, Yellow) are the secondary colors of the additive system and are used for light absorption/reflection. Quick Tip: Think of a printer's ink cartridges: they are typically Cyan, Magenta, and Yellow (plus Black). This is a real-world application of the subtractive color model.

Step 1: Analyze each pair to match the artistic technique with the associated artist or site.

(A) Fresco: The Ajanta Caves (III) in India are a UNESCO World Heritage site, famous for their magnificent wall paintings created using the fresco technique. This is a direct match: (A) - (III).
(B) Tempera: Nandalal Bose (I), a pioneer of modern Indian art and a key figure of the Bengal School of Art, was known for his mastery of various mediums, including tempera on paper and silk. This is a correct association: (B) - (I).
(C) Silk Screen: K. G. Subramanyan (IV) was a multifaceted artist who experimented with numerous media. He was known for his work in painting, murals, and printmaking, including silk screen prints. This is a valid match: (C) - (IV).
(D) Viscosity: Viscosity printing is a multi-color intaglio printmaking process invented and pioneered by the Indian artist Krishna Reddy (II) in the 1950s. This is a definitive match: (D) - (II).

Step 2: Assemble the correct pairings: (A)-(III), (B)-(I), (C)-(IV), and (D)-(II). This combination matches the sequence in option (1). Quick Tip: Some associations in art history are definitive. Krishna Reddy's invention of Viscosity printing and the Fresco paintings of the Ajanta Caves are two such strong links that can help solve matching questions quickly.

Step 1: Analyze the definition provided in the question. The question describes a technique for a soft, gradual transition between colors, creating a "hazy" or "smoky" look.
Step 2: Evaluate the options against this definition.

Realism is an art movement focused on representing subjects truthfully, without artificiality. It is a style, not a specific technique for blending colors.
Foreshortening is a technique used to create the illusion of an object receding strongly into the distance or background.
Husconism is not a recognized term in art history.
Sfumato (from the Italian sfumare, "to tone down" or "to evaporate like smoke") is the exact technique of softening the transition between colors, creating a soft, hazy form. It is most famously associated with Leonardo da Vinci.

Therefore, Sfumato is the correct answer. Quick Tip: Associate "Sfumato" with its literal meaning of "smoky." The most famous example of this technique is the subtle, mysterious smile of Leonardo da Vinci's Mona Lisa.

Step 1: Understand Additive Color Theory. This theory applies to emitted light, where colors are created by adding different wavelengths of light together. This is the principle used by electronic displays like TVs, computer monitors, and phone screens.
Step 2: Identify the primary colors of the additive model. The primary colors of light are Red, Green, and Blue (RGB). When all three are combined at full intensity, they produce white light.
Step 3: Differentiate from other color models.

CMYK is the subtractive color model, used for printing with ink.
RYB is the traditional color model used by artists for mixing pigments.
OGV (Orange, Green, Violet) are the secondary colors in the RYB model.

Since the question specifically mentions television monitors, the correct model is RGB. Quick Tip: Remember that anything with a screen that lights up (TV, phone, monitor) uses the \(\textbf{additive}\) light primaries: \(\textbf{R}\)ed, \(\textbf{G}\)reen, and \(\textbf{B}\)lue.

Step 1: Match each term in List-I to its correct category in List-II.

(A) Red, Yellow and Blue: These are the traditional (IV) Primary Colours used in pigment mixing.
(B) Line, Shape and Form: These are fundamental building blocks of visual art, known as the (I) Elements of Art.
(C) Balance, Harmony and Rhythm: These concepts describe how the elements of art are arranged in an artwork. They are (III) Principles of Composition.
(D) The secondary colour opposite to the primary colours...: This is the definition of a complementary color, which is a concept within the broader subject of (II) Colour theory.

Step 2: Combine the matches: (A)-(IV), (B)-(I), (C)-(III), (D)-(II). This corresponds to option (3). Quick Tip: To distinguish elements from principles, remember: \(\textbf{Elements}\) are the "nouns" of art (what you use), while \(\textbf{Principles}\) are the "verbs" (how you use them).

Step 1: Identify the origin of Madhubani painting. This style of folk painting originates from the Mithila region of the Indian subcontinent, which is located in the state of Bihar in India and extends into Nepal.
Step 2: Connect the origin to its alternative name. Because of its geographical origin, Madhubani painting is widely and interchangeably known as Mithila Painting.
Step 3: Differentiate from other options. Pata Chitra is a traditional cloth-based scroll painting from Odisha and West Bengal, and Mathura Painting refers to art from the Mathura school, which is a distinct ancient style. Quick Tip: The names "Madhubani" and "Mithila" are geographically linked. Madhubani is a district within the larger cultural region of Mithila, so the art style is named after both.

Step 1: Match each medium with the artist most strongly associated with it.

(C) Oleographs: Raja Ravi Varma (IV) is famous for popularizing fine art in India by creating affordable oleographs (lithographic prints) of his paintings of gods and goddesses.
(A) Acrylic Colours: M. F. Husain (I), a leading figure in modern Indian art, was known for his bold and prolific work, frequently executed in the quick-drying medium of acrylics.
(B) Oil Pastels: The French Impressionist Edgar Degas (III) was a master of pastels, using them to capture the movement and light of his subjects like dancers and racehorses.
(D) Water Colours: Milind Mullick (II) is a contemporary Indian artist celebrated for his atmospheric and expressive watercolor paintings.

Step 2: Combine the matches: (A)-(I), (B)-(III), (C)-(IV), (D)-(II). This combination matches option (3). Quick Tip: Remember these key artist-medium pairs: Raja Ravi Varma \(\rightarrow\) Oleographs, M. F. Husain \(\rightarrow\) Acrylics, Edgar Degas \(\rightarrow\) Pastels.

Step 1: Recall the history of viscosity printing. This innovative multi-color printmaking technique was developed in the 1950s at the renowned printmaking studio, Atelier 17, in Paris.
Step 2: Identify the key figures. The studio was run by Stanley William Hayter. The Indian artist who was instrumental in developing and mastering this technique alongside Hayter was Krishna Reddy. His work in viscosity printing is internationally acclaimed and influential. Quick Tip: The invention of the Viscosity Printing process is a major contribution of Indian artist Krishna Reddy to the world of modern printmaking.

Step 1: Identify the Gond people. The Gond tribe is one of the largest tribal communities in India.
Step 2: Locate their geographical origin. The Gond tribe is predominantly found in the central Indian states, with the largest population residing in Madhya Pradesh.
Step 3: Connect the people to their art form. Gond art is the traditional artistic expression of this tribe. Therefore, Gond art is primarily associated with the state of Madhya Pradesh. Quick Tip: Gond art is a vibrant tribal art form from the heart of India. Think of the Gond tribe and their connection to the forests of Madhya Pradesh.

Step 1: Analyze the question's focus. The question asks for a printmaker who specifically documented the suffering of the poor during the Bengal Famine of 1943.
Step 2: Evaluate the artists. Both Somnath Hore and Chittoprasad created powerful works about the famine. However, Chittoprasad Bhattacharya acted as a visual reporter during the famine, creating stark and immediate lino-cuts and drawings that were so powerful the British authorities suppressed them. Somnath Hore was also deeply affected and his experiences shaped his later work, most notably his "Wounds" series.
Step 3: Conclude based on historical context. For direct, contemporary documentation and awareness-raising *during* the famine through printmaking, Chittoprasad is the most accurate answer. Quick Tip: For art of the Bengal Famine, remember two names: Chittoprasad as the powerful on-the-spot documentarian, and Somnath Hore as the artist who translated the suffering into a profound, life-long theme.

Step 1: Identify the artwork and artist. The mural in question is a masterpiece of modern Indian art by Benode Behari Mukherjee. It is located at Hindi Bhavan, Visva-Bharati University in Santiniketan.
Step 2: Define the fresco techniques. Fresco buono (true fresco) involves painting on wet lime plaster, allowing the pigment to bond with the plaster as it dries. Fresco secco involves painting on dry plaster.
Step 3: Determine the technique used. Benode Behari Mukherjee created this monumental mural using the challenging fresco buono technique, which he learned and adapted, making it a landmark work in Indian art history. Quick Tip: Benode Behari Mukherjee's mural at Santiniketan is one of the most significant examples of the true fresco, or fresco buono, technique in 20th-century art.

Step 1: Match each sub-school or center from List-I to its parent school in List-II.

(A) Bijapur Sub-school: Bijapur was one of the Sultanates of the Deccan, making it a major center of the (IV) Deccani School of miniature.
(B) Kishangarh Sub-school: Kishangarh, famous for its iconic 'Bani Thani' paintings, is a prominent sub-school of the (III) Rajasthani School of miniature.
(C) Akbar's Tasveerkhana: The 'Tasveerkhana' was the imperial painting workshop established by Emperor Akbar, which was the heart of the (II) Mughal School of miniature.
(D) Basohli Sub-school: Basohli, known for its bold colors and vigorous style, is one of the earliest and most important sub-schools of the (I) Pahari School of miniature.

Step 2: Combine the matches: (A)-(IV), (B)-(III), (C)-(II), (D)-(I). This corresponds to option (2). Quick Tip: Link key places to major schools: Akbar \(\rightarrow\) Mughal, Kishangarh \(\rightarrow\) Rajasthani, Basohli \(\rightarrow\) Pahari, and Bijapur \(\rightarrow\) Deccani.

Step 1: Analyze the core principle mentioned in the question: the mutual repulsion of oil and water. This is the fundamental concept of planographic printing.
Step 2: Evaluate the options.

Lino-cut is a relief printing technique where the non-printing areas are carved away from a linoleum block.
Mezzotint is an intaglio printing technique that creates tones by roughening a metal plate with a tool called a "rocker."
Serigraphy (or screen printing) is a stencil-based technique where ink is forced through a mesh screen onto the substrate.
Lithography is a planographic (flat surface) technique where an image is drawn on a flat stone or plate with a greasy substance (like a crayon). The stone is then wetted, and the water adheres to the non-greasy areas. When oil-based ink is applied, it sticks only to the greasy drawing, repelled by the water. This is a direct application of the "oil and water don't mix" principle. Quick Tip: Remember "Litho-" means stone and "-graphy" means writing. Lithography is "writing on stone" with a greasy crayon, which works because the greasy ink sticks to the crayon drawing but not to the wet parts of the stone.

Step 1: Identify the artist and artwork. K.G. Subramanyan was a versatile modern Indian artist known for working in a wide range of media. His murals are particularly famous.
Step 2: Recall the medium of his significant murals. One of K.G. Subramanyan's most celebrated mural techniques involved using individually fired terracotta tiles. He would paint on these clay tiles before firing them, and then assemble them to create large-scale murals.
Step 3: Connect the technique to the specific artwork. The mural "Three Mythological Goddesses" is a prime example of his work using thousands of small, painted terracotta tiles to create a vibrant and textured surface. Quick Tip: K.G. Subramanyan is renowned for his innovative use of materials. Associate him with large, vibrant murals constructed from many small, individually painted terracotta tiles.

Step 1: Match each folk art style with its state of origin.

(A) Phad Painting: This is a traditional form of religious scroll painting that originates from the state of (III) Rajasthan.
(B) Warli Painting: This is a tribal art form created by the Warli tribe, who live primarily in the state of (I) Maharashtra.
(C) Gond Painting: This is a folk and tribal art form practiced by the Gond tribe, one of the largest tribes in India, predominantly residing in (IV) Madhya Pradesh.
(D) Mithila Painting: Also known as Madhubani art, this painting style originates from the Mithila region of (II) Bihar.

Step 2: Combine the matches: (A)-(III), (B)-(I), (C)-(IV), (D)-(II). This sequence corresponds to option (1). Quick Tip: Create mental links for Indian folk arts: Phad with the royal history of Rajasthan, Warli with the tribal heritage of Maharashtra, Gond with the forests of central India (Madhya Pradesh), and Mithila/Madhubani with Bihar.

Step 1: Understand the question. The question asks for an intaglio process where rosin dust is used to create a ground that resists acid, thereby creating tonal areas rather than sharp lines.
Step 2: Evaluate the options.

Lino cut is a relief process, not intaglio, and does not use acid.
Aquatint is an intaglio process where powdered rosin is sprinkled onto a metal plate and then heated, causing it to melt and adhere in a fine, porous ground. When the plate is submerged in an acid bath, the acid bites into the tiny spaces between the rosin particles, creating a pitted, tonal surface that holds ink. This perfectly matches the description.
Drypoint is an intaglio process where the image is incised directly into the plate with a sharp tool. It does not use acid.
Mezzotint is an intaglio process where the plate is systematically roughened with a rocker to create a dark background, and the image is formed by smoothing and polishing areas to make them lighter. It does not use acid. Quick Tip: Remember "Aqua-" means water and "-tint" means tone. Aquatint creates watercolor-like tonal effects in etching by using a porous ground of rosin to control the acid bite.

Step 1: Define a mandala. A mandala is a spiritual and ritual symbol representing the universe. It is a complex, abstract design that is usually circular in form.
Step 2: Analyze its use in different religions. While geometric spiritual diagrams exist in Hinduism (like yantras), the specific practice of creating elaborate mandalas as a meditative, painstaking ritual—often using colored sand and then ceremonially destroying them to symbolize impermanence—is a hallmark of Vajrayana or Tibetan Buddhism.
Step 3: Conclude based on the description. The description of a sacred, meditative, and painstaking process strongly points to the sand mandala tradition in Tibetan Buddhism. Quick Tip: While mandalas appear in multiple traditions, the image of monks spending days creating intricate patterns with colored sand is uniquely associated with Tibetan Buddhism.

Step 1: Match each artwork with its creator.

(A) Hungry Bengal, relief print: This is a famous and powerful series of works by (III) Chittoprasad, documenting the Bengal Famine of 1943.
(C) Whirlpool, viscosity print: "Whirlpool" is one of the most iconic prints by (II) Krishna Reddy, showcasing his mastery of the viscosity printing technique he helped develop.
(B) Rural South Indian Man - Women, etching print: This subject matter is characteristic of the work of (IV) Lakshma Goud, who is renowned for his etchings depicting the rustic life of rural Telangana.
(D) Devi, etching print: By elimination and common themes, "Devi" is a subject often explored by (I) Jyoti Bhatt in his prints, which blend folk motifs with modernism.

Step 2: Assemble the correct sequence: (A)-(III), (B)-(IV), (C)-(II), (D)-(I). This combination matches option (2). Quick Tip: Focus on the strongest links first: Chittoprasad's "Hungry Bengal" and Krishna Reddy's viscosity prints are cornerstones of Indian modern art history.

Step 1: Identify the artist of "Of Walls." This celebrated print is a signature work by the Indian artist Anupam Sud.
Step 2: Identify Anupam Sud's primary medium. Anupam Sud is one of India's foremost printmakers, and she is particularly acclaimed for her mastery of the intaglio process, especially zinc plate etching and aquatint.
Step 3: Conclude the medium of the specific work. "Of Walls" is one of her most famous works and is an exemplary piece of etching, showcasing her skill in creating complex, allegorical scenes with deep, rich lines and tones characteristic of the medium. Quick Tip: Associate the artist Anupam Sud with the print "Of Walls" and her primary medium, which is etching. Her works often have a theatrical, somber quality perfectly suited to the intaglio process.

Step 1: Match the materials, tools, and terms in List-I to their related techniques or definitions in List-II.

(B) Brayer: This is the technical term for an (III) Inking roller, used to apply ink to a printing plate.
(C) Linoleum: This material is the surface used for making a (IV) Lino cut.
(A) Copper plate: This is a common material used for various intaglio techniques, including (II) Mezzotint.
(D) Sugarbite: "Sugarbite" or sugar-lift is an etching technique that allows for painterly marks. The process involves drawing with a sugar solution, covering the plate with a ground, and then dissolving the sugar, exposing the plate to be bitten by (I) Acid.

Step 2: Assemble the correct sequence: (A)-(II), (B)-(III), (C)-(IV), (D)-(I). This combination matches option (4). Quick Tip: Learn the core vocabulary of printmaking: A brayer is an inking roller. Linoleum is for lino cuts. Copper plates are for intaglio methods like mezzotint and etching.

Step 1: Recall the history of early printing. Printing originated in China using woodblock techniques long before Gutenberg's printing press in Europe.
Step 2: Identify the earliest dated example. The oldest known complete, dated, and printed book is a copy of the Diamond Sutra, a Buddhist scripture.
Step 3: Provide context. This copy was found in a sealed cave in Dunhuang, China, in the early 20th century. It is a scroll, about 16 feet long, printed from woodblocks, and includes a colophon stating that it was made in "the 9th year of Xiantong of the Tang Dynasty," which corresponds to the date May 11, 868 CE. The Biblia Pauperum is a block-book from the 15th century in Europe. Quick Tip: While Gutenberg's press was revolutionary, remember that printing itself started much earlier in China. The Diamond Sutra from 868 CE is the key example of early woodblock printing.

Step 1: Analyze the composition of Leonardo's "Last Supper." The painting is a masterpiece of High Renaissance composition, known for its mathematical precision, harmony, and use of linear perspective. The figure of Christ is the central, organizing point.
Step 2: Consider the compositional principles. The Golden Ratio (approximately 1.618:1), also known as the Divine Proportion, was studied extensively by Renaissance artists and mathematicians, including Leonardo's contemporary and friend, Luca Pacioli. It was considered a key to creating aesthetically pleasing and harmonious proportions.
Step 3: Apply the principle to the painting. Art historians and analysts have shown that the fundamental proportions of the "Last Supper"—such as the dimensions of the room, the placement of the figures, and the positioning of architectural elements like the windows and table—can be closely related to the Golden Ratio. While the Rule of Thirds is a common compositional tool, the sophisticated and mathematical structure of the "Last Supper" is more deeply aligned with the Golden Ratio. Quick Tip: For High Renaissance masterpieces like those by Leonardo da Vinci, associate their compositional harmony with the mathematical ideal of the Golden Ratio, which was a subject of great interest during that period.

Step 1: Define "Ghost Print." A ghost print is a second, much fainter impression pulled from a printing plate without re-applying ink. The ink remaining on the plate after the first print creates a pale, ethereal "ghost" of the original image.
Step 2: Relate the concept to the options. This technique is a defining characteristic of Monoprint (and Monotype). In monoprinting, the artist works on a non-porous plate, and the first pull removes most of the ink. The residual ink is just enough to create the secondary ghost image, which is valued for its unique, subtle qualities. This is not a standard feature of the other listed techniques. Quick Tip: Think of the term literally: a "ghost" is a faint echo of something that was there before. A ghost print is the faint echo of the first, fully inked print, and it's a signature effect of the monoprinting process.

Step 1: Match each material or tool from List-I with the printing technique it is essential for in List-II.

(A) Acid: Acid is used to bite or incise the lines into a metal plate in (III) Etching Printing.
(B) Stone: A large, flat limestone is the traditional surface used for (II) Lithography.
(C) Mesh: A fine mesh, stretched over a frame, is the stencil carrier used in (IV) Silk Screen printing (also called Serigraphy).
(D) Wood: A block of wood is the surface that is carved to create the image in woodcut, a form of (I) Relief Printing.

Step 2: Combine the matches: (A)-(III), (B)-(II), (C)-(IV), (D)-(I). This sequence corresponds to option (3). Quick Tip: Associate core materials with their processes: Acid \(\rightarrow\) Etching, Stone \(\rightarrow\) Lithography, Mesh \(\rightarrow\) Silk Screen, Wood \(\rightarrow\) Relief (Woodcut).

Step 1: Define Aquatint. Aquatint is a specific method used to create tonal areas in a print. It involves dusting a plate with rosin powder and heating it, creating a porous ground that allows acid to bite the plate in a finely pitted texture.
Step 2: Categorize the technique. Because the ink is held in the pitted areas below the surface of the plate, Aquatint is fundamentally an Intaglio process. It is often used in combination with other intaglio techniques like etching and drypoint to add tone to a line-based image. While Drypoint and Mezzotint are also intaglio methods, Aquatint is a technique that falls under the broad category of Intaglio. Quick Tip: Think of Intaglio as a family of printmaking techniques. Engraving, Etching, Drypoint, Mezzotint, and Aquatint are all members of the Intaglio family because they all print from ink held below the surface of the plate.

Step 1: Analyze the name of the technique, "Linocut."
Step 2: Break down the name. "Lino" refers to the material, and "cut" refers to the action of carving.
Step 3: Identify the material. The surface material used for this relief printing technique is Linoleum, a composite material made from materials such as solidified linseed oil, pine rosin, ground cork dust, and mineral fillers. The other options are incorrect spellings. Quick Tip: The name of the technique tells you the material. A Lino-cut is a cut made on a block of Linoleum.

Step 1: Match the description of the printing process with its common name or method.

(A) Printing by seeping through a matrix: This describes pushing ink through a stencil on a mesh. This is the principle of (III) Serigraphy (Silk Screen).
(B) Printing from below the surface: This is the definition of intaglio printing, where ink is held in incised lines. (I) Etching is a primary example of this.
(C) Plano printing: This means printing from a flat surface, without carving or incising. This is the principle of (II) Lithography.
(D) Block printing: This is a relief method where the image is printed from the raised surface of a carved block. (IV) Wood cut is the classic example.

Step 2: Combine the matches: (A)-(III), (B)-(I), (C)-(II), (D)-(IV). This sequence matches option (4). Quick Tip: Remember the four families of printmaking: Relief (Block), Intaglio (Below surface), Planographic (Plano/Flat), and Stencil (Through a matrix).

Step 1: Analyze the key features described: it's an intaglio process, it replaces acid, and it uses light (U.V.) and water.
Step 2: Evaluate the options. The term for this modern, non-toxic printmaking method is Solarplate printing. It uses a steel plate coated with a light-sensitive polymer. A transparency with an image is placed on the plate and exposed to UV light (from the sun or an exposure unit). The plate is then "developed" with water, washing away the unexposed polymer and leaving an intaglio plate that can be inked and printed like a traditional etching, but without the use of hazardous acids. Quick Tip: Think "Solar" for the use of UV light and "plate" for the printing matrix. Solarplate is a light-based, non-toxic alternative to acid etching.

Step 1: Define block printing. Block printing is a form of relief printing where the printing surface is a block from which non-image areas are removed. Ink is applied to the raised surface and then transferred to paper.
Step 2: Evaluate the given methods.

(B) Wood cut: This is a classic block printing method using a block of wood.
(C) Lino cut: This uses a block of linoleum and is another primary example of block printing.
(A) Collograph: This involves creating a collage on a plate; it can be printed as relief but is not typically called block printing.
(D) Oleograph: This is a type of lithographic print, not a block print.

Therefore, the clear examples of block printing methods are Wood cut and Lino cut. Quick Tip: Block printing involves carving a solid block to create a raised image. Wood and linoleum are the two most common materials for this, hence "wood cut" and "lino cut."

Step 1: Define Intaglio printmaking. The word "intaglio" comes from Italian and means "to incise" or "to carve in." In these techniques, the image is cut or etched into a plate, and the ink is held in these recessed marks.
Step 2: Categorize the options.

Etching, Engraving, and Drypoint are all classic intaglio techniques where the image is created below the surface of the plate.
Wood cut is a relief technique. In woodcut, the areas that will not print are carved away, leaving the image as the raised surface of the block.

Therefore, Wood cut is the one that is not an intaglio technique. Quick Tip: A simple way to remember: Intaglio prints from the "valleys" (incised lines). Relief printing (like woodcut) prints from the "mountaintops" (raised surface).

Step 1: To determine the chronological sequence by seniority, we need to know the birth years of the artists.

(B) Krishna Reddy: Born in 1925
(A) Paramjeet Singh: Born in 1935
(C) Anupam Sud: Born in 1944
(D) Kavita Nayar: Born in 1957

Step 2: Arrange the artists from earliest birth year to latest. The correct order is Krishna Reddy (1925), then Paramjeet Singh (1935), then Anupam Sud (1944), and finally Kavita Nayar (1957). This corresponds to the sequence (B), (A), (C), (D). Quick Tip: For modern Indian artists, remembering generations can be helpful. Krishna Reddy was a key figure of the post-independence generation, making him one of the most senior artists in any list of modern Indian printmakers.

Step 1: Understand the Mezzotint process. Mezzotint is an intaglio printmaking process that involves systematically roughening a plate with a tool called a "rocker" to create a dense texture of pits and burrs that will hold ink and print a rich black. The image is then created by selectively smoothing and burnishing these areas to make them hold less ink and appear lighter.
Step 2: Consider the material properties needed. This process requires a metal that is soft enough to be worked by the rocker and burnishers but durable enough to hold the fine burr through multiple printings.
Step 3: Evaluate the options. Historically and traditionally, Copper has been the preferred metal for mezzotint because it has the ideal balance of softness for detailed work and hardness for durability. Zinc is generally too soft and does not hold the burr as well, while steel is too hard to work easily with the rocker. Quick Tip: For high-detail intaglio processes like mezzotint and engraving, copper has always been the gold standard (or rather, the copper standard) for plates.

Step 1: Define Soft Ground Etching. It is a specific type of (D) Etching. The process involves covering a metal plate with a soft, waxy ground. A drawing is then made on paper placed over the ground, and the wax adheres to the paper where pressure is applied. When the paper is lifted, it pulls the ground off the plate, exposing the metal to be bitten by acid.
Step 2: Identify the materials used. Like other etching techniques, soft ground etching is an intaglio process performed on metal plates. (B) Zinc plate printing is a common application, as zinc is a popular metal for etching.
Step 3: Eliminate incorrect options. (A) Wood Cut is a relief technique and does not use etching. (C) Stone printing refers to lithography, which is a planographic technique. Therefore, the process is used in both (B) and (D). Quick Tip: Soft Ground Etching is a sub-category of the main \(\textbf{Etching}\) process. Remember that etching is done on metal plates, such as zinc or copper.

Step 1: Define relief printmaking. In relief printing, the ink is applied to the raised surface of the printing matrix (like a stamp). The areas that are not meant to print are carved away.
Step 2: Analyze the options.

Mezzotint and Etching are intaglio techniques (printing from recessed lines).
Silk Screen is a stencil technique (serigraphy).
Wood Engraving involves carving a design into the end-grain of a wood block. The raised, un-carved areas receive the ink, making it a relief technique. Quick Tip: Remember that "Relief" printing is like using a rubber stamp. The ink sits on the raised part. Woodcut and Wood Engraving are classic examples.

Step 1: Identify the "Bhramaragita." It is a famous section from the tenth book of the Bhagavata Purana, which describes the gopis' conversation with Uddhava and a bee (bhramara).
Step 2: Connect the text to its poetic tradition. While the Bhagavata Purana is an ancient Sanskrit text, its stories were popularized in the medieval period through devotional poetry in vernacular languages. The 16th-century blind poet Surdasa (or Surdas) was a foremost devotee of Krishna and composed a vast body of poetry about his life, collected in the Sursagar. His version of these stories, written in Braj Bhasha, was immensely influential.
Step 3: Link the poetry to the painting school. The painters of the Mewar School, like other Rajput schools, drew heavily on this popular devotional literature for their subjects. Therefore, the illustrated manuscript is based on the poetic tradition of Surdasa. Quick Tip: For themes of Krishna's life in Rajput miniature painting, especially from the Braj region's influence, associate the literary source with the great devotional poet Surdas.

Step 1: Define the term 'Intaglio.' It is an Italian word meaning "to incise."
Step 2: Apply the definition to the options. Intaglio refers to a family of printmaking methods where the image is incised into a surface (the matrix), and the incised line or sunken area holds the ink. It is therefore a Technique of Print Making. This family includes methods like engraving, etching, drypoint, and mezzotint. Quick Tip: Intaglio is one of the four main families of printmaking. The key idea is that the ink is \(\textbf{in}\) the grooves, below the surface of the plate.

Step 1: Analyze the function described. The question asks for a tool used to carve or cut into wood or linoleum for printmaking.
Step 2: Evaluate the options. While a chisel has a straight cutting edge, the primary tools used for carving the curved and varied lines in relief printing are gouges. Gouges have curved cutting edges (U-shaped or V-shaped) that are ideal for scooping out material. Gauze is a medical dressing. "Cutter" is a general term, but "gouge" is the specific and correct name for this tool in the context of printmaking. Quick Tip: For carving woodcuts and linocuts, the essential tools are called gouges. They come with U-shaped or V-shaped tips to create different kinds of marks.

Step 1: Define Serigraphy. Serigraphy, also known as screen printing or silk screen, is a printing technique where a mesh is used to transfer ink onto a substrate.
Step 2: Understand the core principle. The ink is pushed through the open areas of the mesh. To create an image, the areas that should not be printed are blocked. This blocking element is a Stencil. The stencil prevents ink from passing through, defining the final image. The other materials listed are for different techniques: copper plates for intaglio, limestone for lithography, and ink rollers primarily for relief and lithography. Quick Tip: Serigraphy is essentially a very sophisticated form of stencil printing. The screen supports the stencil, allowing for highly detailed images.

Step 1: Analyze the process described. The technique involves painting acid directly onto an already aquatinted plate to create free-form, painterly tonal areas.
Step 2: Identify the correct term. This technique is called Spitbite. The name originates from the traditional practice of mixing the acid with saliva (spit) to control its viscosity and corrosive action, allowing the artist to "paint" with it. Today, gum arabic is often used instead of saliva, but the name remains. Quick Tip: The unusual name "Spitbite" is a good mnemonic. It refers to painting with acid, traditionally mixed with spit, to create watercolor-like effects on an etching plate.

Step 1: Reconstruct the process of making an etching print. The question asks for the chronological order of using the items during the creation process.
Step 2: Sequence the steps.

% Option
(A) First, the artist uses a (B) Needle to draw through the waxy ground on the plate, exposing the metal.
% Option
(B) Second, the plate is submerged in an acid bath for the (C) Etching process, where the acid bites into the exposed lines.
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(C) Third, after cleaning the plate, (D) Ink is applied, filling the etched lines. The surface is then wiped clean.
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(D) Fourth and finally, the inked plate is pressed against (A) Paper to transfer the image.

The correct sequence is (B), (C), (D), (A). Quick Tip: Visualize making an etching: Draw with a needle, etch with acid, apply ink, and print on paper.

Step 1: Understand the context. The question refers to wiping an intaglio plate (like a zinc etching plate) after applying oil-based ink. The goal is to remove ink from the flat surface while leaving it in the incised lines.
Step 2: Evaluate the options.

Cloth (specifically tarlatan cloth) is the primary tool for the initial wiping.
Newsprint paper or old phone book pages are often used for the final wiping to remove the last film of ink from the surface.
Butter paper (or tissue paper) can be used for a very delicate final wipe.
Water is not used. Oil-based etching ink and water are immiscible. Trying to wipe an oily plate with water would be ineffective and would smudge the ink rather than cleaning the surface. Quick Tip: Most traditional printmaking inks are oil-based. Remember the basic principle: oil and water don't mix. Therefore, you wouldn't use water to clean an oily plate.

Step 1: Identify the context. "AP" is a standard notation used in limited edition printmaking, written on a print alongside the signature and sometimes the edition number.
Step 2: Define the term. The abbreviation "AP" stands for Artist's Proof. An Artist's Proof is one of a small group of prints set aside from the main edition for the artist's personal use. They are identical in quality to the main edition but are numbered separately (e.g., AP 1/5). Quick Tip: In a print edition, you'll see numbers like "7/100." If you see "AP" instead, it stands for "Artist's Proof" – a print from the same edition that belongs to the artist.

Step 1: Define the Intaglio technique. Intaglio printing involves incising an image into a plate. The incised lines or areas hold ink, and the image is transferred from these recessed areas.
Step 2: Analyze the given options.

(C) Mezzotint: This is a classic intaglio technique where the plate is systematically roughened to hold ink and then smoothed to create lighter tones.
(D) Dry point: In this technique, the artist scratches an image directly onto a plate with a sharp needle, creating a burr that holds ink. This is a direct form of intaglio.
(A) Collography: This involves creating a collage on a plate. It can be printed either as an intaglio or a relief print, but it is a distinct category.
(B) Monoprint: This is a planographic technique where an image is created on a smooth surface and then transferred.

The definitive intaglio techniques from the list are Mezzotint and Dry point. Quick Tip: Remember the core Intaglio family: Engraving, Etching, Dry point, and Mezzotint. These all involve printing from lines or areas below the surface of the plate.

Step 1: Identify the material. Bavarian limestone is the traditional, ideal surface for lithography.
Step 2: Categorize lithography. Lithography is the primary example of Planography (or planographic printing), which means printing from a flat surface. The process works on the chemical principle that oil and water repel each other, rather than on incised lines or raised surfaces.
Step 3: Conclude the association. Therefore, Bavarian limestone is used in planographic printing. Quick Tip: "Litho" means stone. Lithography is printing from a stone. And lithography is the quintessential planographic (flat-surface) printing method.

Step 1: Analyze the key features of the process described: it is ink-less, it uses a plate, and it creates an impression on dampened paper using a press.
Step 2: Evaluate the options. The process of creating a raised, three-dimensional image on paper by pressing it between two dies or onto a carved plate without ink is called Embossment (or embossing). The dampened paper is more pliable and takes the impression of the plate's texture and depth more effectively. Deckle edge refers to the rough edge of handmade paper. Engraving and Etching are inking processes. Quick Tip: Think of the raised lettering on a formal invitation. That is an example of embossing. When done without ink in printmaking, it is a form of embossment.

Step 1: Determine the active period or birth year for each artist to establish seniority.

(B) Miskin: A leading painter in the court of Mughal emperor Akbar, active in the late 16th century.
(C) Gaganendranath Tagore: A key figure of the Bengal School of Art, born in 1867.
(A) Krishna Reddy: A master printmaker of the modern era, born in 1925.
(D) Anupam Sud: A prominent contemporary Indian printmaker, born in 1944.

Step 2: Arrange the artists in chronological order from earliest to latest. The correct sequence is Miskin (16th C.), Gaganendranath Tagore (b. 1867), Krishna Reddy (b. 1925), and Anupam Sud (b. 1944). This corresponds to the sequence (B), (C), (A), (D). Quick Tip: To order Indian artists chronologically, group them by major art periods: Mughal era (Miskin), Bengal School/Early Modern (Tagore), Post-Independence Modern (Reddy), and Contemporary (Sud).

Step 1: Understand additive colour mixing. This system applies to mixing light, not pigment. The primary colors of additive light are Red, Green, and Blue (RGB).
Step 2: Recall the combinations of additive primaries.

Red + Green light = Yellow light
Red + Blue light = Magenta light
Blue + Green light = Cyan light
Red + Green + Blue light = White light

Therefore, the combination of blue and green light produces cyan. Quick Tip: Think of your computer screen (RGB). The secondary colors are the ones you see in your printer ink cartridges (CMY): Cyan (Green + Blue), Magenta (Red + Blue), and Yellow (Red + Green).

Step 1: Define Pahari painting. This is a school of miniature painting that developed in the hill kingdoms of North India during the 17th-19th centuries.
Step 2: Identify the major sub-schools of Pahari painting. The most important centers include Basohli, Guler, Kangra, Chamba, and Mandi.
Step 3: Evaluate the given options.

(B) Kangra and (C) Basohli are two of the most famous and influential Pahari sub-schools.
(A) Kishangarh is a major sub-school of the Rajasthani school of painting, not Pahari.
(D) Shimla was not a historical center for a distinct sub-school of Pahari miniature painting in the same vein as the others.

Therefore, only Kangra and Basohli are correct. Quick Tip: Remember the two major schools of Rajput painting are Rajasthani (from the plains, e.g., Kishangarh, Bundi) and Pahari (from the hills, e.g., Kangra, Basohli).

Step 1: Identify the tool's function. The question asks for the specific name of a hand roller used to apply ink in printmaking.
Step 2: Recall printmaking terminology. The correct term for this tool is a Brayer. A brayer consists of a handle and a roller, typically made of rubber or gelatin, and is used to roll out a thin, even layer of ink onto a plate or block. A burnisher is a tool used to smooth or polish a plate in intaglio printing. Quick Tip: Associate the tool with the action: you use a \(\textbf{brayer}\) to apply ink. It's a fundamental tool in relief printing and lithography.

Step 1: Identify the art form. Saora art is a style of mural painting associated with the Saora tribe.
Step 2: Locate the origin of the tribe and its art. The Saora tribe is one of the oldest tribes in India and resides predominantly in the hills of southern Odisha. Their ritualistic wall paintings, known as iditals or edital, are a central part of their culture and religion. Quick Tip: Connect the tribal art forms to their states. Just as Warli is from Maharashtra and Gond is from Madhya Pradesh, Saora art is a key cultural heritage of Odisha.

Step 1: Identify the location and theme. The Ajanta Caves are a Buddhist rock-cut cave monument site, and the art primarily depicts Jataka tales and events from the life of the Buddha.
Step 2: Evaluate the options based on this theme and location.

(A) Mara Vijaya: This scene, depicting the Buddha's victory over the demon Mara (temptation), is a major theme in Buddhist art and a prominent sculpture/mural in Ajanta (Cave 26 sculpture, Cave 1 painting).
(D) Bodhisattva Padmapani: This is arguably the most famous painting at Ajanta, located in Cave 1. It shows the compassionate bodhisattva holding a lotus.
(B) Nataraja (Shiva as the cosmic dancer) and (C) Trimurti (the three-faced Shiva) are iconic Hindu sculptures found in the Elephanta Caves and Ellora Caves, not Ajanta.

Therefore, only Mara Vijaya and Bodhisattva Padmapani are found at Ajanta. Quick Tip: Remember the religious focus of the major cave sites: Ajanta is almost exclusively Buddhist. Ellora is a mix of Buddhist, Hindu, and Jain. Elephanta is primarily Hindu (Shaivite).

Step 1: Define relief printing. This method involves printing from a raised surface, where the non-printing areas have been cut away.
Step 2: Analyze the given techniques.

Wood cut and Lino cut are classic relief techniques where a block is carved.
Letterpress is a mechanized form of relief printing using movable type.
Engraving (Metal) is an intaglio technique. The image is incised into a metal plate, and the ink is held in these recessed lines, not on the raised surface.

Therefore, metal engraving is not a relief technique. Quick Tip: If you have to cut lines \(\textbf{into}\) a plate to hold ink, it's intaglio. If you have to cut the background \(\textbf{away}\) to leave a raised image, it's relief.

Step 1: Reconstruct the standard process for preparing and printing a lithographic stone.

Step 2: Sequence the steps in their correct chronological order.

% Option
(A) (C) Grinding: The process begins by preparing the limestone slab. It is ground flat and grained to create a receptive surface. This must happen before anything else.
% Option
(B) (A) Drawing: The artist then creates the image directly on the stone using a greasy substance like a litho crayon or tusche.
% Option
(C) (B) Gumming: The stone is then etched with a solution of gum arabic and a small amount of acid. This chemically fixes the drawing to the stone and desensitizes the non-image areas so they attract water and repel ink.
% Option
(D) (D) Inking: After the stone is processed and dampened with water, oil-based ink is rolled onto the surface. The ink adheres only to the greasy drawing, not the damp, non-image areas. The print is then made.

The correct sequence is (C), (A), (B), (D). Quick Tip: Think of the lithography process in four key stages: Prepare the stone (Grinding), Create the image (Drawing), Fix the image (Gumming/Etching), and Print the image (Inking).

Step 1: Define stencil techniques in printmaking. These techniques involve passing ink through a cut-out or blocked-out matrix (the stencil) to form an image.
Step 2: Analyze the options.

Silk screen (Serigraphy) is the quintessential modern stencil technique.
Pochoir is a direct, hand-stenciling method.
Squeezee (often misspelled as Squeeze) is the tool used to push ink through the stencil in silk screen printing, so it is inherently part of the stencil process.
Photogravure is a photo-mechanical intaglio process. It involves etching a photographic image onto a plate and printing it like an etching. It is not a stencil technique.

Therefore, Photogravure is the correct answer as it does not belong to the stencil family. Quick Tip: Remember the main printmaking families: Relief, Intaglio, Planographic, and Stencil. Photogravure belongs to the Intaglio family, while Silk Screen and Pochoir belong to the Stencil family.

Step 1: Differentiate between the elements of art and the principles of design. The elements are the basic building blocks of art (the what), while the principles are how those building blocks are organized (the how).
Step 2: Classify the given options.

The elements of art are typically listed as: Line, Shape, Form, Space, Texture, Value, and Colour.
The principles of design are typically listed as: Balance, Contrast, Emphasis, Movement, Pattern, Rhythm, Unity, and Proportion.

Step 3: Identify the outlier. Colour is a fundamental element of art, not a principle of design. The principles (Contrast, Balance, Proportion) describe how colour and other elements are used. Quick Tip: Think of it like cooking: Ingredients (flour, sugar, eggs) are the \(\textbf{Elements}\). The recipe and cooking method (mixing, baking, arranging) are the \(\textbf{Principles}\). Colour is an ingredient, not the recipe.

Step 1: Determine the approximate period of invention or widespread use for each printmaking technique.

(B) Woodcut: The oldest form of printmaking, originating in China around the 9th century and appearing in Europe around 1400.
(C) Engraving: Developed from goldsmithing techniques in Germany in the 1430s. It became a major artistic medium shortly after the woodcut in Europe.
(D) Etching: Developed around the early 16th century as an alternative to engraving, using acid to incise the lines.
(A) Viscosity Printing: A modern multi-color intaglio technique developed in the 20th century by Stanley William Hayter.

Step 2: Arrange the techniques in chronological order from oldest to newest. The correct sequence is Woodcut, Engraving, Etching, Viscosity. This corresponds to (B), (C), (D), (A). Quick Tip: The historical progression of printmaking in Europe generally follows this order: Relief (Woodcut), then Intaglio (Engraving, then Etching), then Planographic (Lithography), and finally modern techniques like Serigraphy and Viscosity.

Step 1: Identify the technique. 'Collage Plate' printing is another term for Collagraphy (or Collography), where the printing plate is created by collaging various materials onto a rigid substrate.

Step 2: Recall the history of modern Indian printmaking. The artist Kanwal Krishan (1922-1993) was a key innovator in Indian printmaking. After studying in Europe, he is credited with introducing several new techniques to India, most notably the collagraph process, which he explored extensively in his work. Quick Tip: For pioneering modern printmaking techniques in India, especially collagraphy and viscosity printing, Kanwal Krishan and Krishna Reddy are the foremost names to remember.

Step 1: Define planographic printing. This category includes all methods of printing from a flat surface (a plane), without any raised or recessed areas. The image is held on the surface by chemical means.

Step 2: Analyze the options.

Lithography is the quintessential planographic process.
Photolithography and Collotype are photo-mechanical variations of the same planographic principle.
Xerography (photocopying) is an electrostatic printing process. It works by attracting charged toner particles to an image area defined by light on a photoreceptive drum. While it prints a flat image, it is not a planographic process in the traditional printmaking sense, which relies on the oil-and-water principle. It's a distinct category of digital/electrostatic printing. Quick Tip: Planographic printmaking's core principle is chemistry: oil and water don't mix. Lithography, Photolithography, and Collotype all rely on this. Xerography uses static electricity and toner, a completely different principle.

Step 1: Identify the primary artistic medium of each artist listed.

(A) Anupam Sud: A very famous and influential contemporary Indian artist, known primarily for her work as a printmaker, especially in etching and intaglio.
(C) Jyoti Bhatt: A multifaceted artist associated with the Baroda School, he is highly regarded for his work in painting and particularly as an innovative printmaker.
(B) D.P. Roy Chowdhury: A leading modern artist, he was primarily known as a sculptor and painter.
(D) Ramkinker Baij: A pioneering modern Indian artist, he is celebrated as a master sculptor and painter.

Step 2: Select the artists known for their printmaking work. Anupam Sud and Jyoti Bhatt are the printmakers on the list. Quick Tip: When thinking about modern Indian artists, associate their primary medium: Ramkinker Baij and D.P. Roy Chowdhury are foremost sculptors. Anupam Sud and Jyoti Bhatt are foremost printmakers.

Step 1: Identify the inventor and the technique. The question refers to Ludwig von Siegen (misspelled in the prompt), who invented the Mezzotint process in the 17th century.

Step 2: Analyze the function of Mezzotint. Mezzotint is an intaglio technique designed to create tonal areas, moving from dark to light. The artist systematically roughens the entire plate to print a solid black, then creates the image by smoothing and burnishing areas to make them hold less ink and thus appear lighter.

Step 3: Compare its function to the options. Aquatint is another intaglio technique specifically developed to create tonal effects, though it works through a different process (pitting the plate with acid through a porous ground). Functionally, both Mezzotint and Aquatint are methods for creating tone in intaglio prints, as opposed to the linear qualities of drypoint, or the relief nature of linocut and woodcut. Mezzotint is considered a "dry" (non-acid) tonal method, while aquatint is a "wet" (acid-based) tonal method. In this context, Aquatint is the most closely related technique in function.
Note: The question is slightly ambiguous. While Mezzotint is a distinct process, its purpose of creating tone is shared with Aquatint, making it the best fit among the choices. Quick Tip: Associate techniques by their primary visual effect. Mezzotint and Aquatint are the two main intaglio methods for creating \(\textbf{tone}\). Drypoint, Etching, and Engraving are primarily for creating \(\textbf{lines}\).

Step 1: Establish the approximate dates of invention for each technique.

(B) Woodcut: Originated in China (c. 9th century) and appeared in Europe around 1400. It is the oldest.
(D) Metal engraving: Developed in Europe in the 1430s.
(A) Lithography: Invented by Alois Senefelder in 1796.
(C) Serigraphy (Screen printing): While ancient in concept, it was patented for industrial use in the early 20th century and adopted as an artistic medium in the 1930s and later.

Step 2: Arrange them in order from oldest to newest. The correct sequence is Woodcut, Metal engraving, Lithography, Serigraphy. This corresponds to (B), (D), (A), (C). Quick Tip: Remember the timeline of major printmaking innovations: Relief (Woodcut - 1400s), Intaglio (Engraving - 1430s), Planographic (Lithography - 1790s), and Stencil (Artistic Serigraphy - 1930s).

Step 1: Identify the function of acid in etching. Its purpose is to corrode or "bite" the metal plate where it has been exposed by the etching needle.
Step 2: Evaluate the chemical options.

Hydrogen Oxide is the chemical name for water (H\(_2\)O), which does not etch metal.
Hydrogen Peroxide is an oxidizer but not the primary acid used for biting plates.
Hydrochloric Acid can be used, but it is less common and can produce hazardous fumes.
Nitric Acid (HNO\(_3\)) has historically been the most common and traditional mordant (etching acid) for copper and zinc plates. Another common alternative is Ferric Chloride, but among the choices given, Nitric Acid is the standard answer. Quick Tip: While various mordants can be used for etching, \(\textbf{Nitric Acid}\) is the classic, traditional choice taught in many printmaking studios for etching copper and zinc plates.

Step 1: Define relief printmaking. In relief methods, the ink is applied to the raised surface of the printing block. The areas not meant to print are carved away.
Step 2: Analyze the options.

(B) Letterpress: This is a mechanized form of relief printing using raised, movable type.
(C) Wood cut: This is the quintessential relief method, where an image is carved into a block of wood, and the raised surfaces are inked.
(A) Thermal wax: This is a type of thermal transfer printing, which is a digital process and not a traditional relief method.
(D) Collotype: This is a planographic (flat surface) printing process based on gelatin.

Therefore, Letterpress and Wood cut are the relief methods listed. Quick Tip: Relief printing is like using a rubber stamp—the raised part gets the ink. Woodcut and Letterpress are classic examples of this principle.

Step 1: Determine the historical order of the presses associated with different printmaking techniques.

(C) Block Printing Press: The earliest form, derived from wine and paper presses, was used by Gutenberg in the 15th century for woodblocks and movable type (relief printing).
(D) Etching Press: This is a roller press developed in the 16th century to provide the high pressure needed for intaglio printing techniques like etching and engraving.
(A) Litho Press: Invented in the late 18th century by Senefelder, this press uses a scraper bar to apply pressure for planographic printing.
(B) Routing Press: This is a more modern, industrial machine used for high-speed cutting and engraving, a later development than the artistic presses.

Step 2: The correct chronological sequence is (C), (D), (A), (B). Quick Tip: The evolution of the press followed the evolution of techniques: first, a simple press for relief (Block Press), then a high-pressure roller for intaglio (Etching Press), then a specialized press for lithography (Litho Press).

Step 1: Understand image reversal in printmaking. Most traditional methods (relief and intaglio) involve carving or incising a plate that is a mirror image of the final print. When this plate is pressed onto paper, the image is reversed back to the intended orientation.
Step 2: Analyze the options.

Etching, Lino cut, and Wood cut all create a reversed matrix and therefore produce an inverse (or mirror) image relative to the design on the plate/block.
Silk screen (Serigraphy) is a stencil process. Ink is pushed directly through the screen onto the paper. The design created on the screen is not reversed; it is printed in the same orientation. Quick Tip: Think of it this way: if you press something onto paper to transfer an image, it will be reversed. If you push ink through something (like a stencil or screen), it stays the same way around.

Step 1: Define each term in the context of printmaking.

(A) Bevel: The process of filing the sharp edges of a metal etching plate to prevent them from tearing the paper during printing. This is a standard part of plate preparation.
(C) Burnisher: A smooth, hard tool used to polish or smooth the surface of a metal plate, often to make corrections or lighten areas in intaglio techniques like etching.
(B) Deckle Edge: The ragged, feathered edge on a sheet of handmade paper. It is a characteristic of the paper, not the etching method itself.
(D) Chine Collé: A technique where a thin piece of paper is adhered to a larger printing paper during the printing process. It is often used with etching but is a distinct process, not a fundamental tool or part of the basic method.

Step 2: Identify the terms most directly associated with the creation of the etching plate itself. The bevel and the burnisher are directly involved in preparing and working on the metal plate. Quick Tip: Focus on the core process. A bevel and a burnisher are used on the actual metal plate for etching. Deckle edge is about the paper, and Chine Collé is an additional printing technique.

Step 1: Understand the chemical reactions in etching. When certain acids react with metals like zinc or copper, they produce hydrogen gas, which forms bubbles on the plate.
Step 2: Analyze the mordants (biting agents).

Nitric Acid is famous for its vigorous reaction that produces bubbles, which must be brushed away to ensure an even etch.
Ferric Chloride is technically a corrosive salt, not an acid. It corrodes copper through a process of oxidation and reduction that does not produce gas bubbles. This is why it is considered a safer and more controllable mordant, as it bites very cleanly.
Dutch Mordant (hydrochloric acid mixed with potassium chlorate) also produces bubbles, though often less vigorously than nitric acid. Quick Tip: For etching, remember this key difference: Nitric Acid = Bubbles and Fumes. Ferric Chloride = No Bubbles, No Fumes (much safer!).

Step 1: Identify the active periods for each artist.

(D) William Hogarth: 1697 - 1764
(C) Rembrandt van Rijn: 1606 - 1669
(B) Ottavio Leoni: 1578 - 1630
(A) Michael Wolgemut: c. 1434 - 1519

Step 2: Arrange these artists in reverse chronological order, from the latest (most recent) to the earliest. The correct sequence is Hogarth, followed by Rembrandt, then Leoni, and finally Wolgemut. This corresponds to the order (D), (C), (B), (A). Quick Tip: To order famous European printmakers, think in centuries: Hogarth (18th c.), Rembrandt (17th c.), Leoni (late 16th/early 17th c.), Wolgemut (15th c.).

Step 1: Identify which techniques use acid (a wet process) and which are purely mechanical (a dry process).

(A) Wood cut printing: A relief technique that involves carving wood. No acid is used.
(D) Mezzotint: An intaglio technique where the plate is roughened mechanically with a tool called a 'rocker' and then smoothed with a burnisher. No acid is used.
(B) Aquatint: An etching process that uses acid to bite a porous ground, creating tonal areas.
(C) Sugar-lift: A technique of drawing with a sugar solution onto a plate, which is then covered with a ground. When the plate is placed in water, the sugar dissolves and lifts the ground, exposing the plate for an acid bite.

Step 2: Conclude that Wood cut and Mezzotint are the techniques that do not require an acid bite. Quick Tip: A simple rule: if "etch" or "aquatint" is in the name or description, it probably uses acid. Woodcut, linocut, engraving, drypoint, and mezzotint are all "dry" techniques that rely on carving or scratching.

Step 1: Define the tool and its process. An Aquatint Box is a large, enclosed box with a crank. A metal plate is placed at the bottom, and powdered rosin is agitated by the crank to create a dust cloud. This dust settles evenly on the plate.
Step 2: Connect the process to a technique. The rosin-dusted plate is then heated to melt the rosin, creating a porous, acid-resistant ground. The plate is then etched in acid. This entire process is known as aquatint.
Step 3: Categorize the technique. Aquatint is a method for creating tonal areas in an etching. Etching is a primary technique within the Intaglio family of printmaking. Quick Tip: The name gives it away: \(\textbf{Aqua-tint}\). It's a method of creating \(\textbf{tints}\) (tones) on a plate for \(\textbf{Intaglio}\) printing, and it uses a special box to do so.

Step 1: Reconstruct the basic steps of making a screen print.
Step 2: Order the steps logically.

% Option
(A) (D) Stretching the screen: The process must begin with a prepared screen, which involves stretching the mesh tightly onto a frame.
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(B) (C) Design on screen: Next, the stencil or image is created on the screen, blocking out the areas that should not print.
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(C) (B) Ink: Once the screen is ready, a line of ink is poured along one edge of the screen.
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(D) (A) Squeezee: Finally, the squeegee is used to pull the ink across the screen, forcing it through the open areas of the stencil onto the paper below.

The correct chronological sequence of use is (D), (C), (B), (A). Quick Tip: Think of making a screen print like painting a wall with a stencil: 1. Prepare your surface (stretch screen). 2. Apply the stencil (design on screen). 3. Get your paint (ink). 4. Use your roller (squeegee).

Step 1: Differentiate between texts that are illustrated and texts that are treatises about art.

(A) Kalpasutra: A canonical Jain text, especially popular in Western India, which was frequently and lavishly illustrated. Many historical examples survive.
(B) Astasahasrika Prajnaparamita: The 'Perfection of Wisdom in 8,000 Lines', a key Mahayana Buddhist sutra. The earliest surviving Indian manuscripts with illustrations (from the Pala dynasty) are of this text.
(C) Chitrasutra: A chapter within the Vishnudharmottara Purana, it is an ancient treatise on the theory and practice of painting. It is a text about art, not typically a narrative text that is itself illustrated.
(D) Natyashastra: An ancient Sanskrit text on the performing arts. Like the Chitrasutra, it is a theoretical work, not a story that would be accompanied by illustrations.

Step 2: Conclude that the Kalpasutra and the Astasahasrika Prajnaparamita are the prime examples of historically important illustrated manuscripts. Quick Tip: Illustrated manuscripts typically contain religious narratives, epics, or biographies. Treatises like the Chitrasutra and Natyashastra are ancient textbooks, which were generally not illustrated.