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Printmaking
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This article is about techniques of printmaking as a fine art. For the history of printmaking in Europe, see Old master print. For the Japanese printmaking tradition, see Ukiyo-e.
Mount Fuji, from the Thirty-six Views of Mount Fuji, color woodcut by Katsushika Hokusai
Rembrandt, Self-portrait, etching, c.1630
Francisco Goya, There is No One To Help Them, Disasters of War series, aquatint c.1810
Printmaking is the process of making artworks by printing, normally on paper. Printmaking normally covers only the process of creating prints that have an element of originality, rather than just being a photographic reproduction of a painting. Except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each print produced is not considered a "copy" but rather is considered an "original". This is because typically each print varies to an extent due to variables intrinsic to the printmaking process, and also because the imagery of a print is typically not simply a reproduction of another work but rather is often a unique image designed from the start to be expressed in a particular printmaking technique. A print may be known as an impression. Printmaking (other than monotyping) is not chosen only for its ability to produce multiple impressions, but rather for the unique qualities that each of the printmaking processes lends itself to.
Prints are created by transferring ink from a matrix or through a prepared screen to a sheet of paper or other material. Common types of matrices include: metal plates, usually copper or zinc, or polymer plates for engraving or etching; stone, aluminum, or polymer for lithography; blocks of wood for woodcuts and wood engravings; and linoleum for linocuts. Screens made of silk or synthetic fabrics are used for the screenprinting process. Other types of matrix substrates and related processes are discussed below.
Multiple impressions printed from the same matrix form an edition. Since the late 19th century, artists have generally signed individual impressions from an edition and often number the impressions to form a limited edition; the matrix is then destroyed so that no more prints can be produced. Prints may also be printed in book form, such as illustrated books or artist's books.
Contents
[hide]
1 Techniques
1.1 Overview
1.2 Woodcut
1.3 Engraving
1.4 Etching
1.5 Mezzotint
1.6 Aquatint
1.7 Drypoint
1.8 Lithography
1.9 Screenprinting
1.10 Monotype
1.11 Monoprint
1.12 Mixed-media prints
1.13 Digital prints
1.13.1 Dye-based inks
1.13.2 Pigment-based inks
1.13.3 Giclée
1.14 Foil imaging
2 Color
3 Registration
4 Protective printmaking equipment
5 See also
5.1 Printmakers by nationality
6 Notes
7 References
8 Further reading
9 External links
Techniques[edit]
External video
Printmaking: Woodcuts and Engravings, Smarthistory
Overview[edit]
Printmaking techniques are generally divided into the following basic categories:
Relief, where ink is applied to the original surface of the matrix. Relief techniques include woodcut or woodblock as the Asian forms are usually known, wood engraving, linocut and metalcut.
Intaglio, where ink is applied beneath the original surface of the matrix. Intaglio techniques include engraving, etching, mezzotint, aquatint.
Planographic, where the matrix retains its original surface, but is specially prepared and/or inked to allow for the transfer of the image. Planographic techniques include lithography, monotyping, and digital techniques.
Stencil, where ink or paint is pressed through a prepared screen, including screenprinting and pochoir.
Other types of printmaking techniques outside these groups include collagraphy and viscosity printing. Collagraphy is a printmaking technique in which textured material is adhered to the printing matrix. This texture is transferred to the paper during the printing process. Contemporary printmaking may include digital printing, photographic mediums, or a combination of digital, photographic, and traditional processes.
Many of these techniques can also be combined, especially within the same family. For example, Rembrandt's prints are usually referred to as "etchings" for convenience, but very often include work in engraving and drypoint as well, and sometimes have no etching at all.
Woodcut[edit]
Artists using this technique include
Albrecht Dürer, Ernst Ludwig Kirchner, Dulah Marie Evans, Hiroshige, Hokusai, Gustave Baumann, Hannah Tompkins, Hussein El Gebaly, Carlos Alvarado Lang
Main article: woodcut
Félix Vallotton, La raison probante (The Cogent Reason), woodcut from the series Intimités, (1898)
Ernst Ludwig Kirchner, Portrait of Otto Müller, 1915
Woodcut, a type of relief print, is the earliest printmaking technique, and the only one traditionally used in the Far East. It was probably first developed as a means of printing patterns on cloth, and by the 5th century was used in China for printing text and images on paper. Woodcuts of images on paper developed around 1400 in Japan, and slightly later in Europe. These are the two areas where woodcut has been most extensively used purely as a process for making images without text.
Woodcuts of Stanislaw Raczynski (1903-1982)
The artist draws a design on a plank of wood, or on paper which is transferred to the wood. Traditionally the artist then handed the work to a specialist cutter, who then uses sharp tools to carve away the parts of the block that will not receive ink. The surface of the block is then inked with the use of a brayer, and then a sheet of paper, perhaps slightly damp, is placed over the block. The block is then rubbed with a baren or spoon, or is run through a printing press. If in color, separate blocks can be used for each color, or a technique called reduction printing can be used.
Reduction printing is a name used to describe the process of using one block to print several layers of color on one print. This usually involves cutting a small amount of the block away, and then printing the block many times over on different sheets before washing the block, cutting more away and printing the next color on top. This allows the previous color to show through. This process can be repeated many times over. The advantages of this process is that only one block is needed, and that different components of an intricate design will line up perfectly. The disadvantage is that once the artist moves on to the next layer, no more prints can be made.
Another variation of woodcut printmaking is the cukil technique, made famous by the Taring Padi underground community in Java, Indonesia. Taring Padi Posters usually resemble intricately printed cartoon posters embedded with political messages. Images—usually resembling a visually complex scenario—are carved unto a wooden surface called cukilan, then smothered with printer's ink before pressing it unto media such as paper or canvas.
Engraving[edit]
Main article: Engraving
"Melencolia I", engraving by Albrecht Dürer, one of the most important printmakers.
The process was developed in Germany in the 1430s from the engraving used by goldsmiths to decorate metalwork. Engravers use a hardened steel tool called a burin to cut the design into the surface of a metal plate, traditionally made of copper. Engraving using a burin is generally a difficult skill to learn.
Gravers come in a variety of shapes and sizes that yield different line types. The burin produces a unique and recognizable quality of line that is characterized by its steady, deliberate appearance and clean edges. Other tools such as mezzotint rockers, roulettes (a tool with a fine-toothed wheel) and burnishers (a tool used for making an object smooth or shiny by rubbing) are used for texturing effects.
To make a print, the engraved plate is inked all over, then the ink is wiped off the surface, leaving only ink in the engraved lines. The plate is then put through a high-pressure printing press together with a sheet of paper (often moistened to soften it). The paper picks up the ink from the engraved lines, making a print. The process can be repeated many times; typically several hundred impressions (copies) could be printed before the printing plate shows much sign of wear, except when drypoint, which gives much shallower lines, is used.
In the 20th century, true engraving was revived as a serious art form by artists including Stanley William Hayter whose Studio 17 in Paris and New York City became the magnet for such artists as Pablo Picasso, Alberto Giacometti, Mauricio Lasansky and Joan Miró.
Etching[edit]
Artists using this technique include Albrecht Dürer, Rembrandt, Francisco Goya, Whistler, Otto Dix, James Ensor, Edward Hopper, Käthe Kollwitz, Pablo Picasso, Cy Twombly, Lucas van Leyden, Carlos Alvarado Lang.
Main article: Etching
Etching is part of the intaglio family (along with engraving, drypoint, mezzotint, and aquatint.) The process is believed to have been invented by Daniel Hopfer (circa 1470-1536) of Augsburg, Germany, who decorated armor in this way, and applied the method to printmaking. Etching soon came to challenge engraving as the most popular printmaking medium. Its great advantage was that, unlike engraving which requires special skill in metalworking, etching is relatively easy to learn for an artist trained in drawing.
The Three Crosses, etching by Rembrandt
Etching prints are generally linear and often contain fine detail and contours. Lines can vary from smooth to sketchy. An etching is opposite of a woodcut in that the raised portions of an etching remain blank while the crevices hold ink. In pure etching, a metal (usually copper, zinc or steel) plate is covered with a waxy or acrylic ground. The artist then draws through the ground with a pointed etching needle. The exposed metal lines are then etched by dipping the plate in a bath of etchant (e.g. nitric acid or ferric chloride). The etchant "bites" into the exposed metal, leaving behind lines in the plate. The remaining ground is then cleaned off the plate, and the printing process is then just the same as for engraving.
Mezzotint[edit]
Main article: Mezzotint
An intaglio variant of engraving in which the image is formed from subtle gradations of light and shade. Mezzotint—from the Italian mezzo ("half") and tinta ("tone")—is a "dark manner" form of printmaking, which requires artists to work from dark to light. To create a mezzotint, the surface of a copper printing plate is roughened evenly all over with the aid of a tool known as a rocker; the image is then formed by smoothing the surface with a tool known as a burnisher. When inked, the roughened areas of the plate will hold more ink and print more darkly, while smoother areas of the plate hold less or no ink, and will print more lightly or not at all. It is, however, possible to create the image by only roughening the plate selectively, so working from light to dark.
Mezzotint is known for the luxurious quality of its tones: first, because an evenly, finely roughened surface holds a lot of ink, allowing deep solid colors to be printed; secondly because the process of smoothing the texture with burin, burnisher and scraper allows fine gradations in tone to be developed.
The mezzotint printmaking method was invented by Ludwig von Siegen (1609–1680). The process was used widely in England from the mid-eighteenth century, to reproduce oil paintings and portraits.
Aquatint[edit]
"The sleep of Reason creates monsters", etching and aquatint by Francisco Goya
Main article: Aquatint
A technique used in Intaglio etchings. Like etching, aquatint technique involves the application of acid to make marks in a metal plate. Where the etching technique uses a needle to make lines that retain ink, aquatint relies on powdered rosin which is acid resistant in the ground to create a tonal effect. The rosin is applied in a light dusting by a fan booth, the rosin is then cooked until set on the plate. At this time the rosin can be burnished or scratched out to affect its tonal qualities. The tonal variation is controlled by the level of acid exposure over large areas, and thus the image is shaped by large sections at a time.
Goya used aquatint for most of his prints.
Drypoint[edit]
Main article: Drypoint
A variant of engraving, done with a sharp point, rather than a v-shaped burin. While engraved lines are very smooth and hard-edged, drypoint scratching leaves a rough burr at the edges of each line. This burr gives drypoint prints a characteristically soft, and sometimes blurry, line quality. Because the pressure of printing quickly destroys the burr, drypoint is useful only for very small editions; as few as ten or twenty impressions. To counter this, and allow for longer print runs, electro-plating (here called steelfacing) has been used since the nineteenth century to harden the surface of a plate.
The technique appears to have been invented by the Housebook Master, a south German fifteenth-century artist, all of whose prints are in drypoint only. Among the most famous artists of the old master print: Albrecht Dürer produced three drypoints before abandoning the technique; Rembrandt used it frequently, but usually in conjunction with etching and engraving.
Lithography[edit]
Artists using this technique include
Honoré Daumier, Vincent van Gogh, George Bellows, Pierre Bonnard, Edvard Munch, Emil Nolde, Pablo Picasso, Odilon Redon, Henri de Toulouse-Lautrec, Salvador Dalí, M. C. Escher, Willem de Kooning, Joan Miró, Stow Wengenroth
Main article: Lithography
La Goulue, Lithograph poster by Toulouse-Lautrec.
Lithography is a technique invented in 1798 by Alois Senefelder and based on the chemical repulsion of oil and water. A porous surface, normally limestone, is used; the image is drawn on the limestone with a greasy medium. Acid is applied, transferring the grease to the limestone, leaving the image 'burned' into the surface. Gum arabic, a water-soluble substance, is then applied, sealing the surface of the stone not covered with the drawing medium. The stone is wetted, with water staying only on the surface not covered in grease-based residue of the drawing; the stone is then 'rolled up', meaning oil ink is applied with a roller covering the entire surface; since water repels the oil in the ink, the ink adheres only to the greasy parts, perfectly inking the image. A sheet of dry paper is placed on the surface, and the image is transferred to the paper by the pressure of the printing press. Lithography is known for its ability to capture fine gradations in shading and very small detail.
A variant is photo-lithography, in which the image is captured by photographic processes on metal plates; printing is carried out in the same way.
Screenprinting[edit]
Artists using this technique include
Josef Albers, Ralston Crawford, Gene Davis. Robert Indiana, Roy Lichtenstein, Julian Opie, Bridget Riley, Edward Ruscha, Andy Warhol, and Carlos Alvarado Lang.
Main article: Screenprinting
Screenprinting (occasionally known as "silkscreen", or "serigraphy") creates prints by using a fabric stencil technique; ink is simply pushed through the stencil against the surface of the paper, most often with the aid of a squeegee. Generally, the technique uses a natural or synthetic 'mesh' fabric stretched tightly across a rectangular 'frame,' much like a stretched canvas. The fabric can be silk, nylon monofilament, multifilament polyester, or even stainless steel.[1] While commercial screenprinting often requires high-tech, mechanical apparatuses and calibrated materials, printmakers value it for the "Do It Yourself" approach, and the low technical requirements, high quality results. The essential tools required are a squeegee, a mesh fabric, a frame, and a stencil. Unlike many other printmaking processes, a printing press is not required, as screenprinting is essentially stencil printing.
Screenprinting may be adapted to printing on a variety of materials, from paper, cloth, and canvas to rubber, glass, and metal. Artists have used the technique to print on bottles, on slabs of granite, directly onto walls, and to reproduce images on textiles which would distort under pressure from printing presses.
Monotype[edit]
Monotype by the technique's inventor, Giovanni Benedetto Castiglione, The Creation of Adam, c 1642
Main article: Monotyping
Monotyping is a type of printmaking made by drawing or painting on a smooth, non-absorbent surface. The surface, or matrix, was historically a copper etching plate, but in contemporary work it can vary from zinc or glass to acrylic glass. The image is then transferred onto a sheet of paper by pressing the two together, usually using a printing-press. Monotypes can also be created by inking an entire surface and then, using brushes or rags, removing ink to create a subtractive image, e.g. creating lights from a field of opaque color. The inks used may be oil based or water based. With oil based inks, the paper may be dry, in which case the image has more contrast, or the paper may be damp, in which case the image has a 10 percent greater range of tones.
Unlike monoprinting, monotyping produces a unique print, or monotype, because most of the ink is removed during the initial pressing. Although subsequent reprintings are sometimes possible, they differ greatly from the first print and are generally considered inferior. A second print from the original plate is called a "ghost print" or "cognate". Stencils, watercolor, solvents, brushes, and other tools are often used to embellish a monotype print. Monotypes are often spontaneously executed and with no preliminary sketch.
Monotypes are the most painterly method among the printmaking techniques, a unique print that is essentially a printed painting. The principal characteristic of this medium is found in its spontaneity and its combination of printmaking, painting, and drawing media.[2]
Monoprint[edit]
Main article: Monoprinting
Monoprinting is a form of printmaking that uses a matrix such as a woodblock, litho stone, or copper plate, but produces impressions that are unique. Multiple unique impressions printed from a single matrix are sometimes known as a variable edition. There are many techniques used in monoprinting, including collagraph, collage, hand-painted additions, and a form of tracing by which thick ink is laid down on a table, paper is placed on the ink, and the back of the paper is drawn on, transferring the ink to the paper. Monoprints can also be made by altering the type, color, and viscosity of the ink used to create different prints. Traditional printmaking techniques, such as lithography, woodcut, and intaglio, can be used to make monoprints.
Mixed-media prints[edit]
Mixed-media prints may use multiple traditional printmaking processes such as etching, woodcut, letterpress, silkscreen, or even monoprinting in the creation of the print. They may also incorporate elements of chine colle, collage, or painted areas, and may be unique, i.e. one-off, non-editioned, prints. Mixed-media prints are often experimental prints and may be printed on unusual, non-traditional surfaces.
Digital prints[edit]
Artists using this technique include
Istvan Horkay, Ralph Goings, Enrique Chagoya
Main article: Digital printing
Digital prints refers to images printed using digital printers such as inkjet printers instead of a traditional printing press. Images can be printed to a variety of substrates including paper, cloth, or plastic canvas.
Dye-based inks[edit]
Dye-based inks are organic (not mineral) dissolved and mixed into a liquid. Although most are synthetic, derived from petroleum, they can be made from vegetable or animal sources. Dyes are well suited for textiles where the liquid dye penetrates and chemically bonds to the fiber. Because of the deep penetration, more layers of material must lose their color before the fading is apparent. Dyes, however, are not suitable for the relatively thin layers of ink laid out on the surface of a print.
Pigment-based inks[edit]
Pigment is a finely ground, particulate substance which, when mixed or ground into a liquid to make ink or paint, does not dissolve, but remains dispersed or suspended in the liquid. Pigments are categorized as either inorganic (mineral) or organic (synthetic).[3] Pigment-based inks have a much longer permanence than dye-based inks.[4]
Giclée[edit]
Giclée (pron.: /ʒiːˈkleɪ/ zhee-KLAY or /dʒiːˈkleɪ/), is a neologism coined in 1991 by printmaker Jack Duganne [5] for digital prints made on inkjet printers. Originally associated with early dye-based printers it is now more often refers to pigment-based prints.[6] The word is based on the French word gicleur, which means "nozzle". Today fine art prints produced on large format ink-jet machines using the CcMmYK color model are generally called "Giclée".
Foil imaging[edit]
In art, foil imaging is a printmaking technique made using the Iowa Foil Printer, developed by Virginia A. Myers from the commercial foil stamping process. This uses gold leaf and acrylic foil in the printmaking process.
Color[edit]
Hiroshige, Morning Mist
Printmakers apply color to their prints in many different ways. Some coloring techniques include positive surface roll, negative surface roll, and A la poupée. Often color in printmaking that involves etching, screenprinting, woodcut, or linocut is applied by either using separate plates, blocks or screens or by using a reductionist approach. In multiple plate color techniques, a number of plates, screens or blocks are produced, each providing a different color. Each separate plate, screen, or block will be inked up in a different color and applied in a particular sequence to produce the entire picture. On average about three to four plates are produced, but there are occasions where a printmaker may use up to seven plates. Every application of another plate of color will interact with the color already applied to the paper, and this must be kept in mind when producing the separation of colors. The lightest colors are often applied first, and then darker colors successively until the darkest.
The reductionist approach to producing color is to start with a lino or wood block that is either blank or with a simple etching. Upon each printing of color the printmaker will then further cut into the lino or woodblock removing more material and then apply another color and reprint. Each successive removal of lino or wood from the block will expose the already printed color to the viewer of the print. Picasso is often cited as the inventor of reduction printmaking, although there is evidence of this method in use 25 years before Picasso's linocuts.[7]
The subtractive color concept is also used in offset or digital print and is present in bitmap or vectorial software in CMYK or other color spaces.
Registration[edit]
In printmaking processes requiring more than one application of ink or other medium, the problem exists as to how to line up properly areas of an image to receive ink in each application. The most obvious example of this would be a multi-color image in which each color is applied in a separate step. The lining up of the results of each step in a multistep printmaking process is called "registration." Proper registration results in the various components of an image being in their proper place. But, for artistic reasons, improper registration is not necessarily the ruination of an image.
This can vary considerably from process to process. It generally involves placing the substrate, generally paper, in correct alignment with the printmaking element that will be supplying it with coloration.[8]
Protective printmaking equipment[edit]
Protective clothing is very important for printmakers who engage in etching and lithography (closed toed shoes and long pants). Whereas in the past printmakers put their plates in and out of acid baths with their bare hands, today printmakers use rubber gloves. They also wear industrial respirators for protection from caustic vapors. Most acid baths are built with ventilation hoods above them.
Protective respirators and masks should have particle filters, particularly for aquatinting. As a part of the aquatinting process, a printmaker is often exposed to rosin powder. Rosin is a serious health hazard, especially to printmakers who, in the past, simply used to hold their breath[citation needed] using an aquatinting booth.
See also[edit]
Rembrandt, Christ Preaching, (The Hundred Guilder print); etching c.1648
Albrecht Dürer, Saint Jerome in his Study, 1514.
Artist's proof
Banhua, Chinese printmaking
Carborundum printmaking
Edition (printmaking)
Graphic design
Line engraving
List of Printmakers
Old master print
Shin hanga
Sosaku hanga
Ukiyo-e
Viscosity printing
Printmakers by nationality[edit]
Engravers by nationality
Etchers by nationality
Printmakers by nationality
Notes[edit]
Jump up ^ "Screen Fabric". A.W.T. World Trade Inc.
Jump up ^ Washington printmakers' gallery Archived 2010-12-28 at the Wayback Machine.
Jump up ^ Printmaking FAQ at Magnolia Editions Archived 2009-04-13 at the Wayback Machine.
Jump up ^ Susan Carden, Digital Textile Printing, Bloomsbury Publishing - 2015, page 27
Jump up ^ Johnson, Harald. Mastering Digital Printing, p.11 at Google Books
Jump up ^ Luong, Q.-Tuan. An overview of large format color digital printing at largeformatphotography.info
Jump up ^ http://www.printsandprintmaking.gov.au/catalogues/bibliography/136140/bunbury-alisa-not-picassos-invention--a-foray-into.aspx
Jump up ^ http://www.nontoxicprint.com/perfectregistration.htm
References[edit]
What is a Print?, from the Museum of Modern Art
Bamber Gascoigne: How to Identify Prints: A Complete Guide to Manual and Mechanical Processes from Woodcut to Inkjet (ISBN 0-500-28480-6)
Multi-Color Block Prints: Wood/Linoleum - Reduction Method Technique, by Hannah Tompkins
Catalog Design Handbook with Technics, visual ergonomics & printmaking glossary
Further reading[edit]
A. Hyatt Mayor (1971). Prints & people: a social history of printed pictures (full PDF). New York: The Metropolitan Museum of Art. ISBN 9780870991080.
Beth Grabowski and Bill Fick, "Printmaking: A Complete Guide to Materials & Processes." Prentice Hall, 2009. ISBN 0-205-66453-9
Donna Anderson Experience Printmaking. Worcester, MA: Davis Publications, 2009. ISBN 978-0-87192-982-2
Gill Saunders and Rosie Miles Prints Now: Directions and Definitions Victoria and Albert Museum (May 1, 2006) ISBN 1-85177-480-7
Antony Griffiths, Prints and Printmaking, British Museum Press, 2nd ed, 1996 ISBN 0-7141-2608-X
Linda Hults The Print in the Western World: An Introductory History. Madison: University of Wisconsin Press, 1996. ISBN 978-0-299-13700-7
Carol Wax, The Mezzotint: History and Technique (Harry N. Abrams, Inc., 1990)
James Watrous A Century of American Printmaking. Madison: University of Wisconsin Press, 1984. ISBN 0-299-09680-7
William Ivins, Jr. Prints and Visual Communication. Cambridge: Harvard University Press, 1953. ISBN 0-262-59002-6
Donald Saff and Deli Sacilotto. Printmaking: History and Process. New York: Holt, Rinehart, and Winston, 1978. ISBN 978-0030856631
External links[edit]
Library resources about
Printmaking
Resources in your library
Resources in other libraries
Wikimedia Commons has media related to printmaking.
Look up printmaking in Wiktionary, the free dictionary.
Wikisource has the text of the 1905 New International Encyclopedia article Print.
History of printmaking; glossaries
Museum of Modern Art, New York: What Is a Print?
Thompson, Wendy. "The Printed Image in the West: History and Techniques". In Timeline of Art History. New York: The Metropolitan Museum of Art, 2000 – . (October 2003)
André Béguin's dictionary;enormous dictionary of terms, relating more to the printing than the creation of the image
Another glossary - for modern prints
Large list of links to museum etc. online images of prints
Judging the Authenticity of Prints by The Masters by art historian David Rudd Cycleback
Printing techniques explained
Printmaking organizations
Print Council of America
International Fine Print Dealers Association
SGC International (formerly Southern Graphics Council)
Seattle Print Arts
Bellebyrd - The Print Australia blogspot by art historian Josephine Severn.
Printmaking Artist: a glossary of contemporary prints
Iowa Biennial - Exhibition & Archive of Contemporary Prints
Site dedicated to the activity of printmaking and thinking creatively. Includes footage of well-known artists working at Crown Point Press in San Francisco.
Prints and Printmaking: Site devoted to Australian and Pacific printmaking practice and history
Mini Print International of Cadaques Site of the longest running international print exhibition and competition, catalogues, archive, winners, exhibitions, jury...
Mid America Print Council
International Sign and Printmakers Guild
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text:
iPhone SE
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Not to be confused with Macintosh SE.
iPhone Special edition
iPhone SE in Silver
Brand
Apple Inc.
Slogan
A big step for small
Model
A1662 (US model)
A1723 Sprint and (in most countries)
A1724 (China Mobile model)
Compatible networks
GSM, CDMA, 3G, EVDO, HSPA+, LTE
First released
March 31, 2016; 2 years ago (2016-03-31) (16 and 64 GB); March 21, 2017; 12 months ago (2017-03-21) (32 and 128 GB)
Availability by country
March 31, 2016[show]
Australia
Canada
China
France
Germany
Hong Kong
Japan
Russia
Singapore
United Kingdom
United States
South Africa
April 5, 2016[show]
Austria
Italy
New Zealand
Spain
United Arab Emirates
April 6, 2016[show]
India
Switzerland
Serbia
Nepal
Lithuania
April 7, 2016[show]
Taiwan[1]
April 8, 2016[show]
Ireland
April 21, 2016[show]
Israel
April 26, 2016[show]
Colombia
Mexico
May 5, 2016[show]
Belarus
May 11, 2016[show]
Thailand
Chile
South Korea
Malaysia
May 28, 2016[show]
Philippines
Discontinued
March 21, 2017
(16 and 64 GB)
Predecessor
iPhone 5S
iPhone 5C
Related
iPhone 6S (Plus)
Type
Smartphone
Form factor
Slate
Dimensions
123.8 mm (4.87 in) H
58.6 mm (2.31 in) W
7.6 mm (0.30 in) D
Weight
113 g (4.0 oz)
Operating system
Original: iOS 9.3
Current: iOS 11.3.1, released April 24, 2018 (2018-04-24)
System on chip
Apple A9
CPU
1.85 GHz dual-core 64-bit ARMv8-A "Twister"
GPU
PowerVR GT7600 (hexa-core)
Memory
2 GB LPDDR4 RAM[2]
Storage
Discontinued: 16 and 64 GB
Current: 32 and 128 GB
Battery
3.82 V 6.21 W·h (1,624 mA·h) Lithium-ion battery
Data inputs
Multi-touch touchscreen display, Apple M9 motion coprocessor, 3-axis gyroscope, accelerometer, digital compass, proximity sensor, ambient light sensor, Touch ID fingerprint reader
Display
4.0 in (100 mm) Retina Display, LED-backlit IPS LCD, 1136 × 640 pixel resolution (326 ppi)
Rear camera
Backlit Sony Exmor RS 12 MP (1.22 μm), dual-tone LED flash, autofocus, IR filter, burst mode, f/2.2 aperture, 4K video recording at 30 fps or 1080p at 30 or 60 fps, slow-motion video (1080p at 120 fps and 720p at 240 fps)
Front camera
1.2 MP, f/2.4 aperture, exposure control, face detection, auto-HDR, Retina Flash, 720p video recording
Sound
Mono speaker, 3.5 mm stereo audio jack
Connectivity
Lightning Port, stereo audio jack
SAR
Head SAR: 1.17 W/kg
Body SAR: 1.19 W/kg
Website
www.apple.com/iphone-se/
This article is part of a series on the
iPhone
1st
3G
3GS
4
4S
5
5C
5S
SE
6 / 6 Plus
6S / 6S Plus
7 / 7 Plus
8 / 8 Plus
X
List of iPhone models
v
t
e
The iPhone Special Edition (SE)[3] is a smartphone designed and marketed by Apple Inc. as part of the iPhone series of devices. It was unveiled on March 21, 2016, at Apple's Cupertino headquarters, and was released on March 31, 2016. Despite chronologically succeeding the iPhone 6 family's launch, the iPhone SE serves as a successor of the iPhone 5S. It maintains the 4-inch screen size and largely identical design to the 5S, but includes selected hardware upgrades from the larger iPhone 6S model, including its updated processor, rear camera, and support for iOS 10 and iOS 11 software features, such as Apple Pay, always-on Siri activation, and Live Photos. It also features a new color in Rose Gold along with the standard Space Gray, Silver and Gold. The model was re-released with new improved options on March 24, 2017.
The iPhone SE was received positively by critics, who noted its familiar form factor and design, improved hardware over previous 4-inch iPhone models, as well as its overall performance and battery life.
Contents
[hide]
1 History
2 Specifications
2.1 Design
2.2 Hardware
2.3 Software
3 Reception
4 Timeline of models
5 See also
6 References
7 External links
History[edit]
The previous major redesign of the iPhone, the 4.7-inch iPhone 6 and 5.5-inch iPhone 6 Plus, resulted in larger screen sizes. However, a significant number of customers preferred the 4-inch screen size of the iPhone 5 and 5S; the 5S was the second-most popular iPhone after the 6, ahead of the 6S. Apple stated in their event that they sold 30 million 4-inch iPhones in 2015. Furthermore, the 5 and 5S design was regarded as having "long been the golden child of Apple phone design and a benchmark for phones in general,". The iPhone 5 was described as "elegance rooted in the way the aluminum and glass work together. It felt streamlined, yet substantial, which is different from iPhone 6, which feels substantial in size alone. Plus, unlike the ubiquitous rounded corners of the 6, iPhone 5 didn’t really look like anything else on the market at the time."[4][5]
Specifications[edit]
Design[edit]
The exterior design of the iPhone SE is nearly identical to that of the iPhone 5S and the iPhone 5, with the exception of matte-chamfered edges and an inset stainless steel rear Apple logo. Like the iPhone 6S, the iPhone SE is available in space gray, silver, gold and rose gold finishes.[6] Apple stated that cases designed to fit the 5 and the 5S will also fit an iPhone SE, as the three phones have exactly the same dimensions.[7]
Hardware[edit]
The technology specifications of the iPhone SE are similar to the iPhone 6S. This meant that at its launch, the iPhone SE was more powerful than the existing iPhone 6 despite the SE debuting as the entry-level offering while the 6 was the midrange offering in the lineup, which was rectified in September 2016 when the 6 was discontinued and its midrange slot given over to the 6S.[4][8]
As with the 6s, the iPhone SE incorporates the Apple A9 system-on-chip (SoC) with an M9 motion coprocessor and supports near field communication for Apple Pay. The A9 SoC on the iPhone SE outperforms the one on the 6S thanks to the SE's smaller screen and fewer pixels; for comparison, the iPhone SE has a GeekBench score of 2400 on the single core and 4069 on the multi core which compares to the iPhone 6S's score of 2316 on single core and 3922 on multi core. The SE's 4-inch Retina Display at 326 ppi is the same as the preceding 5S.[9] Unlike the iPhone 6S and 6S Plus, the SE does not include 3D Touch, nor the updated faster second-generation Touch ID sensor from the 6S and 6S Plus,[9] or its barometer.[10]
On launch, it was released in models with either 16 or 64 GB of internal storage; on March 21, 2017, Apple announced that these models would be replaced by new improved models at the same launch price points, releasing on March 24, 2017.[11][12]
It features the same 12 megapixel, with pixels 1.22µm in size,[13] rear-facing camera as the 6S and 7, with the ability to record 720p at 30 frames per second, for normal video recording and up to 240 fps for slow motion. It also features 1080p at 120 or 60 fps and 4K at 30 fps, as well as faster focus. Despite the upgraded rear camera, it does not feature the same front-facing camera, instead using a 1.2 megapixel sensor with f/2.4 aperture, but benefiting from the improved image signal processor in the A9 chip, and support for the software "Retina Flash" feature (which allows the display itself to be used as a flash on the front-facing camera).[14][10][15][16][17]
In North America, the iPhone SE comes in two hardware models: the A1662 model sold unlocked by AT&T, T-Mobile, and Verizon, and the A1723 model sold by Sprint or Canadian carriers.[18]
Software[edit]
See also: iOS, iOS 9, iOS 10, and iOS 11
iPhone SE shipped with iOS 9.3, supporting iPhone 6 and 6S-exclusive features such as Apple Pay, Live Photos, Retina Flash and always-on Siri voice activation.[6][10][16]
Reception[edit]
Lauren Goode of The Verge considered the iPhone SE to be "a much-improved, well-designed, small phone with great battery life" and a "kickass upgrade" for existing owners of the 4S or 5S models, noting the device's familiar form factor, high performance (going as far as considering the screen size itself to be the only hindrance to multitasking and certain apps), and improved battery life. The camera's quality and functionality were also praised, arguing that the iPhone SE was a "completely pocketable and powerful little consumer camera" that outperformed other smartphones in its price range. Giving the device an 8.7 out of 10, Goode argued that "the iPhone SE is not a tiny little engine of innovation. It's today's tech in yesterday's phone body. As with anything, we should be wary of giving too much praise to something that's just doing its job."[19]
CNET was similarly positive, considering the iPhone SE to be a "great choice at the small end, with no compromises", albeit recommending that purchasers avoid the 16 GB model; the iPhone SE was the last iPhone model that offered 16 GB as its lowest storage capacity; this option was phased out on both the iPhone 7, and later the SE.[20][12] CNET also lauded Apple for accomplishing the task of adapting the 6S's hardware to three different form factors; the smaller SE, 4.7-inch 6S, and 5.5-inch 6S Plus.[20][12] Consequently the iPhone SE is more powerful than the existing iPhone 6 despite the SE debuting as the entry-level offering while the 6 was the midrange offering in the lineup, which was rectified in September 2016 when the 6 was discontinued instead of being moved to entry-level and its midrange slot given over to the 6S. Apple's move to phase out the older iPhone 5S and 6 (along with their A7 and A8 SoC, respectively) earlier, rather than produce them for three years like earlier iPhones, allowed them to simplify their manufacturing and software support.[4][8]
Timeline of models[edit]
Sources: Apple press release library[21]
See also[edit]
Apple Inc. portal
List of iOS devices
History of iPhone
Comparison of smartphones
References[edit]
Jump up ^ "iPhone SE 4/7開賣 5大電信公布預約日 | 重點新聞 | 中央社即時新聞 CNA NEWS". 中央通訊社 (in Chinese). Retrieved June 28, 2016.
Jump up ^ Miller, Chance (March 30, 2016). "First iPhone SE teardown reveals mainly 5s/6s parts inside, but a few surprises too". 9to5Mac. Retrieved March 31, 2016.
Jump up ^ "What the iPhone SE stands for – and what we think it should stand for". TechRadar. Retrieved March 21, 2017.
^ Jump up to: a b c "With the iPhone SE, Apple Returns to a Masterpiece of Design". Wired.com. March 22, 2016. Retrieved April 1, 2016.
Jump up ^ "iPhone SE Reviews: Apple's Strange Case Of Jekyll And Hyde". Forbes.com. March 26, 2016. Retrieved April 1, 2016.
^ Jump up to: a b "Apple shows off 4-inch iPhone SE, iOS 9.3". Geek.com. Ziff Davis. Retrieved March 22, 2016.
Jump up ^ "Yes, your old iPhone 5s case will fit on the new iPhone SE". Macworld. IDG. Retrieved March 22, 2016.
^ Jump up to: a b "Apple – Press Info – Apple Introduces iPhone SE — The Most Powerful Phone with a Four-inch Display". Apple. Retrieved March 22, 2016.
^ Jump up to: a b H., Victor (March 21, 2016). "Apple iPhone SE TouchID is the same as in 5s, same as the iPhone 6s fingerprint sensor". PhoneArena. Retrieved March 22, 2016.
^ Jump up to: a b c "5 features you don't get with the iPhone SE". CNET. CBS Interactive. Retrieved March 22, 2016.
Jump up ^ "Apple doubles iPhone SE storage to 32GB and 128GB". The Verge. Retrieved March 21, 2017.
^ Jump up to: a b c "Minor iPhone bump turns the 7 and 7 Plus red, gives iPhone SE more storage". Ars Technica. Retrieved March 21, 2017.
Jump up ^ "iPhone SE Teardown". iFixit. Retrieved March 31, 2016.
Jump up ^ "Apple's Smaller iPhone SE Will Cost You $400". Wired. Conde Nast. Retrieved March 22, 2016.
Jump up ^ "The new iPhone SE finally makes a small phone feel powerful". The Verge. Retrieved March 22, 2016.
^ Jump up to: a b "iPhone SE vs. iPhone 6 and 6S: which Apple smartphone should you get?". The Verge. Vox Media. Retrieved March 22, 2016.
Jump up ^ "Apple iPhone SE launch: key points at a glance". The Guardian. Retrieved March 21, 2016.
Jump up ^ The iPhone SE Is Not Carrier Agnostic
Jump up ^ Goode, Lauren. "iPhone SE review: today's tech, yesterday's design". The Verge. Vox Media. Retrieved September 28, 2016.
^ Jump up to: a b "Apple iPhone SE review: Small wonder". CNET. CBS Interactive. Retrieved September 28, 2016.
Jump up ^ Apple Inc. (2004-2016). Press Release Library. Retrieved April 6, 2016.
External links[edit]
iPhone SE – official site
Preceded by
iPhone 5S iPhone SE
2016 Succeeded by
Incumbent
[show]
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t
e
iOS and iOS-based products
History
Outline
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