National Gallery of Canada

“A graphic artist is something of a troubadour; he sings and repeats the same song in every print he makes of his woodcut, copperplate, or lithographic stone. It doesn’t matter much if he loses, spoils, or rips a sheet; there are enough other copies to carry forth his thoughts, and if he runs out, he can print a new set in which every work is just as perfect, original, and complete, as long as the plate is not worn out.” (Escher in Locher, 1992, p. 68)             

Escher never really liked being called an artist; he preferred to be known as a graphic artist. Printmaking fascinated him, not only for its beauty, but also because it fulfilled his desire for multiplication of his works and because it required a great mastery of technique. Judging from the complexity of some of his prints, there can be little doubt that he was indeed a master of his craft.
                                                                     

Escher’s Techniques

Although he also occasionally produced watercolours and sculptures, Escher was first and foremost a graphic artist. The printmaking methods he used most often were one intaglio technique - Mezzotint, three relief techniques - linocut, wood engraving, and woodcut and one planographic technique - lithography.

On Papers

It is worth noting that Escher preferred two types of paper for printing: wove paper, produced from wood pulp, a japanese paper, made from oriental plants such as mulberry or bamboo. The latter, made by hand, is especially light and resistant.