Drypoint reflection.

The type of printmaking technique that is used for dry points is from the Intaglio family, where an image is incised into a plate or sheet by a "needle" like sharp metal. The lines are produced by the burr thrown up at the sides of the incised lines, in addition to the depressions formed where the ink can leak into. They produce soft and heavy lines which also include thick and thin lines. You hold the needle like a pencil but of course since plexiglass is heavier and denser than paper you would have to apply more pressure. The angle of the needle determines the burr. Of course, the greater the pressure the greater the depression in the plexiglass. The lines with less depression and burr will be least likely to print. Tonal areas are built up by cross hatching or stippling (close dots). To wipe the excess ink off the plate you rub it with a old towel or multiple paper towels then wiping it with a tarlatan pad (folded in) in a circular motion. We use the edge of a cardboard square to swipe the ink on the plate. Don't use excess pressure so you can avoid damaging the burr. Lino block printmaking and dry point printmaking are similar in some context but of course have their differences. Stating the obvious, Lino block printmaking uses lino while dry point uses plexiglass to produce the product. Another difference is that the ink is engraved into the plexiglass while the rest on the surface is wiped off while using the lino block technique it is the opposite. Ink on the surface creates the image. The only similarity between the 2 are that incisors are used in both to create depressions in order to produce the print and ink is involved. I prefer to use dry point instead of lino block because it is a much easier option and brings out more fine detail in the needed image that you want to produce.