Editing Cartography (section)

====Printing technology====
There were two main printmaking technologies in the Renaissance: [[woodcut]] and [[Intaglio (printmaking)|copper-plate intaglio]], referring to the medium used to transfer the image onto paper.

In woodcut, the map image is created as a relief chiseled from medium-grain hardwood. The areas intended to be printed are inked and pressed against the sheet. Being raised from the rest of the block, the map lines cause indentations in the paper that can often be felt on the back of the map. There are advantages to using relief to make maps. For one, a printmaker doesn't need a press because the maps could be developed as rubbings. Woodblock is durable enough to be used many times before defects appear. Existing printing presses can be used to create the prints rather than having to create a new one. On the other hand, it is hard to achieve fine detail with the relief technique. Inconsistencies in linework are more apparent in woodcut than in intaglio. To improve quality in the late fifteenth century, a style of relief craftsmanship developed using fine chisels to carve the wood, rather than the more commonly used knife.

In intaglio, lines are engraved into workable metals, typically copper but sometimes brass. The engraver spreads a thin sheet of wax over the metal plate and uses ink to draw the details. Then, the engraver traces the lines with a stylus to etch them into the plate beneath.<ref name=":1">{{Cite journal|last=Delano-Smith |first=Catherine |date=2005 |title=Stamped Signs on Manuscripts Maps in the Renaissance |journal=[[Imago Mundi]] |volume=57 |pages=59–62 |doi=10.1080/0308569042000289842 |s2cid=140557612}}</ref> The engraver can also use styli to prick holes along the drawn lines, trace along them with colored chalk, and then engrave the map.&nbsp;Lines going in the same direction are carved at the same time, and then the plate is turned to carve lines going in a different direction. To print from the finished plate, ink is spread over the metal surface and scraped off such that it remains only in the etched channels. Then the plate is pressed forcibly against the paper so that the ink in the channels is transferred to the paper. The pressing is so forceful that it leaves a "plate mark" around the border of the map at the edge of the plate, within which the paper is depressed compared to the margins.<ref name=":2">{{Cite journal|last=Woodward |first=David |title=Techniques of Map Engraving, Printing, and Coloring in the European Renaissance |journal=[[The History of Cartography]] |volume=3 |pages=591–610}}</ref> Copper and other metals were expensive at the time, so the plate was often reused for new maps or melted down for other purposes.<ref name=":2" />

Whether woodcut or intaglio, the printed map is hung out to dry. Once dry, it is usually placed in another press to flatten the paper. Any type of paper that was available at the time could be used to print the map, but thicker paper was more durable.

Both relief and intaglio were used about equally by the end of the fifteenth century.