an engraving method in which the design to be printed is scratched directly into a copperplate with a sharply pointed instrument. Lines in a drypoint print are characterized by a soft fuzziness caused by ink printed from a burr, a rough ridge of metal thrown up on each side of the furrow of the drypoint line. The course of the line, however, is often abruptly angular when changing directions, because the metal of the plate continually resists the engraving point. Drypoint is most often used with other printmaking techniques. It can be used to give dark accents to a nearly completed etching, for example, or it can be used first to sketch in lightly on a copperplate the proposed design for a line engraving.

Drypoint was in use by the late 15th century, and in the early 16th century the German artist Albrecht Dürer (Dürer, Albrecht) already had a thorough command of the technique. Its greatest master was Rembrandt van Rijn, in whose etchings drypoint became increasingly prominent. After suffering a period of neglect in the late 18th and early 19th centuries, drypoint was revived and has been used by most modern etchers, especially by the German Expressionist Max Beckmann (Beckmann, Max).