Karavouzis (b. 1938), best known for his painting, turned to engraving in 1969, following the mixed model of ``painter-engravers``, who wanted, through their engravings, to communicate more widely with the public (see A. Bartsch, Le peintre-graveur, 21, Vienna 1803-1829. Especially for Karavouzis as a painter-engraver, see D. Pavlopoulos, ``Painters-engravers. τους ”, ed. The Kathimerini `{`“ Seven Days ”`}`, March 12, 1995). He has created woodcuts, linographs, copperplates, tin lithographs, silkscreens and monotypes. His engravings have been presented in solo exhibitions (1996, Athens, ``House of Cyprus`` 1997, Piraeus, French Institute of Athens) and group (1981, Biennale of European Engraving, Baden-Baden 1988, Greek Post-Engraving, National Gallery and Alexou Museum; 1988, First Triennale Mondiale des Estampes, Chamaliers, Musée d'Art Contemporaine? 1990, Second Biennale of Mediterranean Engraving, Gallery of the Municipality of Athens? 1992, Traveling Exhibition of Contemporary Greek Engraving, Chamber of Fine Arts of Greece by 2000 the Collections of the National Gallery, of the Pieridis Foundation, of Cypriot artists and collectors, Municipal Center of Arts of Nicosia `{`Collaboration: He engraved his first works with the old method of woodcut on oblique wood, where a piece of soft wood is used, cut in the direction of the tree trunk, with horizontal (lateral) waters for the engraver (for the history and the process of the method see D. Pavlopoulou, Engraving - Graphic Arts, History - Techniques - Methods, Athens 1995, pp. 114, 119-121). Karavouzis himself says that the need to give works to his friends led him to engraving, when he left for France and studied at the School of Fine Arts. Thus, a natural supply mood that always characterizes this particular artist made him, self-taught in engraving, take a piece of wood, engrave it with simple tools and print it with a spoon! From his beginnings in engraving, the ``Portrait of Giulika Lakeridou``, also by his wife, a painter and engraver, is a woodcut painted at the Hondιnique Fondation in Paris in 1970 and shows eclectic affinities of Karavouzis engraving with German engraving and Byzantine painting. The rough engraving of the female face in the wood, with the thick lines of the ``lights``, refers, without this meaning anything else, to both more vivid versions of woodcuts by Karl Schmidt-Rottluff (1884-1976) and Erich Heckel (1883-1970) as well as in Byzantine frescoes. The important techno-critic George Petris (George Simos, 1916-1997) noted, on the occasion of Karavouzis's painting exhibition in Athens, at the Artistic Cultural Center ``Hour``, in 1976 (Chronicle '77, letters - arts, Athens 1977, p. 113): “There is no need to invoke foreign names to explain the symbolic, in general, the art of Karavouzis, as some do who think that only the genealogy of his elements can explain his plastic world. Whoever is versatile, let him invoke whatever names he knows, or wishes. The painter's expression is his. His symbols, wherever they come from, express his own experiential situations, they do not act on foreign measures. The artist chooses them according to his own expressive needs. In the end, these elements seem to stand cautiously alienated from the viewer, but they lead, with their self-evident composition, to a tight dialogue between them, because the same fate continues, integrated as it is in a transcendental space ``. Another of his woodcuts, ``The Couple``, painted at the Fondation Hellinique in Paris at the same time as his previous work, brings us to the center of Karavouzis' recognizable morphological idiom in his painting and sculpture: in the metaphysical atmosphere. The two figures, without rendering faces, become abstract symbols, appearing in a deliberately undefined space, immersed in a mist of mystery. Later he also engraved on linoleum, a mixture of ground cork and linseed oil varnish, where he also gave prints reminiscent of his painting (``Fantastic Landscape``, 1992). Since 1978, in Paris, he has been trying to make copperplates with the methods of linear oxygraphy (eau-forte) and tonal oxygraphy (acquatinta), as well as tin lithographs. His copperplates, which required an organized laboratory for the oxidation of copper plate, and his tin lithographs he worked on and printed in collaboration with the laboratories of Henri Monnier and Michel Cassi in Paris, Pino Pandolfini, Aleko Papadopoulos and Elias. He even presented his first fifteen tonal oxygraphs ``in folio`` in 1981, in an exhibition in ``Hour``, one with the painter Chronis Motsoglou (b. 1941) and the engraver Tonia Nikolaidis (b. 1927). In 1983 followed the exhibition at the Art Gallery ``Yakinthos`` five numbered (in 30 copies) of his oxygraphs, which were the illustration of the book by the poet and lyricist Michalis Bourboulis The Chronicle of Two Islands. His oxyographs convey more clearly than the woodcuts the atmosphere of his suggestive painting. His subjects remain the objects (bottles, ancient inscriptions, heads of ancient sculptures and flowers), the half-open doors with ancient statues, the landscapes of antiquity, all in alienated spaces and in unexpected relationships. They seem to prophesy the coming. The even more obvious connection of Karavouzis's engraving with his painting in the field of thematics is borne by his tin lithographs. Here he works purely as a painter, since the lithographic crayon allows him to draw, not to engrave, on the tin, while the color tones highlight painting values in the prints, which reach two hundred for each work, such as Still Life with an inscription, of 1988. . The closest connection with his painting can be seen in his artistic silkscreens, which, as is the case with the painter-engravers, repeat his paintings in order to spread them to a larger number of artists. His first silkscreen (``Statue head and shoes``) was made in 1985. The artist supervises the prints in the workshops of Angelos Lombardias, Nikos Koukoutsis and Panagiotis Tsironis. Loving innovations, Karavouzis proceeded to other techniques of graphic arts: he created several monotypes and some photocopies, wanting to try these possibilities as well. In 1996 they were printed and published in a leather-bound and hardcover envelope numbered eight of his photocopies by the Engraving Laboratory of Elias N. Kouvelis. Dimitris Pavlopoulos