1.
Peter Ilsted
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Peter Ilsted was a leading Danish artist and printmaker. Ilsted, Carl Holsøe and Ilsted’s brother-in-law, Vilhelm Hammershøi, were the artists in early 20th-century Denmark. All three artists were members of ‘The Free Exhibition’, an art society created around 1890. They are famous for painting images of Sunshine and Silent Rooms and their works reflects the orderliness of a tranquil life –- similar to the earlier works of Vermeer. Their art was referred to as the ‘Copenhagen Interior School’. These interiors evoke at once a sense of calm, as well as a sense of mystery, the orderly rooms are often viewed from behind—causing one to wonder if the scenes are really tranquil or something else. James McNeill Whistler, Duret and important art critics were early admirers and collectors of Ilsted’s work, while at first glance their work appears similar, it is in fact quite different. Hammershøi’s work has an aloof austerity, in contrast to Ilsteds scenes of common life, though sometimes Hammershøi’s colorful early pictures are reminiscent of James Tissot, his work is quintessentially Danish. However, Ilsted was more of a technician, and he made contributions in the field of graphic art. Ilsted’s mezzotints were very popular and important in his day and they were an innovation in the media. Ilsted exhibited his work all over Europe, in London in 1907, in Germany and it is there that his work was first exposed to Europe’s art community. Ilsted was a success in his lifetime and won many awards. He was the member of the group to also focus on printmaking. Ilsted’s achievements in mezzotints were revolutionary, some of his mezzotints, most of which were created in black as well as color editions, are considered among the greatest ever made. Simon, Manuel Robbe, and others seemingly adopted was that of inking the plate à la poupée, some art historians have argued that these 3 men created the technique at about the same time but without consultation. The Metropolitan Museum of Art held an important exhibition on the work of Ilsted, Hammershøi, Peter Ilsted, Sunshine and Silent Rooms, Theodore B. Art Signature Dictionary, genuine signature by the artist Peter Ilsted – Several examples of Peter Ilsteds signature and monogram
Peter Ilsted
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The Artist's self-portrait with a cigaret (Kunstnerens selvportræt med cigaret), 1898
Peter Ilsted
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Sunshine Falling on a Door,
mezzotint in black, Vess Collection
2.
History of printing
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The history of printing goes back to the duplication of images by means of stamps in very early times. In both China and Egypt, the use of stamps for seals preceded the use of larger blocks. In China, India and Europe, the printing of cloth certainly preceded the printing of paper or papyrus, the process is essentially the same - in Europe special presentation impressions of prints were often printed on silk until the seventeenth century. Block printing is a technique for printing text, images or patterns used widely throughout East Asia both as a method of printing on textiles and later, under the influence of Buddhism, on paper. As a method of printing on cloth, the earliest surviving examples from China date to about 220, ukiyo-e is the best known type of Japanese woodblock art print. Most European uses of the technique on paper are covered by the term woodcut, the worlds earliest printer printed fragments to survive are from China and are of silk printed with flowers in three colours from the Han Dynasty. It reached Europe, via the Islamic world, and by around 1400 was being used on paper for old master prints, the third oldest wood-block printed book ever found after Mugujeonggwang great Dharani sutraand Hyakumantō Darani is the Diamond Sutra. It carries a date of the 13th day of the moon of the ninth year of the Xiantong era. A number of printed dhāraṇīs, however, predate the Diamond Sūtra by about two hundred years, in Buddhism, great merit is thought to accrue from copying and preserving texts. The fourth-century master listed the copying of scripture as the first of ten essential religious practices and this ‘cult of the book’ led to techniques for reproducing texts in great numbers, especially the short prayers or charms known as dhāraṇīs. Stamps were carved for printing these prayers on clay tablets from at least the seventh century, especially popular was the Pratītyasamutpāda Gāthā, a short verse text summing up Nāgārjunas philosophy of causal genesis or dependent origination. Nagarjuna lived in the centuries of the current era and the Buddhist Creed. This tradition was transmitted to China and Tibet with Buddhism, Printing text from woodblocks does not, however, seem to have been developed in India. Printing with a press was practiced in Christian Europe as a method for printing on cloth and these prints were produced in very large numbers from about 1425 onwards. Around the mid-century, block-books, woodcut books with text and images, usually carved in the same block, emerged as a cheaper alternative to manuscripts. These were all heavily illustrated works, the bestsellers of the day, repeated in many different block-book versions, the Ars moriendi. In Europe, from about 1450 they were commonly used to colour old master prints printed in black and white. This was especially the case with playing-cards, which continued to be coloured by stencil long after most other subjects for prints were left in black, stenciling back in the 27th century BCE was different
History of printing
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Yuan Dynasty woodblocks edition of a
Chinese play
History of printing
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Jikji, Selected Teachings of Buddhist Sages and Seon Masters, the earliest known book printed with movable metal type, 1377.
Bibliothèque Nationale de France, Paris.
History of printing
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Korean moveable metal typeset form, used to print 月印千江之曲 in 1447.
3.
Woodblock printing
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Woodblock printing is a technique for printing text, images or patterns used widely throughout East Asia and originating in China in antiquity as a method of printing on textiles and later paper. Ukiyo-e is the best known type of Japanese woodblock art print, most European uses of the technique for printing images on paper are covered by the art term woodcut, except for the block-books produced mainly in the 15th century. Prior to the invention of printing, seals and stamps were used for making impressions. The oldest of these came from Mesopotamia and Egypt. A few much larger brick stamps for marking clay bricks survive from Akkad from around 2270 BC. There are also Roman lead pipe inscriptions of some length that were stamped, however none of these used ink, which is necessary for printing, but stamped marks into relatively soft materials. In both China and Egypt, the use of stamps for seals preceded the use of larger blocks. In Europe and India, the printing of cloth certainly preceded the printing of paper or papyrus, the process is essentially the same—in Europe special presentation impressions of prints were often printed on silk until at least the 17th century. The block was cut along the grain of the wood and it is necessary only to ink the block and bring it into firm and even contact with the paper or cloth to achieve an acceptable print. The content would of course print in reverse or mirror-image, a further complication when text was involved, the art of carving the woodcut is technically known as xylography, though the term is rarely used in English. For colour printing, multiple blocks are used, each for one colour, multiple colours can be printed by keying the paper to a frame around the woodblocks. There are three methods of printing to consider, Stamping Used for many fabrics, and most early European woodcuts. These items were printed by putting paper or fabric on a table or a surface with the block on top, and pressing, or hammering. Rubbing Apparently the most common for Far Eastern printing, Used for European woodcuts and block-books later in the 15th century, and very widely for cloth. The block is placed face side up on a table, with the paper or fabric on top, the back of the paper or fabric is rubbed with a hard pad, a flat piece of wood, a burnisher, or a leather frotton. Printing in a press Presses only seem to have used in Asia in relatively recent times. Simple weighted presses may have used in Europe, but firm evidence is lacking. A deceased Abbess of Mechelen in Flanders in 1465 had unum instrumentum ad imprintendum scripturas et ymagines, cum 14 aliis lapideis printis which is probably too early to be a Gutenberg-type printing press in that location
Woodblock printing
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Young monks printing Buddhist scriptures using the rubbing technique,
Sera Monastery in
Tibet
Woodblock printing
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Woodblock for textile printing, India, about 1900, 22×17×8 cm
Woodblock printing
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Mino province: Yoro-taki from the series Views of Famous Places in the Sixty-odd Provinces by
Hiroshige, a
ukiyo-e artist
4.
Movable type
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Movable type is the system and technology of printing and typography that uses movable components to reproduce the elements of a document usually on the medium of paper. In 1377, currently the oldest extant movable metal print book, the diffusion of both movable-type systems was, however, limited. Around 1450 Johannes Gutenberg made another version of a metal printing press in Europe, along with innovations in casting the type based on a matrix. The more limited number of characters needed for European languages was an important factor, Gutenberg was the first to create his type pieces from an alloy of lead, tin, and antimony—and these materials remained standard for 550 years. For alphabetic scripts, movable-type page setting was quicker than woodblock printing, the metal type pieces were more durable and the lettering was more uniform, leading to typography and fonts. The high quality and relatively low price of the Gutenberg Bible established the superiority of movable type in Europe, the printing press may be regarded as one of the key factors fostering the Renaissance and due to its effectiveness, its use spread around the globe. The 19th-century invention of hot metal typesetting and its successors caused movable type to decline in the 20th century, the technique of imprinting multiple copies of symbols or glyphs with a master type punch made of hard metal first developed around 3000 BC in ancient Sumer. These metal punch types can be seen as precursors of the letter punches adapted in later millennia to printing with metal type. Cylinder seals were used in Mesopotamia to create an impression on a surface by rolling the seal on wet clay and they were used to sign documents and mark objects as the owners property. By 650 BC the ancient Greeks were using larger diameter punches to imprint small page images onto coins and tokens, seals and stamps may have been precursors to movable type. A few authors even view the disc as technically meeting all definitional criteria to represent an early incidence of movable-type printing, recently it has been alleged by Jerome Eisenberg that the disk is a forgery. The Prüfening dedicatory inscription is medieval example of movable type stamps being used, yet copying books by hand was still labour-consuming. Not until the Xiping Era, towards the end of the Eastern Han Dynasty did sealing print and it was soon used for printing designs on fabrics, and later for printing texts. Woodblock printing, invented by about the 8th century during the Tang Dynasty, then carvers cut away the parts of the board that were not part of the character, so that the characters were cut in relief, completely differently from those cut intaglio. When printing, the characters would have some ink spread on them. With workers’ hands moving on the back of paper gently, characters would be printed on the paper, by the Song Dynasty, woodblock printing came to its heyday. Although woodblock printing played a role in spreading culture, there remained some apparent drawbacks. Firstly, carving the printing plate required considerable time, labour and materials, secondly, it was not convenient to store these plates, with woodblock printing, one printing plate could be used for tens of hundreds of books, playing a magnificent role in spreading culture
Movable type
Movable type
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Movable type traces its origins to the punches used to make
coins: the reverse face of a
Tetradrachm Greek coin from
Athens, 5th century BC, featuring various letters and the owl symbol of
Athena.
Movable type
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Brick "stamp mold" for the King of
Larsa,
Sin-Iddinam. (for Sun God, Utu,
foundation deposit of temple)
5.
Printing press
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A printing press is a device for applying pressure to an inked surface resting upon a print medium, thereby transferring the ink. The printing press was invented in the Holy Roman Empire by the German Johannes Gutenberg around 1440, the printing press spread within several decades to over two hundred cities in a dozen European countries. By 1500, printing presses in operation throughout Western Europe had already produced more than twenty million volumes, in the 16th century, with presses spreading further afield, their output rose tenfold to an estimated 150 to 200 million copies. The operation of a press became so synonymous with the enterprise of printing that it lent its name to a new branch of media. The sharp rise of learning and literacy amongst the middle class led to an increased demand for books which the time-consuming hand-copying method fell far short of accommodating. Technologies preceding the press led to the presss invention included, manufacturing of paper, development of ink, woodblock printing. At the same time, a number of products and technological processes had reached a level of maturity which allowed their potential use for printing purposes. The device was used from very early on in urban contexts as a cloth press for printing patterns. Gutenberg may have also inspired by the paper presses which had spread through the German lands since the late 14th century. Gutenberg adopted the design, thereby mechanizing the printing process. Printing, however, put a demand on the quite different from pressing. Gutenberg adapted the construction so that the power exerted by the platen on the paper was now applied both evenly and with the required sudden elasticity. To speed up the process, he introduced a movable undertable with a plane surface on which the sheets could be swiftly changed. The known examples range from Germany to England to Italy, however, the various techniques employed did not have the refinement and efficiency needed to become widely accepted. Gutenberg greatly improved the process by treating typesetting and printing as two separate work steps, a goldsmith by profession, he created his type pieces from a lead-based alloy which suited printing purposes so well that it is still used today. The mass production of metal letters was achieved by his key invention of a hand mould. Another factor conducive to printing arose from the existing in the format of the codex. Considered the most important advance in the history of the prior to printing itself
Printing press
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Recreated
Gutenberg press at the
International Printing Museum, Carson, California
Printing press
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Medieval university class (1350s)
Printing press
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Early modern
wine press. Such
screw presses were applied in Europe to a wide range of uses and provided Gutenberg with the model for his printing press.
6.
Etching
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Etching is traditionally the process of using strong acid or mordant to cut into the unprotected parts of a metal surface to create a design in intaglio in the metal. In modern manufacturing, other chemicals may be used on other types of material, as a method of printmaking, it is, along with engraving, the most important technique for old master prints, and remains in wide use today. In a number of variants such as microfabrication etching and photochemical milling it is a crucial technique in much modern technology. In traditional pure etching, a plate is covered with a waxy ground which is resistant to acid. The artist then scratches off the ground with an etching needle where he or she wants a line to appear in the finished piece. The échoppe, a tool with an oval section, is also used for swelling lines. The plate is dipped in a bath of acid, technically called the mordant or etchant. The acid bites into the metal where it is exposed, leaving behind lines sunk into the plate, the remaining ground is then cleaned off the plate. The plate is inked all over, and then the ink wiped off the surface, the plate is then put through a high-pressure printing press together with a sheet of paper. The paper picks up the ink from the lines, making a print. The process can be repeated many times, typically several hundred impressions could be printed before the shows much sign of wear. The work on the plate can also be added to by repeating the whole process, Etching has often been combined with other intaglio techniques such as engraving or aquatint. The process as applied to printmaking is believed to have been invented by Daniel Hopfer of Augsburg, Hopfer was a craftsman who decorated armour in this way, and applied the method to printmaking, using iron plates. Apart from his prints, there are two examples of his work on armour, a shield from 1536 now in the Real Armeria of Madrid. The switch to copper plates was made in Italy. On the other hand, the handling of the ground and acid need skill and experience, prior to 1100 AD, the New World Hohokam independently utilized the technique of acid etching in marine shell designs. Jacques Callot from Nancy in Lorraine made important technical advances in etching technique and he developed the échoppe, a type of etching-needle with a slanting oval section at the end, which enabled etchers to create a swelling line, as engravers were able to do. Callot also appears to have responsible for an improved, harder, recipe for the etching ground
Etching
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The Soldier and his Wife. Etching by
Daniel Hopfer, who is believed to have been the first to apply the technique to printmaking
Etching
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Portrait of
Luca Giordano, 18th century
Etching
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Rembrandt,
The Virgin and Child with a Cat, 1654. Original copper etching plate above, example of the print below, with composition reversed.
Etching
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Christ Preaching, known as The
Hundred Guilder Print; etching c1648 by
Rembrandt.
7.
Aquatint
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Aquatint is an intaglio printmaking technique, a variant of etching. In intaglio printmaking, the artist makes marks on the plate that are capable of holding ink, the inked plate is passed through a printing press together with a sheet of paper, resulting in a transfer of the ink to the paper. This can be repeated a number of times, depending on the particular technique, like etching, aquatint uses the application of a mordant to etch into the metal plate. Where the engraving uses a needle to make lines that print in black. The rosin is acid resistant and typically adhered to the plate by controlled heating, the tonal variation is controlled by the level of mordant exposure over large areas, and thus the image is shaped by large sections at a time. Another tonal technique, mezzotint, begins with a surface that is evenly indented so that it will carry a fairly dark tone of ink. The mezzotint plate is then smoothed and polished to make areas carry less ink, alternatively, beginning with a smooth plate, areas are roughened to make them darker. Occasionally these two techniques are combined, the painter and printmaker Jan van de Velde IV invented the aquatint technique in Amsterdam, around 1650. The cartographer Peter Perez Burdett later introduced his secret aquatint technique to England in the 1770s, an aquatint requires a metal plate, an acid, and something to resist the acid. Traditionally copper or zinc plates were used, the artist applies a ground that will resist acid. Ground is applied by either dissolving powdered resin in spirits, applying the powder directly to the surface of the plate, in all forms of etching the acid resist is commonly referred to as the ground. An aquatint box is used to apply resin powder, the powder is at the bottom of the box, a crank or a bellows is used to blow the powder up into the air of the box. A window allows the engraver to see the density of flowing powder, when the powder covers the plate, it can be extracted from the box for the next operations. The plate is then heated, if the plate is covered with powder, the resin melts forming a fine and even coat, if it is in spirits, the spirits evaporate and the result is essentially the same. Now the plate is dipped in acid, producing an even, at this point, the plate is said to carry about a 50% halftone. This means that, were the plate printed with no further biting, at some point the artist will then etch an outline of any aspects of the drawing s/he wishes to establish with line, this provides the basis and guide for the later tone work. S/he may also have applied an acid-resistant stop out if s/he intends to keep any areas totally white and free of ink, the artist then begins immersing the plate in the acid bath, progressively stopping out any areas that have achieved the designed tonality. These tones, combined with the limited line elements, give aquatints a distinctive, also, aquatints, like mezzotints, provide ease in creating large areas of tone without laborious cross-hatching, but aquatint plates, it is noted, are generally more durable than mezzotint plates
Aquatint
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The Sleep of Reason Produces Monsters,
Francisco Goya (1799)
Aquatint
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aquatint box, used to apply resin powder on the plate.
Aquatint
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Zinc plate with powder resin.
8.
Lithography
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Lithography is a method of printing originally based on the immiscibility of oil and water. The printing is from a stone or a plate with a smooth surface. It was invented in 1796 by German author and actor Alois Senefelder as a method of publishing theatrical works. Lithography can be used to print text or artwork onto paper or other suitable material, Lithography originally used an image drawn with oil, fat, or wax onto the surface of a smooth, level lithographic limestone plate. The stone was treated with a mixture of acid and gum arabic, when the stone was subsequently moistened, these etched areas retained water, an oil-based ink could then be applied and would be repelled by the water, sticking only to the original drawing. The ink would finally be transferred to a paper sheet. This traditional technique is used in some fine art printmaking applications. In modern lithography, the image is made of a coating applied to a flexible aluminum plate. The image can be printed directly from the plate, or it can be offset, by transferring the image onto a sheet for printing. In fact, photolithography is used synonymously with offset printing, the technique as well as the term were introduced in Europe in the 1850s. Beginning in the 1960s, photolithography has played an important role in the fabrication, Lithography uses simple chemical processes to create an image. For instance, the part of an image is a water-repelling substance. Thus, when the plate is introduced to a printing ink and water mixture, the ink will adhere to the positive image. This allows a flat print plate to be used, enabling much longer, Lithography was invented by Alois Senefelder in the Kingdom of Bavaria in 1796. In the early days of lithography, a piece of limestone was used. After the oil-based image was put on the surface, a solution of gum arabic in water was applied, during printing, water adhered to the gum arabic surfaces and was repelled by the oily parts, while the oily ink used for printing did the opposite. Lithography works because of the repulsion of oil and water. The image is drawn on the surface of the print plate with a fat or oil-based medium such as a wax crayon, which may be pigmented to make the drawing visible
Lithography
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Charles Marion Russell 's The Custer Fight (1903), with the range of tones fading toward the edges
Lithography
–
Lithography stone and
mirror image print of a map of Munich
Lithography
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A 1902 lithograph map (original size 33×24 cm)
9.
Chromolithography
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Chromolithography is a unique method for making multi-colour prints. This type of colour printing stemmed from the process of lithography, when chromolithography is used to reproduce photographs, the term photochrome is frequently used. Lithographers sought to find a way to print on flat surfaces with the use of chemicals instead of relief or intaglio printing, hand-colouring also remained important, elements of the official British Ordnance Survey maps were coloured by hand by boys until 1875. The initial technique involved the use of multiple lithographic stones, one for each colour, depending on the number of colours present, a chromolithograph could take months to produce, by very skilled workers. However much cheaper prints could be produced by simplifying both the number of used, and the refinement of the detail in the image. Cheaper images, like advertisements, relied heavily on a black print. The process is based on the rejection of grease by water, the image is applied to stone, grained zinc or aluminium surfaces, with a grease-based crayon or ink. Limestone and zinc are two commonly used materials in the production of chromolithographs, as aluminium unfortunately corrodes easily, after the image is drawn onto one of these surfaces, the image is gummed-up with a gum arabic solution and weak nitric acid to desensitize the surface. Before printing, the image is proved before finally inking up the image with oil based transfer or printing ink, the inked image under pressure is transposed onto a sheet of paper using a flat-bed press. This describes the form of printing. The offset indirect method uses a cylinder that transfers the image from printing surface to the paper. Colours may be overprinted by using stones or plates to achieve a closer reproduction of the original. Accurate registration for multi-coloured work is achieved by the use of a key outline image, ben-Day medium, uses a raised gelatin stipple image to give tone gradation. An air-brush sprays ink to give soft edges and these are just two methods used to achieve gradations of tone. The use of twelve overprinted colours would not be considered unusual, each sheet of paper will therefore pass through the printing press as many times as there are colours in the final print. In order that each colour is placed in the position, each stone or plate must be precisely ‘registered, ’ or lined up. Chromolithographs are considered to be reproductions that are smaller than double demi, autolithographs are prints where the artist draws and perhaps prints his or her own limited number of reproductions. This is the true art form
Chromolithography
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Folding Card,
The Old Woman Who Lived in A Shoe, 6 April 1883.
Chromolithography
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Uncle Sam Supplying the World with Berry Brothers Hard Oil Finish, c. 1880. This cheaply produced chromolithographic advertisement employs a technique called stippling, with heavy reliance on the initial black line print.
Chromolithography
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1872 chromolithograph of roadside inn, published in Maryland
10.
Rotary printing press
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A rotary printing press is a printing press in which the images to be printed are curved around a cylinder. Printing can be done on a number of substrates, including paper, cardboard. Substrates can be sheet feed or unwound on a continuous roll through the press to be printed, printing presses that use continuous rolls are sometimes referred to as web presses. William Nicholson filed a 1790 patent for a rotary press, the rotary press itself is an evolution of the cylinder press, also patented by William Nicholson and invented by Friedrich Koenig. Rotary drum printing was invented by Richard March Hoe in 1843, some sources describe the Parisian Hippolyte Auguste Marinoni as the inventor of the Rotary printing press, but this was the subject of a patent dispute that was decided in Hoes favor. A. S. Abell of the Baltimore Sun was the first American user of the rotary press, today, there are three main types of rotary presses, offset, rotogravure, and flexo. While the three types use cylinders to print, they vary in their method, offset lithography uses a chemical process in which an image is chemically applied to a plate. Lithography is based on the fact that water and oil do not mix, in the context of a printing plate, a wettable surface may also be termed hydrophilic and a non-wettable surface hydrophobic. Gravure is a process in which cells or holes are etched into a copper cylinder. All the colours are etched in different angles, thus while printing every colour is placed in position to give the appropriate image. Flexography is a system in which a raised image is created on a typically polymer based plate. In stamp collecting, rotary-press-printed stamps are sometimes a different size than stamps printed with a flat plate and this happens because the stamp images are further apart on a rotary press, which makes the individual stamps larger
Rotary printing press
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Hoe's six-cylinder rotary press from the 1860s. The printing plates are located on the large cylinder in the middle.
11.
Hectograph
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While the original use of the technology has diminished, it has recently been revived for use in the art world. The hectograph has been modernized and made practical for anyone to use, the special aniline dyes for making the master image came in the form of ink or in pens, pencils, carbon paper and even typewriter ribbon. Hectograph pencils and pens are still available. Various other inks have been found usable to varying degrees in the process, unlike a spirit duplicator master, a hectograph master is not a mirror image. The master is placed on the gelatin and spirits applied to transfer the ink from the master to the gelatin, after transfer of the image to the inked gelatin surface, copies are made by pressing paper against it. When a pad ceased to be useful, the gelatin could be soaked with spirits and the ink could be sponged away, a grey-colored, thick, absorbent paper pad was supplied to cover the gelatin surface for storage. This also removed ink from the surface, but took hours to do so. Care needed to be taken that the surface was kept clean. The gelatin process produced print runs of somewhere between 20 and 80 copies, depending upon the skill of the user and the quality of the original. At least eight different colors of ink were available at one time. Hectography, requiring limited technology and leaving few traces behind, has deemed useful both in low-technology environments and in clandestine circumstances where discretion was necessary. In the earlier 20th century, the process lent itself to small runs of school classroom test papers, church newsletters, prisoners-of-war at Stalag Luft III and at Colditz Castle during World War II used an improvised hectograph to reproduce documents for a planned escape attempt. It has also used, though not very extensively, as an artistic medium in printmaking. The Russian Futurists used it for book illustrations, and the German expressionist Emil Nolde made four hectographs, stephen King, in his book On Writing, talks about how he and his older brother Dave used the process to create their newspaper, Daves Rag. Before the popularization of spirit duplicators and the mimeograph, there were mechanized hectography machines that used a drum, in the final chapters of The Pothunters by P. G. Wodehouse the major characters use a jellygraph to produce a school magazine at very short notice. Wodehouse assumes his reader knows exactly what a jellygraph is and alludes to its being unattractive, I think well keep to print in future. The young, even those who had been too young to fight, were in a bad temper with their elders, as well they might be, meanwhile the old—those over sixty, say—were running in circles like hens, squawking about subversive ideas. Gordon and his friends had quite a time with their subversive ideas
Hectograph
–
A 19th-century hectograph advertisement
Hectograph
Hectograph
12.
Offset printing
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Offset printing is a commonly used printing technique in which the inked image is transferred from a plate to a rubber blanket, then to the printing surface. The modern web process feeds a large reel of paper through a press machine in several parts, typically for several metres. Development of the press came in two versions, in 1875 by Robert Barclay of England for printing on tin, and in 1904 by Ira Washington Rubel of the United States for printing on paper. Lithography was initially created to be a method of reproducing artwork. This printing process was limited to use on flat, porous surfaces because the plates were produced from limestone. In fact, the word lithograph historically means an image from stone or printed from stone, tin cans were popular packaging materials in the 19th century, but transfer technologies were required before the lithographic process could be used to print on the tin. The first rotary offset lithographic printing press was created in England and this development combined mid-19th century transfer printing technologies and Richard March Hoes 1843 rotary printing press—a press that used a metal cylinder instead of a flat stone. The offset cylinder was covered with specially treated cardboard that transferred the image from the stone to the surface of the metal. Later, the covering of the offset cylinder was changed to rubber. As the 19th century closed and photography became popular, many lithographic firms went out of business, photoengraving, a process that used halftone technology instead of illustration, became the primary aesthetic of the era. Many printers, including Ira Washington Rubel of New Jersey, were using the low-cost lithograph process to produce copies of photographs, Rubel discovered in 1901—by forgetting to load a sheet—that when printing from the rubber roller, instead of the metal, the printed page was clearer and sharper. After further refinement, the Potter Press printing Company in New York produced a press in 1903, by 1907 the Rubel offset press was in use in San Francisco. The Harris Automatic Press Company also created a similar press around the same time, charles and Albert Harris modeled their press on a rotary letter press machine. One of the most important functions in the process is prepress production. This stage makes sure that all files are processed in preparation for printing. This includes converting to the proper CMYK color model, finalizing the files, Offset lithography is one of the most common ways of creating printed materials. A few of its common applications include, newspapers, magazines, brochures, stationery, compared to other printing methods, offset printing is best suited for economically producing large volumes of high quality prints in a manner that requires little maintenance. Many modern offset presses use computer-to-plate systems as opposed to the older computer-to-film work flows, advantages of offset printing compared to other printing methods include, consistent high image quality
Offset printing
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Web-fed offset lithographic press at speed.
Offset printing
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Sheet-fed offset press
13.
Hot metal typesetting
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In printing and typography, hot metal typesetting refers to technologies for typesetting text in letterpress printing. This method injects molten type metal into a mold that has the shape of one or more glyphs, the resulting sorts and slugs are later used to press ink onto paper. Two different approaches to mechanising typesetting were independently developed in the late 19th century, one, known as the Monotype composition caster system, produced texts with the aid of perforated paper-ribbons, all characters are cast separate. These machines could produce texts also in large-composition up to 24 point, the Super-caster, another machine produced by Monotype, was similar in function to the Thompson, Bath, pivotal and others casters but designed to produce single type for hand setting. The other approach was to cast complete lines as one slug, in this way headings could be produced to complement text produced on other machines. There is another difference between Monotype and all the slug-producing machines, a Monotype machine functions with a minimal set of matrices. Linecasters cannot function this way, and these systems need quite large magazines of matrices to be able to set a line of text with the usual character repetitions. The key feature of the Linotype is the use of molds which circulate through the machine in its various stages of operation, one type is a space band and the other is a letter matrix made of brass. The matrices are stored in one or more magazines on top of the machine while the bands are stored in a box closer to the keyboard. When the space band key near the keyboard is pressed, one of the space bands drops out of the box, the assembling elevator is adjustable for different lengths of line. Once the line approaches its correct length, the operator is aware of this by a bell or other indicator. If the line is ‘tight’ or too long, the carrying the matrices. Both scenarios, if not stopped by these safety features, usually result in a “squirt” of molten metal, encasing the matrices. Not only is it time-consuming to clean up after a squirt, therefore, it is considered very poor form for an operator to permit this to happen. When the line is assembled to the length, the operator presses down on a lever which raises the assembling elevator up into the delivery channel. The delivery channel transfers the matrices out of the assembler and into the first elevator, if the justification bar has made a full cycle and the line is still not fully justified, the second safety—the pump stop—prevents the plunger in the metal pot from going down. The space bands were an important feature of this machine, providing automatic justification of each line by equally adjusting the space between each word. Since the type used was proportional and not fixed in width, some later models had a feature that permitted the lines to be cast with the alignment to either left, right or centered
Hot metal typesetting
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Row of Linotype operators at the Chicago Defender newspaper, 1941
14.
Mimeograph
–
The stencil duplicator or mimeograph machine is a low-cost duplicating machine that works by forcing ink through a stencil onto paper. The mimeograph process should not be confused with the spirit duplicator process, mimeographs, along with spirit duplicators and hectographs, were a common technology in printing small quantities, as in office work, classroom materials, and church bulletins. Early fanzines were printed with this technology, because it was widespread, in the late 1960s, mimeographs, spirit duplicators, and hectographs began to be gradually displaced by photocopying. Its earliest form was invented in 1874 by Eugenio de Zuccato, a young Italian studying law in London, zuccato’s system involved writing on a sheet of varnished paper with caustic ink, which ate through the varnish and paper fibers, leaving holes where the writing had been. This sheet – which had now become a stencil – was placed on a sheet of paper. The process was commercialized and Zuccato applied for a patent in 1895 having stencils prepared by typewriting, thomas Edison received US patent 180,857 for Autographic Printing on August 8,1876. The patent covered the electric pen, used for making the stencil, the word mimeograph was first used by Albert Blake Dick when he licensed Edisons patents in 1887. Dick received Trademark Registration no.0356815 for the term Mimeograph in the US Patent Office and it is currently listed as a dead entry, but shows the A. B. Dick Company of Chicago as the owner of the name. Over time, the term became generic and is now an example of a genericized trademark, in 1891, David Gestetner patented his Automatic Cyclostyle. This was one of the first rotary machines that retained the flatbed and this invention provided for more automated, faster reproductions since the pages were produced and moved by rollers instead of pressing one single sheet at a time. By 1900, two types of mimeographs had come into use, a single-drum machine and a dual-drum machine. The single-drum machine used a drum for ink transfer to the stencil. The single drum machine could be used for multi-color work by changing the drum - each of which contained ink of a different color. This was spot color for mastheads, the mimeograph became popular because it was much cheaper than traditional print - there was neither typesetting nor skilled labor involved. One individual with a typewriter and the equipment became his own printing factory. The image transfer medium was originally a stencil made from waxed mulberry paper, later this became an immersion-coated long-fibre paper, with the coating being a plasticized nitrocellulose. This flexible waxed or coated sheet is backed by a sheet of card stock. Once prepared, the stencil is wrapped around the drum of the rotary machine
Mimeograph
–
Illustration of a typical mimeograph machine
Mimeograph
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Advertisement from 1889 for the Edison Mimeograph
Mimeograph
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Jachson & O'Sullivan's "The National" Duplicator. Produced in Brisbane, Queensland during WWII.
15.
Photostat machine
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The Photostat machine, or Photostat, was an early projection photocopier created in the decade of the 1900s by the Commercial Camera Company, which became the Photostat Corporation. The Photostat name, which was originally a trademark of the company, became genericized, the growth of business during the industrial revolution created the need for a more efficient means of transcription than hand copying. Carbon paper was first used in the early 19th century, by the late 1840s copying presses were used to copy outgoing correspondence. One by one, other methods appeared and these included the manifold writer, developed from Christoph Scheiners pantograph and used by Mark Twain, copying baths, copying books, and roller copiers. Among the most significant of them was the Blue process in the early 1870s, stencil duplicators surfaced in 1874, and the Cyclostyle in 1891. All were manual and most involved messy fluids, the Rectigraph Company was acquired by the Haloid Company in 1935. In 1948 Haloid purchased the rights to produce Chester Carlsons xerographic equipment and in 1958 the firm was reorganized to Haloid Xerox, Haloid continued selling Rectigraph machines into the 1960s. The Photostat brand machine, differing in operation from the Rectigraph, a directory of the city from 1909 shows his Gregory Commercial Camera Company. By 1910, Gregory had co-filed a patent application with Norman W, by 1912, Photostat brand machines were in use, as evidenced by a record of one at the New York Public Library. By 1913, advertisements described the Commercial Camera Company as headquartered at Rochester, the pair filed another U. S. patent application in 1913 further developing their ideas. By 1920, distribution agency in various European markets was by the Alfred Herbert companies, for at least 40 years the brand was widespread enough that its name was genericized by the public. The Photostat Corporation was eventually absorbed by Itek in 1963, a prism was placed in front of the lens to reverse the image. After a 10-second exposure, the paper was directed to developing and fixing baths, the result was a negative print, which took about two minutes in total to produce, which could in turn be photographed to make any number of positive prints. The photographic prints produced by such machines are referred to as photostats. People who operated these machines were known as photostat operators and it was the expense and inconvenience of photostats that drove Chester Carlson to study electrophotography. In the mid-1940s Carlson sold the rights to his invention – which became known as xerography – to the Haloid Company and photostatting soon sank into history
Photostat machine
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Photostat of a document from the end of WW2
Photostat machine
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Commercial Camera Company Photostat advertisement in Engineering News, 1913.
16.
Screen printing
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Screen printing is a printing technique whereby a mesh is used to transfer ink onto a substrate, except in areas made impermeable to the ink by a blocking stencil. A blade or squeegee is moved across the screen to fill the open mesh apertures with ink, and this causes the ink to wet the substrate and be pulled out of the mesh apertures as the screen springs back after the blade has passed. Screen printing is also a method of print making in which a design is imposed on a screen of polyester or other fine mesh. Ink is forced into the mesh openings by the blade or squeegee and by wetting the substrate. As the screen away from the substrate the ink remains on the substrate. It is also known as silk-screen, screen, serigraphy, one color is printed at a time, so several screens can be used to produce a multicoloured image or design. There are various terms used for what is essentially the same technique, traditionally the process was called screen printing or silkscreen printing because silk was used in the process prior to the invention of polyester mesh. Currently, synthetic threads are used in the screen printing process. The most popular mesh in general use is made of polyester, there are special-use mesh materials of nylon and stainless steel available to the screen printer. There are also different types of mesh size which will determine the outcome, Screen printing first appeared in a recognizable form in China during the Song Dynasty. It was then adapted by other Asian countries like Japan, and was furthered by creating newer methods, Roy Beck, Charles Peter and Edward Owens studied and experimented with chromic acid salt sensitized emulsions for photo-reactive stencils. Commercial screen printing now uses sensitizers far safer and less toxic than bichromates, currently there are large selections of pre-sensitized and user mixed sensitized emulsion chemicals for creating photo-reactive stencils. Serigraphy is a word formed from Latin sēricum and Greek graphein. The Printers National Environmental Assistance Center says Screenprinting is arguably the most versatile of all printing processes, credit is generally given to the artist Andy Warhol for popularising screen printing as an artistic technique, identified as serigraphy, in the United States. Sister Mary Corita Kent, gained fame for her vibrant serigraphs during the 1960s and 1970s. Her works were rainbow colored, contained words that were political and fostered peace and love and caring. American entrepreneur, artist and inventor Michael Vasilantone started to use, develop, Vasilantone later filed for patent on his invention in 1967 granted number 3,427,964 on February 18,1969. The original machine was manufactured to print logos and team information on bowling garments, the Vasilantone patent was licensed by multiple manufacturers, the resulting production and boom in printed T-shirts made this garment screen printing machine popular
Screen printing
–
A silk screen design
Screen printing
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Screen Printers use a silkscreen like this Screenstretch version, a squeegee, and hinge clamps to screen print their designs. The ink is forced through the mesh using the rubber squeegee, the hinge clamps keep the screen in place for easy registration
Screen printing
–
A step-by-step illustrated poster infographic showing how to screen print using emulsion on a screen
17.
Spirit duplicator
–
A spirit duplicator was a printing method invented in 1923 by Wilhelm Ritzerfeld and commonly used for much of the rest of the 20th century. The term spirit refers to the alcohols which were a major component of the solvents used as inks in these machines. The device coexisted alongside the mimeograph, the spirit duplicator was invented in 1923 by Wilhelm Ritzerfeld. In both cases the trademark became a name for both the copiers and the process in their respective markets. Spirit duplicator technology gradually fell into disuse starting in the 1970s after the availability of low-cost, by the turn of the 21st century, the use of the technology was rare. The technology remains useful where electrical power is unavailable, or where the only remaining originals of legacy documents requiring duplication are in spirit master form. Tattoo artists use the master copies these machines produce as the design makes a very durable print on the skin that resists smudging as excess ink is wiped off during the process. The faintly sweet aroma of pages fresh off the duplicator was a feature of school life in the spirit-duplicator era. A pop culture reference to the aroma can be found in the 1982 film Fast Times At Ridgemont High, at one point a teacher distributes a duplicated schedule of class quizzes, and almost every student immediately lifts it to his or her nose and inhales. The rest of the follow suit seconds later. The duplicator used two-ply spirit masters, the first sheet could be typed, drawn, or written upon. The second sheet was coated with a layer of wax that had been impregnated with one of a variety of colorants. The pressure of writing or typing on the first sheet transferred the colored wax from the sheet to the shiny/coated back side of the first sheet. This produced the result of a sheet of carbon paper put in backwards. The two sheets were separated, and the first sheet was fastened onto the drum of the machine, with the back side facing out. There is no separate ink used in spirit duplication, as the wax transferred to the side of the first sheet contained the ink. As the paper to be printed moved through the printer, the solvent was spread across each sheet by an absorbent wick, all except black reproduced in pastel shades, pink, mint, sky blue, and so on. Spirit duplicators had the ability to print multiple colors in a single pass
Spirit duplicator
–
A school newspaper published using a ditto machine in 1978
18.
Dot matrix printing
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However, unlike a typewriter or daisy wheel printer, letters are drawn out of a dot matrix, and thus, varied fonts and arbitrary graphics can be produced. Each dot is produced by a metal rod, also called a wire or pin. Facing the ribbon and the paper is a guide plate named ribbon mask holder or protector. It is pierced with holes to serve as guides for the pins and this plate may be made of hard plastic or an artificial jewel such as sapphire or ruby. The portion of the containing the pins is called the print head. When running the printer, it generally prints one line of text at a time, there are two approaches to achieve this, The common serial dot matrix printers use a horizontally moving print head. The print head can be thought of featuring a vertical column of seven or more pins approximately the height of a character box. Thereby, up to 48 pins can be used to form the characters of a line while the print head moves horizontally. In a considerably different configuration, so called line dot matrix printers use a print head almost as wide as the paper path utilizing a horizontal line of thousands of pins for printing. Sometimes two horizontally slightly displaced rows are used to improve the effective dot density through interleaving, while still line-oriented, these printers for the professional heavy-duty market effectively print a whole line at once while the paper moves forward below the print head. The printing speed of serial dot matrix printers with moving heads varies from 30 to 1550 cps, in contrast to this, line matrix printers are capable of printing much more than 1000 cps, resulting in a throughput of up to 800 pages/hour. Because the printing involves mechanical pressure, both of these types of printers can create carbon copies and carbonless copies and these machines can be highly durable. A variation on the dot matrix printer was the cross hammer dot printer, the smooth cylindrical roller of a conventional printer was replaced by a spinning, fluted cylinder. The print head was a hammer, with a vertical projecting edge. Where the vertical edge of the hammer intersected the horizontal flute of the cylinder, compressing the paper, characters were built up of multiple dots. Although nearly all inkjet, thermal, and laser printers also print closely spaced dots rather than lines or characters. In 1925, Rudolf Hell invented the Hellschreiber, an early facsimile-like dot matrix-based teletypewriter device, like the earlier Hellschreiber, it still used electromechanical means of coding and decoding, but it used a start-stop method rather than synchronous transmission for communication. In 1956, while he was employed at Telefonbau und Normalzeit GmbH, the device was introduced to the Deutsche Bundespost, when Preikschat emigrated into the USA in 1957 he sold the rights to utilize the applications in any countries to TuN
Dot matrix printing
–
Epson VP-500 Printer with its cover removed
Dot matrix printing
–
This is an example of a wide-carriage printer, designed for paper 14 inches wide, shown with legal paper loaded (8.5" x 14"). Wide carriage printers were often used by businesses, to print accounting records on 11" × 14"
tractor-feed paper. They were also called 132-column printers, though this description was only true for a specific font size and type that was built into the printer's electronics
Dot matrix printing
–
Upper:
Inmac ink
ribbon cartridge with black ink for Dot matrix printer. Lower: Inked and folded, the ribbon is pulled into the cartridge by the roller mechanism to the left
19.
Phototypesetting
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The photographic paper or film is then fed into a processor, a machine that pulls the paper or film strip through two or three baths of chemicals, where it emerges ready for paste-up or film make-up. Phototypesetting machines project characters onto film for offset printing, in 1949 the Photon Corporation in Cambridge, Mass. Developed equipment based on the Lumitype of Rene Higonnet and Louis Moyroud, the Lumitype-Photon was first used to set a complete published book in 1953, and for newspaper work in 1954. Mergenthaler produced the Linofilm using a different design, and Monotype produced Monophoto, other companies followed with products that included Alphatype and Varityper. This cold-type technology could also be used in environments where hot-metal machines could not. The use of phototypesetting grew rapidly in the 1960s when software was developed to convert marked up copy, usually typed on paper tape, to the codes that controlled the phototypesetters. To provide much greater speeds, the Photon Corporation produced the ZIP200 machine for the MEDLARS project of the National Library of Medicine, the ZIP200 can produce text at 600 characters per second using high-speed flashes behind plates with images of the characters to be printed. Each character has a separate xenon flash constantly ready to fire, a separate system of optics positions the image on the page. An enormous advance was made by the mid-1960s with the development of equipment that projects the characters from CRT screens, alphanumeric Corporation produced the APS series. Rudolf Hell developed the Digiset machine in Germany, the RCA Graphic Systems Division manufactured this in the U. S. as the Videocomp, later marketed by Information International Inc. Software for operator-controlled hyphenation was a component of electronic typesetting. Early work on this topic produced paper tape to control hot-metal machines, C. J. Duncan, at the University of Durham in England, was a pioneer. Berthold successfully developed its Diatype, Diatronic, and ADS machines, Compugraphic produced phototypesetting machines in the 1970s that made it economically feasible for small publications to set their own type with professional quality. One model, the Compugraphic Compuwriter, uses a filmstrip wrapped around a drum that rotates at several hundred revolutions per minute, the filmstrip contains two fonts in one point size. To get different-sized fonts, the loads a different font strip or uses a 2x magnifying lens built into the machine. The CompuWriter II automated the lens switch and let the operator use multiple settings, other manufacturers of photo compositing machines include Alphatype, Varityper, Mergenthaler, Autologic, Berthold, Dymo, Harris, Monotype, Star/Photon, Graphic Systems Inc. Hell AG, MGD Graphic Systems, and American Type Founders, released in 1975, the Compuwriter IV holds two filmstrips, each holding four fonts. It also has a turret which has eight lenses giving different point sizes from the font, generally 8 or 12 sizes
Phototypesetting
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Berthold photosetting units tps 6300 and tpu 6308
Phototypesetting
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Linotype CRTronic 360
Phototypesetting
–
A Berthold Diatronic master plate, showing
Futura
20.
Inkjet printing
–
Inkjet printing is a type of computer printing that recreates a digital image by propelling droplets of ink onto paper, plastic, or other substrates. Inkjet printers are the most commonly used type of printer, the concept of inkjet printing originated in the 20th century, and the technology was first extensively developed in the early 1950s. Starting in the late 1970s inkjet printers that could reproduce digital images generated by computers were developed, mainly by Epson, Hewlett-Packard, in the worldwide consumer market, four manufacturers account for the majority of inkjet printer sales, Canon, HP, Epson, and Brother. The emerging ink jet material deposition market also uses inkjet technologies, typically printheads using piezoelectric crystals, the technology has been extended and the ″ink″ can now also comprise living cells, for creating biosensors and for tissue engineering. There are two main technologies in use in contemporary inkjet printers, continuous and Drop-on-demand, the continuous inkjet method is used commercially for marking and coding of products and packages. In 1867 Lord Kelvin patented the syphon recorder, which recorded telegraph signals as a trace on paper using an ink jet nozzle deflected by a magnetic coil. The first commercial devices were introduced in 1951 by Siemens, the ink droplets are subjected to an electrostatic field created by a charging electrode as they form, the field varies according to the degree of drop deflection desired. This results in a controlled, variable electrostatic charge on each droplet, charged droplets are separated by one or more uncharged guard droplets to minimize electrostatic repulsion between neighbouring droplets. The more highly charged droplets are deflected to a greater degree, only a small fraction of the droplets is used to print, the majority being recycled. CIJ is one of the oldest ink jet technologies in use and is fairly mature, viscosity is monitored and a solvent is added to counteract solvent loss. Drop-on-demand is divided into thermal DOD and piezoelectric DOD, most consumer inkjet printers, including those from Canon, Hewlett-Packard, and Lexmark, use the thermal inkjet process. Vaughts work started in late 1978 with a project to develop fast, low-cost printing, the team at HP found that thin-film resistors could produce enough heat to fire an ink droplet. Two years later the HP and Canon teams found out about each others work, in the thermal inkjet process, the print cartridges consist of a series of tiny chambers, each containing a heater, all of which are constructed by photolithography. The inks involved are usually water-based and use either pigments or dyes as the colorant, the inks must have a volatile component to form the vapor bubble, otherwise droplet ejection cannot occur. As no special materials are required, the print head is generally cheaper to produce than in other inkjet technologies, most commercial and industrial inkjet printers and some consumer printers use a piezoelectric material in an ink-filled chamber behind each nozzle instead of a heating element. When a voltage is applied, the material changes shape, generating a pressure pulse in the fluid. A DOD process uses software that directs the heads to apply between zero and eight droplets of ink per dot, only where needed, piezo inkjet technology is often used on production lines to mark products. For instance, the date is often applied to products with this technique, in this application the head is stationary
Inkjet printing
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An
Epson inkjet printer
Inkjet printing
–
A Canon inkjet with
CMYK cartridges
Inkjet printing
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Piezoelectric printing nozzle of an EPSON C20 printer.
21.
Dye-sublimation printer
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A dye-sublimation printer is a computer printer which uses heat to transfer dye onto materials such as a plastic, card, paper, or fabric. The sublimation name was first applied because the dye was considered to make the transition between the solid and gas states without going through a liquid stage and this understanding of the process was later shown to be incorrect. There is some liquifying of the dye, since then, the process is sometimes known as dye-diffusion, though this has not eliminated the original name. Many consumer and professional dye-sublimation printers are designed and used for producing photographic prints, ID cards, clothing and these are done at lower temperatures but higher pressures, particularly in all-over print processes. Some dye-sublimation printers use CMYO colors, which differs from the more recognized CMYK colors in that the black is eliminated in favour of a clear overcoating. This overcoating is also stored on the ribbon and is effectively a thin layer protects the print from discoloration from UV light. For ID card printing, text and bar codes are necessary and this overall process is then sometimes called D2T2. Dye-sublimation printing is a printing technology using full color artwork that works with polyester. The process uses the science of sublimation, in heat and pressure are applied to a solid. In sublimation printing, unique sublimation dyes are transferred to sheets of paper via liquid gel ink through a piezoelectric print head. The ink is deposited on these high-release inkjet papers, which are used for the step of the sublimation printing process. After the digital design is printed onto sublimation transfer sheets, it is placed on a heat press along with the substrate to be sublimated. In order to transfer the image from the paper to the substrate, it requires a press process that is a combination of time. The heat press applies this special combination, which can change depending on the substrate, the most common dyes used for sublimation activate at 350 degrees Fahrenheit. However, a range of 380 to 420 degrees Fahrenheit is normally recommended for optimal color, the end result of the sublimation process is a nearly permanent, high resolution, full color print. Because the dyes are infused into the substrate at the level, rather than applied at a topical level. The most common process lays one color at a time, the dye being stored on a ribbon that has each color on a separate panel. Each colored panel is the size of the medium that is being printed on, for example, tiny heating elements on the head change temperature rapidly, laying different amounts of dye depending on the amount of heat applied
Dye-sublimation printer
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Used dye panels retain a viewable image of the printed document, and an example of wasted dye that cannot be reused.
Dye-sublimation printer
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A disassembled dye sublimation cartridge.
22.
Laser printing
–
Laser printing is an electrostatic digital printing process. It produces high-quality text and graphics by repeatedly passing a laser beam back, the drum then selectively collects electrically charged powdered ink, and transfers the image to paper, which is then heated in order to permanently fuse the text and/or imagery. As with digital photocopiers, laser printers employ a xerographic printing process, however, laser printing differs from analog photocopiers in that the image is produced by the direct scanning of the medium across the printers photoreceptor. This enables laser printing to copy images more quickly than most photocopiers, invented at Xerox PARC in the 1970s, laser printers were introduced for the office and then home markets in subsequent years by IBM, Canon, Xerox, Apple, Hewlett-Packard and many others. Over the decades, quality and speed have increased as price has fallen, in the 1960s, the Xerox Corporation held a dominant position in the photocopier market. In 1969, Gary Starkweather, who worked in Xeroxs product development department, had the idea of using a beam to draw an image of what was to be copied directly onto the copier drum. After transferring to the recently formed Palo Alto Research Center in 1971, in 1972, Starkweather worked with Butler Lampson and Ronald Rider to add a control system and character generator, resulting in a printer called EARS —which later became the Xerox 9700 laser printer. The first commercial implementation of a printer was the IBM3800 in 1976. It was designed for data centers, where it replaced line printers attached to mainframe computers, the IBM3800 was used for high-volume printing on continuous stationery, and achieved speeds of 215 pages per minute, at a resolution of 240 dots per inch. Over 8,000 of these printers were sold, the Xerox 9700 was brought to market in 1977. Unlike the IBM3800, the Xerox 9700 was not targeted to any particular existing printers. The Xerox 9700 excelled at printing high-value documents on paper with varying content. In 1979, inspired by the Xerox 9700s commercial success, Japanese camera and optics company, Canon, developed a low-cost, desktop laser printer, Canon then began work on a much-improved print engine, the Canon CX, resulting in the LBP-CX printer. Lacking experience in selling to computer users, Canon sought partnerships with three Silicon Valley companies, Diablo Data Systems, Hewlett-Packard, and Apple Computer, the first laser printer designed for office use reached market in 1981, the Xerox Star 8010. The system used a metaphor that was unsurpassed in commercial sales. Although it was innovative, the Star workstation was an expensive system, affordable only to a fraction of the businesses. The first laser printer intended for mass-market sales was the HP LaserJet, released in 1984, it used the Canon CX engine, the LaserJet was quickly followed by printers from Brother Industries, IBM, and others. First-generation machines had large photosensitive drums, of greater than the loaded papers length
Laser printing
–
HP LaserJet 4200 series printer, installed atop high-capacity paper feeder
Laser printing
–
Gary Starkweather in 2009
Laser printing
–
Actual laser unit from a Dell P1500
23.
Thermal printing
–
The coating turns black in the areas where it is heated, producing an image. Two-colour direct thermal printers can print both black and an additional colour by applying heat at two different temperatures, thermal transfer printing is a very different method that uses a heat-sensitive ribbon instead of heat-sensitive paper, but uses similar thermal print heads. The printer sends a current to the heating elements of the thermal head. The heat activates the thermo-sensitive coloring layer of the thermosensitive paper, such a printing mechanism is known as a thermal system or direct system. The heating elements are arranged as a matrix of small closely spaced dots—thermal printers are actually dot-matrix printers. The paper is impregnated with a mixture of a dye and a suitable matrix, a combination of a fluoran leuco dye. Controller boards are embedded with firmware to manage the thermal printer mechanisms, the firmware can manage multiple bar code types, graphics and logos. They enable the user to choose between different resident fonts and character sizes. Controller boards can drive various sensors such as low, paper out, door open and so on. For point of sale application some boards can also control the cash drawer, thermal printers print more quietly and usually faster than impact dot matrix printers. They are also smaller, lighter and consume less power, making them ideal for portable and its efficiency can be utilized in retail sectors. Roll-based printers can be rapidly refilled and they often used unusually-sized supplies and were often used for making permanent records of information in the computer, rather than for correspondence. Through the 1990s many fax machines used thermal printing technology, thermal Receipt Printers are very efficient and quick. Its efficiency can be utilized in retail sectors, thermal printers are still commonly used in seafloor exploration and engineering geology due to their portability, speed, and ability to create continuous reels or sheets. Typically, thermal printers found in applications are used to print realtime records of side scan sonar. In data processing, thermal printers are used to quickly create hard copies of continuous seismic or hydrographic records stored in digital SEG Y or XTF form. The Game Boy Printer, released in 1998, was a thermal printer used to print out certain elements from some Game Boy games. Early formulations of the coating used in thermal paper were sensitive to incidental heat, abrasion, friction, light
Thermal printing
–
A thermal printer
Thermal printing
–
Thermal printer used in seafloor exploration
24.
3D printing
–
Objects can be of almost any shape or geometry and are produced using digital model data from a 3D model or another electronic data source such as an Additive Manufacturing File file. The term 3D printing originally referred to a process that deposits a binder material onto a bed with inkjet printer heads layer by layer. More recently, the term is being used in popular vernacular to encompass a variety of additive manufacturing techniques. United States and global technical standards use the term additive manufacturing for this broader sense. Early additive manufacturing equipment and materials were developed in the 1980s, but on July 16,1984 Alain Le Méhauté, Olivier de Witte and Jean Claude André filed their patent for the stereolithography process. It was three weeks before Chuck Hull filed his own patent for stereolithography, the application of French inventors were abandoned by the French General Electric Company and CILAS. The claimed reason was for lack of business perspective, Hull defined the process as a system for generating three-dimensional objects by creating a cross-sectional pattern of the object to be formed, but this had been already invented by Kodama. Hulls contribution is the design of the STL file format widely accepted by 3D printing software as well as the digital slicing, the term 3D printing originally referred to a process employing standard and custom inkjet print heads. The technology used by most 3D printers to date—especially hobbyist and consumer-oriented models—is fused deposition modeling, AM processes for metal sintering or melting usually went by their own individual names in the 1980s and 1990s. But AM-type sintering was beginning to challenge that assumption, by the mid 1990s, new techniques for material deposition were developed at Stanford and Carnegie Mellon University, including microcasting and sprayed materials. Sacrificial and support materials had become more common, enabling new object geometries. The umbrella term additive manufacturing gained wider currency in the decade of the 2000s, as the various additive processes matured, it became clear that soon metal removal would no longer be the only metalworking process done under that type of control. It was during this decade that the term subtractive manufacturing appeared as a retronym for the family of machining processes with metal removal as their common theme. The term subtractive has not replaced the term machining, instead complementing it when a term that covers any removal method is needed, both terms reflect the simple fact that the technologies all share the common theme of sequential-layer material addition/joining throughout a 3D work envelope under automated control. The 2010s were the first decade in which metal end use parts such as engine brackets, agile tooling uses a cost effective and high quality method to quickly respond to customer and market needs. It can be used in hydro-forming, stamping, injection molding, as technology matured, several authors had begun to speculate that 3D printing could aid in sustainable development in the developing world. 3D printable models may be created with a computer-aided design package, via a 3D scanner, or by a digital camera. 3D printed models created with CAD result in reduced errors and can be corrected before printing, allowing verification in the design of the object before it is printed, the manual modeling process of preparing geometric data for 3D computer graphics is similar to plastic arts such as sculpting
3D printing
–
A
MakerBot 3D printer
3D printing
–
CAD model used for 3D printing
3D printing
–
Stereolithography apparatus
25.
Digital printing
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Digital printing refers to methods of printing from a digital-based image directly to a variety of media. It usually refers to professional printing where small-run jobs from desktop publishing and it also allows for on-demand printing, short turnaround time, and even a modification of the image used for each impression. This results in quicker turnaround time and lower cost when using digital printing, fine art digital inkjet printing is printing from a computer image file directly to an inkjet printer as a final output. Initially, these printers were limited to glossy papers, but the IRIS Graphics printer allowed the use of a variety of papers that included traditional and non-traditional media. Substrates in fine art inkjet printmaking include traditional fine-art papers such as Rives BFK, Arches watercolor paper, treated and untreated canvas, experimental substrates, inkjet reproductions can be printed and sold individually in accordance with demand. Digital inkjet printing also allows for the output of art of all types as finished pieces or as an element in a further art piece. Experimental artists often add texture or other media to the surface of a final print, many terms for the process have been used over the years, including digigraph and giclée. Thousands of print shops and digital printmakers now offer services to painters, photographers, digital images are exposed onto true, light sensitive photographic paper with lasers and processed in photographic developers and fixers. These prints are true photographs and have continuous tone in the image detail, the archival quality of the print is as high as the manufacturers rating for any given photo paper used. In large format prints, the greatest advantage is that, since no lens is used, digital printing technology has grown significantly over the past few years with substantial developments in quality and sheet sizes. Digital printing has many advantages over traditional methods, print on Demand – digital printing is used for personalized printing for example, childrens books customized with a childs name, photo books, or any other books. Advertising – often used for banner advertising and event signage, in trade shows, in the retail sector at point of sale or point of purchase. Photos – digital printing has revolutionized photo printing in terms of the ability to retouch, architectural Design – new media that conforms to a variety of surfaces has enabled interior and exterior spaces to be transformed using digitally printed wall murals and floor graphics
Digital printing
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Large format digital printer.
Digital printing
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Digital Printing Press
26.
Printmaking
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Printmaking is the process of making artworks by printing, normally on paper. Printmaking normally covers only the process of creating prints that have an element of originality, except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each print produced is not considered a copy but rather is considered an original, a print may be known as an impression. Printmaking is not chosen only for its ability to multiple impressions. Prints are created by transferring ink from a matrix or through a screen to a sheet of paper or other material. Screens made of silk or synthetic fabrics are used for the screenprinting process, other types of matrix substrates and related processes are discussed below. Multiple impressions printed from the matrix form an edition. Prints may also be printed in book form, such as illustrated books or artists books, Printmaking techniques are generally divided into the following basic categories, Relief, where ink is applied to the original surface of the matrix. Relief techniques include woodcut or woodblock as the Asian forms are known, wood engraving. Intaglio, where ink is applied beneath the surface of the matrix. Intaglio techniques include engraving, etching, mezzotint, aquatint, planographic, where the matrix retains its original surface, but is specially prepared and/or inked to allow for the transfer of the image. Planographic techniques include lithography, monotyping, and digital techniques, stencil, where ink or paint is pressed through a prepared screen, including screenprinting and pochoir. Other types of printmaking techniques outside these groups include collagraphy and viscosity printing, collagraphy is a printmaking technique in which textured material is adhered to the printing matrix. This texture is transferred to the paper during the printing process, Contemporary printmaking may include digital printing, photographic mediums, or a combination of digital, photographic, and traditional processes. Many of these techniques can also be combined, especially within the same family, for example, Rembrandts prints are usually referred to as etchings for convenience, but very often include work in engraving and drypoint as well, and sometimes have no etching at all. Woodcut, a type of print, is the earliest printmaking technique. It was probably first developed as a means of printing patterns on cloth, woodcuts of images on paper developed around 1400 in Japan, and slightly later in Europe. These are the two areas where woodcut has been most extensively used purely as a process for making images without text, the artist draws a design on a plank of wood, or on paper which is transferred to the wood
Printmaking
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Rembrandt,
Self-portrait,
etching, c.1630.
Printmaking
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Mount Fuji, from the
Thirty-six Views of Mount Fuji, color
woodcut by
Katsushika Hokusai
Printmaking
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Francisco Goya, There is No One To Help Them,
Disasters of War series,
aquatint c.1810.
Printmaking
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External video
27.
Intaglio (printmaking)
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Intaglio is the family of printing and printmaking techniques in which the image is incised into a surface and the incised line or sunken area holds the ink. It is the direct opposite of a relief print, normally, copper or zinc plates are used as a surface or matrix, and the incisions are created by etching, engraving, drypoint, aquatint or mezzotint. Collagraphs may also be printed as intaglio plates, in etching, for example, the plate is covered in a resin ground or an acid-resistant wax material. Using an etching needle, or a tool, the image is engraved into the ground. The plate is dipped into acid. The acid bites into the surface of the plate where it was exposed, biting is a printmaking term to describe the acids etching, or incising, of the image. After the plate is bitten, the plate is removed from the acid bath. To print an intaglio plate, ink is applied to the surface by wiping and/or dabbing the plate to push the ink into the recessed lines, the plate is then rubbed with tarlatan cloth to remove most of the excess ink. The final smooth wipe is often done with newspaper or old public phone book pages, a damp piece of paper is placed on top of the plate, so that when going through the press the damp paper will be able to be squeezed into the plates ink-filled grooves. The paper and plate are covered by a thick blanket to ensure even pressure when going through the rolling press. The rolling press applies very high pressure through the blanket to push the paper into the grooves on the plate, the blanket is then lifted, revealing the paper and printed image. Martin Schongauer was one of the earliest known artists to exploit the copper-engraving technique, italian and Netherlandish engraving began slightly after the Germans, but were well developed by 1500. Drypoint and etching were also German inventions of the century, probably by the Housebook Master. In the nineteenth century, Viennese printer Karel Klíč introduced a combined intaglio, photogravure retained the smooth continuous tones of photography but was printed using a chemically-etched copper plate. This permitted a photographic image to be printed on regular paper, at one time intaglio printing was used for all mass-printed materials including banknotes, stock certificates, newspapers and magazines, fabrics, wallpapers and sheet music. Today intaglio engraving is largely used for paper or plastic currency, banknotes, passports, photogravure, an intaglio photo-printmaking process Rotogravure Line engraving Viscosity printing History of printing Intaglio and other printmaking definitions
Intaglio (printmaking)
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Micro-topography of an ordinary French post stamp (detail) showing the thickness of ink obtained by intaglio. The words "la Poste" appeared in white on red background and hence corresponds to areas with a lack of ink.
Intaglio (printmaking)
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Depressions are cut into a printing plate. The plate shown here is not to scale: the grooves can be fractions of a mm wide.
28.
Drypoint
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Drypoint is a printmaking technique of the intaglio family, in which an image is incised into a plate with a hard-pointed needle of sharp metal or diamond point. Traditionally the plate was copper, but now acetate, zinc, like etching, drypoint is easier for an artist trained in drawing to master than engraving, as the technique of using the needle is closer to using a pencil than the engravers burin. The term is used for inkless scratched inscriptions, such as glosses in manuscripts. The lines produced by printing a drypoint are formed by the burr thrown up at the edge of the incised lines, the size or characteristics of the burr usually depend not on how much pressure is applied, but on the angle of the needle. A perpendicular angle will leave little to no burr, while the smaller the angle gets to either side, a lighter line may have no burr at all, creating a very fine line in the final print by holding very little ink. Most impressions of Rembrandt prints on which drypoint was used show no burr, to counter this and allow for longer print runs, electroplating can harden the surface of a plate and allow the same edition size as produced by etchings and engravings. The technique appears to have been invented by the Housebook Master, as intaglio techniques, they can all be used on the same plate. Alex Katz used this process to several of his famous works, such as Sunny. In the 20th century many artists produced drypoints, including Max Beckmann, Milton Avery, by adding aquatint work on the plate and inking with various colours, artists such as Mary Cassatt have produced colour drypoints. Canadian artist David Brown Milne is credited as the first to produce coloured drypoints by the use of multiple plates, on the West Coast of the United States the respected printmaker, Pedro Joseph de Lemos, simplified the methods for producing drypoints in art schools. Any sharp object can theoretically be used to make a drypoint, dentistry tools, nails, and metal files can all be used to produce drypoints. However, certain types of needles are created specifically for drypoints, Diamond-tipped needles carve easily through any metal and never need sharpening, but they are expensive. Carbide-tipped steel needles can also be used to effect, and are cheaper than diamond-tipped needles. Printing is essentially the same as for the other intaglio techniques, after the image is finished, or at least ready to proof, the artist applies ink to the plate with a dauber. Too much pressure will flatten the burrs and ruin the image, once the plate is completely covered with a thin layer, a tarlatan cloth is used to wipe away excess ink, and paper may be used for a final wipe of the lightest areas of the image. Some printmakers will use their hand instead to wipe these areas. Once the desired amount of ink is removed, the plate is run through an etching press along with a piece of dampened paper to produce a print, drypoint wiping techniques vary slightly from other intaglio techniques. Also, because of the characteristics of the way the burrs catch ink, however, if he wipes perpendicularly to the line, he can actually increase the pile of ink on the other side of the line, darkening the printed line
Drypoint
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Woman in Cafe, drypoint by
Lesser Ury showing the typical rich blurred line of drypoint.
Drypoint
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Mary Cassatt, The Bath, drypoint combined with
aquatint, 1890-1.
Drypoint
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Stanisław Masłowski, ca 1905, Portrait of Artist's Wife, drypoint, 11.5x7.7 cm,
National Museum in Warsaw
Drypoint
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Pablo Picasso, 1909, Two Nude Figures (Deux figures nues), steel-faced drypoint on Arches laid paper, 13 x 11 cm, printed by Delâtre, Paris, published by
Daniel-Henry Kahnweiler
29.
Grayscale
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In photography and computing, a grayscale or greyscale digital image is an image in which the value of each pixel is a single sample, that is, it carries only intensity information. Images of this sort, also known as black-and-white, are composed exclusively of shades of gray, grayscale images are distinct from one-bit bi-tonal black-and-white images, which in the context of computer imaging are images with only two colors, black and white. Grayscale images have many shades of gray in between, but also they can be synthesized from a full color image, see the section about converting to grayscale. The intensity of a pixel is expressed within a range between a minimum and a maximum, inclusive. This range is represented in a way as a range from 0 and 1. This notation is used in papers, but this does not define what black or white is in terms of colorimetry. Another convention is to employ percentages, so the scale is then from 0% to 100%. This is used for an intuitive approach, but if only integer values are used, the range encompasses a total of only 101 intensities. Also, the notation is used in printing to denote how much ink is employed in halftoning. In computing, although the grayscale can be computed through rational numbers, image pixels are stored in binary, the precision provided by this format is barely sufficient to avoid visible banding artifacts, but very convenient for programming because a single pixel then occupies a single byte. Technical uses often require more levels, to full use of the sensor accuracy. Sixteen bits per sample is a convenient choice for such uses, the TIFF and the PNG image file formats support 16-bit grayscale natively, although browsers and many imaging programs tend to ignore the low order 8 bits of each pixel. No matter what pixel depth is used, the binary representations assume that 0 is black, a common strategy is to use the principles of photometry or, more broadly, colorimetry to match the luminance of the grayscale image to the luminance of the original color image. This also ensures that both images will have the absolute luminance, as can be measured in its SI units of candelas per square meter, in any given area of the image. Then, linear luminance is calculated as a sum of the three linear-intensity values. To encode grayscale intensity in linear RGB, each of the three primaries can be set to equal the calculated linear luminance Y, linear luminance typically needs to be gamma compressed to get back to a conventional non-linear representation. In practice, because the three components are then equal, it is only necessary to store these values once in sRGB-compatible image formats that support a single-channel representation. The ITU-R BT.709 standard used for HDTV developed by the ATSC uses different color coefficients, although these are numerically the same coefficients used in sRGB above, the effect is different because here they are being applied directly to gamma-compressed values
Grayscale
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A sample grayscale image.
30.
Hatching
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Hatching is an artistic technique used to create tonal or shading effects by drawing closely spaced parallel lines. When lines are placed at an angle to one another, it is called cross-hatching, Hatching is especially important in essentially linear media, such as drawing, and many forms of printmaking, such as engraving, etching and woodcut. In Western art, hatching originated in the Middle Ages, and developed further into cross-hatching, artists use the technique, varying the length, angle, closeness and other qualities of the lines, most commonly in drawing, linear painting and engraving. The main concept is that the quantity, thickness and spacing of the lines will affect the brightness of the overall image, Hatching lines should always follow the form. By increasing quantity, thickness and closeness, an area will result. An area of shading next to another area which has lines going in another direction is used to create contrast. Line work can be used to represent colours, typically by using the type of hatch to represent particular tones. For example, red might be made up of lightly spaced lines, linear hatching Hatching in parallel lines. Normally the lines follow the direction of the described plane, crosshatching Layers of hatching applied at different angles to create different textures and darker tones. At its simplest, a layer of linear hatching is laid over another layer at a 90° angle, other methods include layering arbitrary intersecting patches. Crosshatching in which layers intersect at slight angles can create a rippled moiré effect, contoured hatching Hatching using curved lines to describe light and form of contours. Dip pen Printmaking Hatching system hatching article in ArtLex Art Dictionary
Hatching
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Albrecht Dürer, Veronica,
engraving, 1513. Example of hatching (e.g., background) and cross-hatching in many darker areas (visible if viewed at full size).
Hatching
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Detail of Veronica
Chisholm, Hugh, ed. (1911). "mezzotint". Encyclopædia Britannica (11th ed.). Cambridge University Press.
Chisholm, Hugh, ed. (1911). "
