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
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
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
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
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
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
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
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
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
10.
Rotary 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
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
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
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
14.
Mimeograph
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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
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
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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
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Spirit duplicator
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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
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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
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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
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Inkjet printing
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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
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
22.
Laser printing
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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
23.
Thermal printing
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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
24.
3D printing
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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
25.
Solid ink
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Solid ink is a technology used in computer printers and multifunction devices originally credited with creation by Tektronix in 1986. After Xerox acquired the Tektronix Color Printing and Imaging Division in 2000, early offerings focused on the graphic arts industry. However, after a battle with Dataproducts Corporation, Tektronix ended up paying royalties to Dataproducts for the use of the technology. The first solid ink printer, the SI-480, was developed and released to the market in 1988 by Dataproducts Corporation and this was a monochrome printer that met with limited success. The first color solid ink printer was released by Dataproducts Corporation. The Tektronix Phaser III product introduced in 1991 cost $10,000 US, as the technology improved and costs were reduced, the focus shifted to office printing environments where quality and cost efficiency are important. Solid ink printers are still expensive, Xerox remains the only producer, a wide format printer, the Phaser 600. was introduced in 1996. The Phaser 600 was capable of using roll fed or sheet fed paper up to 48 inches wide, as of July 2015, the Xerox ColorQube 8580, ColorQube 8880, ColorQube 8700, and ColorQube 8900 printers are the current solid ink printer models. Solid ink technology utilizes solid ink sticks instead of the ink or toner powder usually used in printers. Some types of solid ink printers use small spheres of solid ink, after the solid ink is loaded into the printing device, it is melted and used to produce images on paper in a process similar to offset printing. The sticks are non-toxic and safe to handle, in the mid-1990s, the president of Tektronix actually ate part of a stick of solid ink, demonstrating that they are safe to handle and presumably, eat. The medium of the ink was made from food-grade processed vegetable oils, due to the way solid ink printers put the ink onto the page, print quality is considered to be excellent, with bright colors. Excellent results can be achieved with low-quality stock, as the wax covers the stock with a glossy, almost opaque, Solid ink printers are able to print on many different types and thicknesses of media. They are much less sensitive to changes in media type than are color laser printers, a loose ink block does not leave any residual cartridge after it is consumed - only a crushable, thin, plastic packing tray and a recyclable cardboard packaging box. Solid ink printers have an advantage over ink-jet printers for situations involving intermittent use with long periods of downtime and this is because melted solid ink that has subsequently cooled and re-solidified inside the ink-delivery pathways is a normal part of printer operation. So, this cooled-and-solidified ink does not dry out, and, while the printer is not operating, the solidified wax helps to prevent oxygen and moisture from interacting with many internal parts of the ink-delivery components. Solid contaminants in ink blocks can clog printhead nozzles when using original or compatible inks, for this reason, many third-party ink manufacturers provide a guarantee and will pay for the replacement of a damaged printhead. Xerox also provides its own warranty, when the device is cold, the first page may take several minutes to print
26.
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
27.
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
28.
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
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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
30.
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
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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
32.
Ludwig von Siegen
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His mother had died and his father moved to Holland when Ludwig was young, apparently because of his Calvinist beliefs. Here his father remarried, to an Anna Perez, a widow from Spain, Anna died in 1619 leaving Johann to resolve the future of both boys. He obtained a place in a German school for Marcus but Ludwig remained in Holland with his step-mothers family to avoid the dangers of the recently begun Thirty Years War in Germany, then he studied law at the Hohe Schule in Herborn. His father moved to Holland to again in 1627, when the new Landgrave William V dissolved the Collegium Mauritaneum, little is known about Siegens life between 1629 and 1639, when he asked William Vs widow, now Regent for her son William VI, for a position. He may have seen military service in these missing years in the middle of the Thirty Years War. He was appointed kammerjunker, which as the Landgrave was a minor, may have been effectively a tutorial position, as well as head of the personal guard of the ruler. By 1641 he had decided to convert to Catholicism, which in the atmosphere of the Thirty Years War would not have been compatible with his position in the strictly Calvinistic court of Hesse-Kassel. After some friction at court, he repeated his fathers move to Holland. He moved to Amsterdam in 1641 and announced his conversion there, remaining in contact with his employers and sending them works of art he produced. In Amsterdam Siegen must have been aware of Rembrandts increasingly tonal etchings, achieved by conventional methods, Mezzotint achieves tonality by roughening the plate with thousands of little dots made by a metal tool with small teeth. In a letter of 6 March 1641 to the Landgravine, Siegen announced that he had begun a portrait of her, news of his conversion had just reached the court, and the response seems to have been restrained. In August 1642, he finished the first known mezzotint engraving, a portrait of the Landgravine Amalia Elisabeth, Regent of Hesse-Kassel. He sent this to her son, Landgrave William VI with a letter explaining that he had invented the process. I could not pass up dedicating such a rare and previously unseen work of art in humble honour before anyone else to your highness who is a connoisseur of art. The way this work is made, no engraver or artist could explain or guess and he worked from light to dark, only roughening the plate where he wanted to produce tones, using roulettes or wheels with sharp teeth. This is unlike most later mezzotinters, who first roughened the whole plate, then scraped or burnished the roughness away where they wanted lighter tones, so working from dark to light. In 1643–44, he produced portraits of Elizabeth of Bohemia, William II of Orange and his wife, Mary, in 1654 he did a large portrait of Ferdinand III, Holy Roman Emperor from memory, having seen him at the Diet in Regensburg. He distributed copies to the princes gathered there, without attracting further commissions
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Prince Rupert of the Rhine
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Rupert was a younger son of the German prince Frederick V, Elector Palatine and his wife Elizabeth, the eldest daughter of James I of England. Thus Rupert was the nephew of King Charles I of England, who made him Duke of Cumberland and Earl of Holderness, and his sister Electress Sophia was the mother of George I of Great Britain. Prince Rupert had a varied career and he was a soldier from a young age, fighting against Spain in the Netherlands during the Eighty Years War, and against the Holy Roman Emperor in Germany during the Thirty Years War. Aged 23, he was appointed commander of the Royalist cavalry during the English Civil War, becoming the archetypal Cavalier of the war and he surrendered after the fall of Bristol and was banished from England. He served under Louis XIV of France against Spain, and then as a Royalist privateer in the Caribbean, Rupert died in England in 1682, aged 62. Rupert is considered to have been a quick-thinking and energetic cavalry general, in the Interregnum, Rupert continued the conflict against Parliament by sea from the Mediterranean to the Caribbean, showing considerable persistence in the face of adversity. As the head of the Royal Navy in his years, he showed greater maturity and made impressive and long-lasting contributions to the Royal Navys doctrine. As a colonial governor, Rupert shaped the geography of modern Canada—Ruperts Land was named in his honour. He also played a role in the early African slave trade, Ruperts varied and numerous scientific and administrative interests combined with his considerable artistic skills made him one of the more colourful individuals of the Restoration period. Rupert was born in Prague in 1619, at the start of the Thirty Years War, to Frederick V, Elector Palatine, and Elizabeth Stuart and he was given his name in honour of King Rupert of Germany, a famous Wittelsbach ancestor. Ruperts father was a member of the Holy Roman Empire. This support was not forthcoming, resulting in a defeat at the hands of his Catholic enemies at the Battle of White Mountain in 1620. Ruperts parents were mockingly termed the Winter King and Queen as a consequence of their reigns in Bohemia having lasted only a single season. Rupert was almost left behind in the rush to escape Ferdinands advance on Prague, until Kryštof z Donína. Rupert accompanied his parents to The Hague, where he spent his years at the Hof te Wassenaer. Ruperts mother paid her children little attention even by the standards of the day, apparently preferring her pet monkeys, the result was a strict school routine including logic, mathematics, writing, drawing, singing and playing instruments. As a child, Rupert was at times badly behaved, fiery, mischievous, nonetheless, Rupert proved to be an able student. By the age of three he could speak some English, Czech and French, and mastered German while still young and he excelled in art, being taught by Gerard van Honthorst, and found the maths and sciences easy
34.
English Civil War
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The English Civil War was a series of armed conflicts and political machinations between Parliamentarians and Royalists over, principally, the manner of Englands government. The war ended with the Parliamentarian victory at the Battle of Worcester on 3 September 1651, the monopoly of the Church of England on Christian worship in England ended with the victors consolidating the established Protestant Ascendancy in Ireland. The term English Civil War appears most often in the singular form, the war in all these countries are known as the Wars of the Three Kingdoms. Unlike other civil wars in England, which focused on who should rule, this war was more concerned with the manner in which the kingdoms of England, Scotland, the two sides had their geographical strongholds, such that minority elements were silenced or fled. The strongholds of the royalty included the countryside, the shires, on the other hand, all the cathedral cities sided with Parliament. All the industrial centers, the ports, and the advanced regions of southern and eastern England typically were parliamentary strongholds. Lacey Baldwin Smith says, the words populist, rich, at times there would be two groups of three lines allowing one group to reload while the other group arranged themselves and fired. Mixed in among the musketeers were pikemen carrying pikes that were between 12 feet and 18 feet long, whose purpose was to protect the musketeers from cavalry charges. The Royalist cavaliers skill and speed on horseback led to early victories. While the Parliamentarian cavalry were slower than the cavaliers, they were better disciplined. The Royalists had a tendency to chase down individual targets after the initial charge leaving their forces scattered and tired, Cromwells cavalry, on the other hand, trained to operate as a single unit, which led to many decisive victories. The English Civil War broke out fewer than forty years after the death of Queen Elizabeth I in 1603, in spite of this, James personal extravagance meant he was perennially short of money and had to resort to extra-Parliamentary sources of income. Charles hoped to unite the kingdoms of England, Scotland and Ireland into a new single kingdom, many English Parliamentarians had suspicions regarding such a move because they feared that setting up a new kingdom might destroy the old English traditions which had bound the English monarchy. As Charles shared his fathers position on the power of the crown, at the time, the Parliament of England did not have a large permanent role in the English system of government. Instead, Parliament functioned as an advisory committee and was summoned only if. Once summoned, a continued existence was at the kings pleasure. Yet in spite of this role, Parliament had, over the preceding centuries. Without question, for a monarch, Parliaments most indispensable power was its ability to tax revenues far in excess of all other sources of revenue at the Crowns disposal
35.
Peter Lely
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Sir Peter Lely was a painter of Dutch origin, whose career was nearly all spent in England, where he became the dominant portrait painter to the court. Lely was born Pieter van der Faes to Dutch parents in Soest in Westphalia, Lely studied painting in Haarlem, where he may have been apprenticed to Pieter de Grebber. He became a master of the Guild of Saint Luke in Haarlem in 1637 and he is reputed to have adopted the surname Lely from a heraldic lily on the gable of the house where his father was born in The Hague. He arrived in London in around 1641, which was marked by the death of Anthony van Dyck in December and his early English paintings, mainly mythological or religious scenes, or portraits set in a pastoral landscape, show influences from Anthony van Dyck and the Dutch baroque. Lelys portraits were well received, and he succeeded Anthony van Dyck as the most fashionable portrait artist in England and he became a freeman of the Painter-Stainers Company in 1647 and was portrait artist to Charles I. His talent ensured that his career was not interrupted by Charless execution, and he served Oliver Cromwell, whom he painted warts and all, in the years around 1650 the poet Sir Richard Lovelace wrote two poems about Lely – Peinture and See what a clouded majesty. After the English Restoration in 1660, Lely was appointed as Charles IIs Principal Painter in Ordinary in 1661, with a stipend of £200 per year, Lely became a naturalised English subject in 1662. The young Robert Hooke came to London to follow an apprenticeship with Lely before being given a place at Westminster School by Richard Busby, demand was high, and Lely and his large workshop were prolific. After Lely painted a head, Lelys pupils would often complete the portrait in one of a series of numbered poses. As a result, Lely is the first English painter who has left a mass of work. On Lely’s death in 1680 his executors employed a dozen such slaves to complete for sale the many unfinished canvases stacked about his studio and his most famous non-portrait work is probably Nymphs by a fountain in Dulwich Picture Gallery. Lely played a significant role in introducing the mezzotint to Britain and he encouraged Dutch mezzotinters to come to Britain to copy his work, laying the foundations for the English mezzotint tradition. He died soon afterwards at his easel in Covent Garden, while painting a portrait of the Duchess of Somerset, and was buried at St Pauls Church, Covent Garden. Some items in it which had acquired by Lely from the Commonwealth dispersal of Charles Is art collections. He was replaced as court portraitist by Sir Godfrey Kneller, also a German-born Dutchman, whose style drew from Lelys, between them they established the basic English portrait style followed by less fashionable painters for decades. Amongst Lelys pupils were John Greenhill and Willem Wissing, a horse was also named after him, finishing fourth in the 1996 Grand National. Peter Lelys works Millar, Oliver Lely, Sir Peter Grove Dictionary of Art,19, pp. 119–125 Millar, Oliver Sir Peter Lely 1618-80, National Portrait Gallery,1978. Painting in Britain 1530 to 1790, fourth Edition, New York, Viking Penguin,1978
36.
M. C. Escher
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Maurits Cornelis Escher, or commonly M. C. Escher, was a Dutch graphic artist who made mathematically inspired woodcuts, lithographs, early in his career, he drew inspiration from nature, making studies of insects, landscapes, and plants such as lichens, all of which he used as details in his artworks. Apart from being used in a variety of papers, his work has appeared on the covers of many books. He was one of the inspirations of Douglas Hofstadters 1979 book Gödel, Escher. Maurits Cornelis Escher was born on 17 June 1898 in Leeuwarden, Friesland and he was the youngest son of the civil engineer George Arnold Escher and his second wife, Sara Gleichman. In 1903, the moved to Arnhem, where he attended primary and secondary school until 1918. Known to his friends and family as Mauk, he was a sickly child, although he excelled at drawing, his grades were generally poor. He also took carpentry and piano lessons until he was thirteen years old, in 1918, he went to the Technical College of Delft. From 1919 to 1922, Escher attended the Haarlem School of Architecture and Decorative Arts, learning drawing and he briefly studied architecture, but he failed a number of subjects and switched to decorative arts, studying under the graphic artist Samuel Jessurun de Mesquita. In 1922, an important year of his life, Escher traveled through Italy, visiting Florence, San Gimignano, Volterra, Siena, in the same year he traveled through Spain, visiting Madrid, Toledo, and Granada. He was impressed by the Italian countryside, and in Granada by the Moorish architecture of the fourteenth-century Alhambra, Escher returned to Italy, and lived in Rome from 1923 to 1935. While in Italy, Escher met Jetta Umiker – a Swiss woman, the couple settled in Rome where their first son, Giorgio Arnaldo Escher, named after his grandfather, was born. Escher and Jetta later had two sons, Arthur and Jan. He travelled frequently, visiting Viterbo in 1926, the Abruzzi in 1927 and 1929, Corsica in 1928 and 1933, Calabria in 1930, the townscapes and landscapes of these places feature prominently in his artworks. In May and June 1936, Escher travelled back to Spain, revisiting the Alhambra, the sketches he made in the Alhambra formed a major source for his work from that time on. He also studied the architecture of the Mezquita, the Moorish mosque of Cordoba and this turned out to be the last of his long study journeys, after 1937, his artworks were created in his studio rather than in the field. All the same, even his work already shows his interest in the nature of space, the unusual, perspective. In 1935, the climate in Italy became unacceptable to Escher
37.
Wall Street Crash of 1929
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The crash, which followed the London Stock Exchanges crash of September, signaled the beginning of the 12-year Great Depression that affected all Western industrialized countries. The Roaring Twenties, the decade that followed World War I and led to the crash, was a time of wealth, while the American cities prospered, the overproduction of agricultural produce created widespread financial despair among American farmers throughout the decade. This would later be blamed as one of the key factors that led to the 1929 stock market crash, despite the dangers of speculation, many believed that the stock market would continue to rise forever. On March 25,1929, after the Federal Reserve warned of excessive speculation, two days later, banker Charles E. Mitchell announced his company the National City Bank would provide $25 million in credit to stop the markets slide. Mitchells move brought a halt to the financial crisis and call money declined from 20 to 8 percent. Despite all these economic trouble signs and the breaks in March and May 1929, stocks resumed their advance in June. The market had been on a run that saw the Dow Jones Industrial Average increase in value tenfold. Shortly before the crash, economist Irving Fisher famously proclaimed, Stock prices have reached what looks like a high plateau. The optimism and financial gains of the bull market were shaken after a well publicized early September prediction from financial expert Roger Babson that a crash was coming. The initial September decline was thus called the Babson Break in the press and this was the start of the Great Crash, although until the severe phase of the crash in October, many investors regarded the September Babson Break as a healthy correction and buying opportunity. On September 20, the London Stock Exchange crashed when top British investor Clarence Hatry and many of his associates were jailed for fraud, the London crash greatly weakened the optimism of American investment in markets overseas. In the days leading up to the crash, the market was severely unstable, periods of selling and high volumes were interspersed with brief periods of rising prices and recovery. On October 24, the market lost 11 percent of its value at the bell on very heavy trading. Several leading Wall Street bankers met to find a solution to the panic and chaos on the trading floor. The meeting included Thomas W. Lamont, acting head of Morgan Bank, Albert Wiggin, head of the Chase National Bank and they chose Richard Whitney, vice president of the Exchange, to act on their behalf. With the bankers financial resources behind him, Whitney placed a bid to purchase a block of shares in U. S. Steel at a price well above the current market. As traders watched, Whitney then placed similar bids on other blue chip stocks and this tactic was similar to one that ended the Panic of 1907. It succeeded in halting the slide, the Dow Jones Industrial Average recovered, closing with it down only 6.38 points for the day
38.
Royal Academy Summer Exhibition
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The Summer Exhibition is an open art exhibition held annually by the Royal Academy in Burlington House, Piccadilly in central London, England, during the summer months of June, July, and August. The exhibition includes paintings, prints, drawings, sculpture, architectural designs and models, when the Royal Academy was founded in 1768 one of its key objectives was to establish an annual exhibition, open to all artists of merit, which could be visited by the public. The first Summer Exhibition took place in 1769, it has held every year since without exception. Today, around 1,000 works are selected each year from as many as 10,000 entries representing some 5,000 artists, any artist may submit up to two works at a fee of £25 per piece for selection by The Summer Exhibition Selection and Hanging Committee. Due to the significant increase in the volume of entries over recent years, the number of entries per artist was reduced to 2, the committee is formed from the Council of Academicians and is traditionally chaired by the President of the Royal Academy. In addition to those selected by the committee, all 80 Academicians are entitled to have six of their own pieces in the exhibition. The 2005 exhibition theme was Printmaking and the multiple, in 2006, the theme was From Life. In 2008, the theme was Man Made, the theme for 2010 was Raw. In 2011, the committee agreed to have no specific theme. For the 2006 exhibition, the received a statue and a plinth from David Hensel. By mistake, the two parts were judged independently, with the result that the statue was rejected and the put on display. The RA Summer Exhibition usually opens to the public in early June, the main event is called Varnishing Day, the day that, according to popular legend, artists would come to add a final coat of varnish to their paintings. Traditionally, artists walk in procession from Burlington House to St Jamess Church, Piccadilly, at the opening reception the shortlists for various prizes are announced. Over £70,000 prize money, including the £25,000 Charles Wollaston Award, is awarded each year at the Summer Exhibition, in addition, a £10.000 architectural prize is awarded. Almost all exhibited works are for sale, the Academy receives 30% of the purchase price, in 2003, this amounted to a sum of some £2,000,000 for the institution, which receives no financial support from the state or crown. The Royal Academy revisited, Victorian paintings from the Forbes magazine Collection, new York, The Metropolitan Museum of Art
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State (printmaking)
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In printmaking, a state is a different form of a print, caused by a deliberate and permanent change to a matrix such as a copper plate or woodblock. Artists often take prints from a plate and then do work on the plate before printing more impressions. Sometimes two states may be printed on the day, sometimes several years may elapse between them. States are usually numbered in Roman numerals, I, II, III. and often as e. g. I/III, to indicate the first of three recorded states. Some recent scholars refine the work of their predecessors, without wishing to create a new numbering, by identifying states such as IIa, IVb. A print with no different states known is catalogued as only state, the definition of states mostly goes back to Adam von Bartsch, the great cataloguer of old master prints. A great deal of work was done by art historians during the 19th and early 20th centuries and this is especially surprising as the whole plate was extensively reworked between the two, apparently to renew it after it was worn from printing. In modern prints, a distinction is made between proof states or working proofs, which are produced before the print is regarded as finished and this is usually possible because modern prints are issued in editions, usually signed and numbered. For example, unlike Dürer, for relatively few different states survive. Rembrandt is one of the most prolific creator of states, new states in old master prints are often caused by the adding of inscriptions inside or below the image. Except for signatures, these would not be added by the artist himself. A wholesale example is Daniel Hopfer, the inventor of etching as a printmaking technique, sometimes another artist may add to a plate, or a anonymous artist or craftsman would rework a plate which has become worn out by printing. This has now been done to most surviving plates by Rembrandt and many by Goya, Martin Schongauer, an example is Forest Marsh with Travellers on a Bank, an etching by Jacob van Ruisdael, where another hand later added clouds. When they develop a keen collectors market, artists have exploited this by creating extra states. This trend can be seen in, among others, the English mezzotinters of the late 18th century, a similar use of state is in book collecting, where a particular page may be reset for some reason in the course of printing. Two states of a print from the BnF Detailed article from the Cleveland Museum of Art, comparing states of the Battle of the Nudes by Antonio del Pollaiolo
40.
William Eaton, 2nd Baron Cheylesmore
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William Meriton Eaton, 2nd Baron Cheylesmore is best remembered as a leading collector of English mezzotint portraits, and collector of other art. His mezzotints and other prints, over 10,000 in number, were left to the British Museum and he also stood unsuccessfully for Parliament for the Conservative Party at Macclesfield in 1868,1874 and 1880, and held a nominal partnership in the family silk business. As his elder brother had predeceased him, he became 2nd Baron Cheylesmore and he never married, and was succeeded by his younger brother Herbert, a major-general and sportsman. Eaton was born in 9 Gloucester Place near Regents Park, the second of three sons of Henry William Eaton and his wife Charlotte Gorham and his parent also had two daughters. His maternal grandfather was from New Orleans and his father founded the family silk business, H. W. Eaton & Son, was a Conservative Member of Parliament for Coventry, and became Baron Cheylesmore in 1877, the year of Queen Victorias Golden Jubilee. His elder brother had died before his fathers death in 1891 and he was educated at Eton College and then joined the family silk brokerage, but had little interest in the business. He spent most of his time on politics, standing but failing to be elected to Parliament three times, and then with greater success on art collecting. He was a trustee of the Chantrey Bequest and he died at home in London on 10 July 1902, and was buried at Highgate Cemetery. By the standards of art-collecting peers, Cheylesmore was not rich, most of his prints cost under a pound, with only a few dozen costing more than £10, and the top price paid £94.16.3 at a sale at Christies in 1895. He evidently enjoyed a bargain, and his catalogue of his collection notes many higher prices paid at auction for prints he had bought for little. British mezzotint collecting was a great craze from about 1760 to the Great Crash of 1929, the favourite period to collect was roughly from 1750 to 1820, the great period of the British portrait. Colvin reported that it was the largest collection ever brought together, with a proportion of the rarest. With Biographical Notes, which remains the definitive catalogue of the subject up to 1820 and he was a member of the committee of the Burlington Fine Arts Club, where he exhibited some of his prints in 1902. The five paintings left to the National Gallery in 1902 included four bought at his fathers sale at Christies in May 1892. He did not buy the star of the sale, The Monarch of the Glen by Sir Edwin Landseer, the Jan Both A Rocky Landscape with an Ox-Cart was not in his fathers sale. Christies, Catalogue of the important collection of pictures and sculpture formed by the late Rt. Owen, ‘Eaton, William Meriton, second Baron Cheylesmore ’, sheila OConnell, Oxford Dictionary of National Biography, Oxford University Press,2004 accessed 7 Sept 2013
41.
Metal
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A metal is a material that is typically hard, opaque, shiny, and has good electrical and thermal conductivity. Metals are generally malleable—that is, they can be hammered or pressed permanently out of shape without breaking or cracking—as well as fusible and ductile, about 91 of the 118 elements in the periodic table are metals, the others are nonmetals or metalloids. Some elements appear in both metallic and non-metallic forms, astrophysicists use the term metal to collectively describe all elements other than hydrogen and helium, the simplest two, in a star. The star fuses smaller atoms, mostly hydrogen and helium, to larger ones over its lifetime. In that sense, the metallicity of an object is the proportion of its matter made up of all chemical elements. Many elements and compounds that are not normally classified as metals become metallic under high pressures, the atoms of metallic substances are typically arranged in one of three common crystal structures, namely body-centered cubic, face-centered cubic, and hexagonal close-packed. In bcc, each atom is positioned at the center of a cube of eight others, in fcc and hcp, each atom is surrounded by twelve others, but the stacking of the layers differs. Some metals adopt different structures depending on the temperature, atoms of metals readily lose their outer shell electrons, resulting in a free flowing cloud of electrons within their otherwise solid arrangement. This provides the ability of metallic substances to easily transmit heat, while this flow of electrons occurs, the solid characteristic of the metal is produced by electrostatic interactions between each atom and the electron cloud. This type of bond is called a metallic bond, Metals are usually inclined to form cations through electron loss, reacting with oxygen in the air to form oxides over various timescales. Examples,4 Na + O2 →2 Na2O2 Ca + O2 →2 CaO4 Al +3 O2 →2 Al2O3, the transition metals are slower to oxidize because they form a passivating layer of oxide that protects the interior. Others, like palladium, platinum and gold, do not react with the atmosphere at all, some metals form a barrier layer of oxide on their surface which cannot be penetrated by further oxygen molecules and thus retain their shiny appearance and good conductivity for many decades. The oxides of metals are generally basic, as opposed to those of nonmetals, exceptions are largely oxides with very high oxidation states such as CrO3, Mn2O7, and OsO4, which have strictly acidic reactions. Painting, anodizing or plating metals are good ways to prevent their corrosion, however, a more reactive metal in the electrochemical series must be chosen for coating, especially when chipping of the coating is expected. Water and the two form an electrochemical cell, and if the coating is less reactive than the coatee. Metals in general have high conductivity, high thermal conductivity. Typically they are malleable and ductile, deforming under stress without cleaving, in terms of optical properties, metals are shiny and lustrous. Sheets of metal beyond a few micrometres in thickness appear opaque, although most metals have higher densities than most nonmetals, there is wide variation in their densities, lithium being the least dense solid element and osmium the densest
42.
Italian language
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By most measures, Italian, together with Sardinian, is the closest to Latin of the Romance languages. Italian is a language in Italy, Switzerland, San Marino, Vatican City. Italian is spoken by minorities in places such as France, Montenegro, Bosnia & Herzegovina, Crimea and Tunisia and by large expatriate communities in the Americas. Many speakers are native bilinguals of both standardized Italian and other regional languages, Italian is the fourth most studied language in the world. Italian is a major European language, being one of the languages of the Organisation for Security and Cooperation in Europe. It is the third most widely spoken first language in the European Union with 65 million native speakers, including Italian speakers in non-EU European countries and on other continents, the total number of speakers is around 85 million. Italian is the working language of the Holy See, serving as the lingua franca in the Roman Catholic hierarchy as well as the official language of the Sovereign Military Order of Malta. Italian is known as the language of music because of its use in musical terminology and its influence is also widespread in the arts and in the luxury goods market. Italian has been reported as the fourth or fifth most frequently taught foreign language in the world, Italian was adopted by the state after the Unification of Italy, having previously been a literary language based on Tuscan as spoken mostly by the upper class of Florentine society. Its development was influenced by other Italian languages and to some minor extent. Its vowels are the second-closest to Latin after Sardinian, unlike most other Romance languages, Italian retains Latins contrast between short and long consonants. As in most Romance languages, stress is distinctive, however, Italian as a language used in Italy and some surrounding regions has a longer history. What would come to be thought of as Italian was first formalized in the early 14th century through the works of Tuscan writer Dante Alighieri, written in his native Florentine. Dante is still credited with standardizing the Italian language, and thus the dialect of Florence became the basis for what would become the language of Italy. Italian was also one of the recognised languages in the Austro-Hungarian Empire. Italy has always had a dialect for each city, because the cities. Those dialects now have considerable variety, as Tuscan-derived Italian came to be used throughout Italy, features of local speech were naturally adopted, producing various versions of Regional Italian. Even in the case of Northern Italian languages, however, scholars are not to overstate the effects of outsiders on the natural indigenous developments of the languages
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Halftone
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Halftone is the reprographic technique that simulates continuous tone imagery through the use of dots, varying either in size or in spacing, thus generating a gradient-like effect. Halftone can also be used to specifically to the image that is produced by this process. This reproduction relies on an optical illusion, the tiny halftone dots are blended into smooth tones by the human eye. At a microscopic level, developed black-and-white photographic film also consists of two colors, and not an infinite range of continuous tones. The semi-opaque property of ink allows halftone dots of different colors to create another optical effect—full-color imagery, william Fox Talbot is credited with the idea of halftone printing. In a 1852 patent he suggested using photographic screens or veils in connection with an intaglio process. Several different kinds of screens were proposed during the following decades, one of the well known attempts was by Stephen H. Horgan while working for the New York Daily Graphic. The first printed photograph was an image of Steinway Hall in Manhattan published on December 2,1873, the Graphic then published the first reproduction of a photograph with a full tonal range in a newspaper on March 4,1880 with a crude halftone screen. The first truly successful commercial method was patented by Frederic Ives of Philadelphia in 1881, although he found a way of breaking up the image into dots of varying sizes, he did not make use of a screen. In 1882, the German Georg Meisenbach patented a process in England. His invention was based on the ideas of Berchtold and Swan. He used single lined screens which were turned during exposure to produce cross-lined effects and he was the first to achieve any commercial success with relief halftones. Shortly afterwards, Ives, this time in collaboration with Louis and Max Levy, improved the process further with the invention, the relief halftone process proved almost immediately to be a success. The use of blocks in popular journals became regular during the early 1890s. The development of printing methods for lithography appears to have followed a largely independent path. In the 1860s, A. Hoen & Co. focused on methods allowing artists to manipulate the tones of hand-worked printing stones, by the 1880s, Hoen was working on halftone methods that could be used in conjunction with either hand-worked or photolithographic stones. The most common method of creating screens—amplitude modulation—produces a regular grid of dots that vary in size, the other method of creating screens—frequency modulation—is used in a process also known as stochastic screening. Both modulation methods are named by analogy with the use of the terms in telecommunications, the resolution of a halftone screen is measured in lines per inch
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Copper
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Copper is a chemical element with symbol Cu and atomic number 29. It is a soft, malleable, and ductile metal with high thermal and electrical conductivity. A freshly exposed surface of copper has a reddish-orange color. Copper is one of the few metals that occur in nature in directly usable metallic form as opposed to needing extraction from an ore and this led to very early human use, from c.8000 BC. Copper used in buildings, usually for roofing, oxidizes to form a green verdigris, Copper is sometimes used in decorative art, both in its elemental metal form and in compounds as pigments. Copper compounds are used as agents, fungicides, and wood preservatives. Copper is essential to all living organisms as a trace dietary mineral because it is a key constituent of the enzyme complex cytochrome c oxidase. In molluscs and crustaceans, copper is a constituent of the blood pigment hemocyanin, replaced by the hemoglobin in fish. In humans, copper is found mainly in the liver, muscle, the adult body contains between 1.4 and 2.1 mg of copper per kilogram of body weight. The filled d-shells in these elements contribute little to interatomic interactions, unlike metals with incomplete d-shells, metallic bonds in copper are lacking a covalent character and are relatively weak. This observation explains the low hardness and high ductility of single crystals of copper, at the macroscopic scale, introduction of extended defects to the crystal lattice, such as grain boundaries, hinders flow of the material under applied stress, thereby increasing its hardness. For this reason, copper is supplied in a fine-grained polycrystalline form. The softness of copper partly explains its high conductivity and high thermal conductivity. The maximum permissible current density of copper in open air is approximately 3. 1×106 A/m2 of cross-sectional area, Copper is one of a few metallic elements with a natural color other than gray or silver. Pure copper is orange-red and acquires a reddish tarnish when exposed to air, as with other metals, if copper is put in contact with another metal, galvanic corrosion will occur. A green layer of verdigris can often be seen on old structures, such as the roofing of many older buildings. Copper tarnishes when exposed to sulfur compounds, with which it reacts to form various copper sulfides. There are 29 isotopes of copper, 63Cu and 65Cu are stable, with 63Cu comprising approximately 69% of naturally occurring copper, both have a spin of 3⁄2
Robinson, Gerald Philip (1911). "Mezzotint". In Chisholm, Hugh. Encyclopædia Britannica. 18 (11th ed.). Cambridge University Press. pp. 351–353. This includes a detailed description of mezzotint history and methods.
Robinson, Gerald Philip (1911). "