The Three Groups of Printing - Relief, Planographic and Intaglio

Theodore De Vinne, Walter L. Hayes

Description

This comprehensive guide explores the three primary methods of printing and the evolutionary history of each, detailing their unique techniques and artistic possibilities.

Featuring an introductory essay, 'The Different Methods of Printing' by Theodore De Vinne, this antiquated volume offers unique insight into the fascinating world of printmaking. With step-by-step instructions and detailed diagrams, this volume unlocks the typographic secrets of the letterpress.

The contents of this book include:

• Letterpress Printing from Type, Plates and Blocks


• Mechanical Composition


• Photo-Engraving Making the Illustrations


• Making a Line Block


• Making a Half-Tone Block


• Stereotyping and Electrotyping

The Different Methods of Printing by Theodore De Vinne; Letterpress; Letterpress Printing from Type, Plates and Blocks; Mechanical Composition; Photo-Engraving Making the Illustrations; Making a Line Block; Making a Half-Tone Block; Stereotyping and Electrotyping

Sujets

• Techniques
• Printmaking
• Art

Informations

• Publié par: Read Books Ltd.
• Date de parution: 09 septembre 2016
• Nombre de lectures: 0
• EAN13: 9781473358423
• Langue: English

Extrait

THE THREE GROUPS OF PRINTING
RELIEF, PLANOGRAPHIC AND INTAGLIO
By
WALTER L. HAYES
WITH AN INTRODUCTORY CHAPTER BY THEODORE DE VINNE





Copyright © 2023 Old Hand Books
This edition is published by Old Hand Books, an imprint of Read & Co.
This book is copyright and may not be reproduced or copied in any way without the express permission of the publisher in writing.
British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library.
Read & Co. is part of Read Books Ltd. For more information visit www.readandcobooks.co.uk


Contents
THE DIFFERENT METHODS OF PRINTING
By Theod ore De Vinne
LETTERPRESS
LETTERPRESS PRINTING FROM TYPE, PLATE S AND BLOCKS
MECHANICAL COMPOSITION
PHO TO-ENGRAVING
MAKING THE I LLUSTRATIONS
MAKING A LINE BLOCK
MAKING A HAL F-TONE BLOCK
STEREOTYPING AND E LECTROTYPING




THE DIFFERENT METHODS OF PRINTING
By Theodore De Vinne
Printing , the act, art, or practice of impressing letters, characters, or figures on paper, cloth, or other material; the business of a printer; typography.
Typography the art of printing, or the operation of impressing letters and words on for ms of types.
—Webster.
Printing , the business of a printer; the art or process of impressing letters or words; typography; the process of staining linen w ith figures.
Typography , the art of printing.
—Worcester.
Print , to press, mark, stamp or infix letters, characters, forms, or figures.
—Richardson.
THESE definitions of printing are based on its derivation from the Latin, premo, to press, and on the supposition that its most characteristic feature is impression. From a technical point of view, the definitions are incomplete; for printing and typography are made synonymous, while many leading, but totally different, methods of impressing letters, characters and figures, are not even noticed. Impression is employed in the manufacture of calico, paper-hangings, oil-cloth, figured crockery, and in many other arts which have no connection with each other. Under right conditions, the action or the impress of light makes a photograph. Under different conditions, the pressure of the breath makes hollow glassware. Moulding, coining, stamping and embossing are other methods of impression; but the men who practise these methods are not known as printers. The word printing has acquired a conventional meaning not entirely warranted by its derivation. It means much more than impression. It is commonly understood as a process in which paper and ink are employed in conjunction with impression.
Printing and typography are not strictly synonymous, as may be inferred from the definitions. Typography, although the most useful, is not the only form of printing. Printing on paper with ink is done by four methods. Each method is, practically, a separate art, distinct from its rivals in its theory, its process, and its application. These methods are:
Steel-plate or Copper-plate printing, in which the subject is printed from an etching or engraving below the surface of a plate of steel o r of copper.
Lithography, in which the subject is printed from a transferred engraving on the surface of a pre pared stone.
Typography, in which the subject is printed from a combination of movable metal types cast in high relief.
Xylography, in which the subject is printed from a design engraved on a block of wood in high relief.
The distinct nature of the substances in use for printing surfaces by the four methods should be enough to teach us that the methods are entirely different. But the manner in which the letters, designs or figures of each method are put on the respective printing surfaces will show the differences more noticeably. In typographic and xylographic work, the matter to be printed is cast or cut in high relief, or above the surface; in lithographic work, it is put on the smooth surface of the stone, in relief so slight that it is almost level with the surface; in steel and copper-plate, it is cut below the surface which receives the impression. The illustration on the next page shows, but in an exaggerated form, the appearance of a single line, cut across, or in a vertical direction, when it has been prepared for printing by each of the different methods: It will be seen that the line prepared for printing by the typographic or xylographic method can be inked with facility, and that, when compared with a similar line in lithographic or copper-plate work, it presents but a small surface and a slighter resistance to impression.


Typography o r Xylography
A. Elevated line; the only part of a typographic or of a xylographic surface which receives the ink and impression.
B. The shoulder of the type, or the field of the block; it receives neither ink nor impression


Lithography
C. Transferred surface line; the only part of the surface which receives ink and repels moisture.
D. The surface of the stone, that imbibes moisture and repels greasy ink; it receives the full force of impression in every part.


Copper-plate or Steel-plate
E. The line printed, which is engraved below the surface of the plate, and is filled with ink.
F. The smooth face of the plate, which makes no mark on the paper, but which receives the full force of impression.
The process of copper-plate printing begins with heating the plate, and rolling it with ink, until the incised lines have been filled. The face of the plate is then wiped clean, care being taken that the ink in the incised lines is not removed. A moistened sheet of paper is then laid on the plate, and an impression is taken by forcing it under the cylinder of a rolling press.