DOCSLIB.ORG

4. Popular Graphic of Victorian

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
4. Popular Graphic of Victorian 12/20/14 AGD 1222 HISTORY OF GRAPHIC DESIGN TOPIC 4: Popular Graphic of the Victorian Era (The New Communication Tools, Lithography, Chromolithography & Photography) By Puan Rosyida Mohd Rozlan Popular Graphics of the Victorian Era WHEN? - Key Moment/Timeline • A.D 1850’s : The term/word ‘Victorian’ is used: • To express a new consciousness of the industrial era’s spirit, culture and moral standard. • The Victorian era was a time of strong moral and religious belief, proper social conventions, and optimism. • A.D 1819-1901 : Queen Victoria of United Kingdom of Great Britain -became the long reign (ruler) and spanned (extend over) two-third of the 19th Century, which more than 66 years. • 18th Century A.D (1760-1850) : Industrial Revolution A period in which fundamental changes occurred in agriculture, textile and metal manufacture, transportation, economic policies and the social structure in England. 1 12/20/14 WHEN? - Key Moment/Timeline • A.D 200-18th Century A.D : Invention & Development of Printing Techniques • A.D 200-600 : Seal & Woodblock printing by the Chinese • A.D 1040 : Movable type introduce by the Chinese • A.D 1430s : Intaglio by Martin Schongauer • A.D 1454 : Printing Press by Guttenberg • A.D 1769 : Lithography by Aloys Senefelder • A.D 1837 : Chromolithography by Godefroy Engelmann • A.D 1840’s : American Chromolithography began in Boston • A.D 1765 - 1932 : Invention & Development of Photography Techniques • A.D 1765-1833 : Heliogravure - first photographic image introduce • A.D 1799-1851 : Daguerreotype • A.D 1800-1877 : Photogenic Drawing, Photograms & Calotype • A.D 1813-1857 : Collodion • A.D 1854-1932 : Kodak camera WHEN? - Key Moment/Timeline • A.D 1849 : Grand Exhibition of the Industrial Revolution • Organized by the Queen Victorian husband, Prince Albert • participated by hundreds exhibitors from all industrial nations • become important summation of the progress of the Indst. Rev. • A.D 1809 - 1874 : Owen Jones, an English designer, author and authority on color. • became major design influence at mid-century of 19th Century. A.D 1856 : Owen Jones produced a book of large color plates, named ‘The Grammar of Ornament’ • has gave great influence to the Western design especially to the Victorian Era design. 2 12/20/14 WHEN? - Key Moment/Timeline • A.D 1812 - 1852 : W.N Pugin • An English architect who fostered (promote the development) of a fondness (affection) for the Gothic style and design. • A.D 1840 : The Boston School of Chromolithography • William Sharp introduced chromolithography printing techniques to America that began in Boston, where the Boston School of chromolithography was started. A.D 1840 - 1860 : The battle on the signboards in England • due to ascendancy (influence) of the letterpress and broadsheet of visual and pictorial posters. • Lithography was the graphic medium allowing a more illustrative approach to public communication. WHEN? - Key Moment/Timeline • A.D 1840’s : The rise of American Editorial and Advertising Design • Harper and Brothers become the largest printing and publishing firm in the world. • Harper and Brothers launched a monumental project that became the young nation’s finest achievement of graphic design and book production to date. • Harper’s Illuminated and new Pictorial Bible, 1850 • Harper’s New Monthly Magazine, 1850 • Harper’s Weekly, 1867 • Harper's Bazaar, 1867 • A.D 1880 - 1900 : The Victorian Advertisement on Trade Card • They were popular as a cheap and effective way to advertise products and services. 3 12/20/14 WHEN? - Key Moment/Timeline • A.D 1890’s - 1940’s : Golden Age of American Illustration Launched by Horward Pyle with over 3,300 illustrations and two hundred text published in which inspired a younger generation of graphic artists to carry forward the tradition of realism in America. WHERE? - Classification according to geographical regions The colored areas on the map below show the countries which belonged to the British Empire in Victorian times. Some of the countries on the map had different names in the 19th century. 4 12/20/14 WHERE? - The Victorian Empire in 1837 • During the Victorian Empire in 1837, England become a huge empire - India, Canada, Australia, South Africa, and New Zealand. WHO? - The Person/People who developed or invented • A.D 1819-1901 : Queen Victoria of U.K of Great Britain Victoria was the Queen of U.K, Ireland and Empress of India from 1876 to 1901 5 12/20/14 WHO? - Owen Jones The Grammar of Ornament, 1856 • A.D 1809-1874 : Owen Jones • An English; a London-born architect and designer, author and authority on color who contributed a catalog of design possibilities from Eastern and Western cultures; called ‘The Grammar of Ornament’, 1856 • Key figure in nineteenth century design reform. • He looked towards the Islamic world for much of this inspiration, using his carefully-observed studies of Islamic decoration at the Alhambra to develop bold new theories on flat patterning, geometry and abstraction in ornament, that still resonate with contemporary designers today. WHO? - Owen Jones’ geometry and abstraction ornament 6 12/20/14 WHO? - A.W.N Pugin Ornamental Designer & Architect: Articulate Gothic Style • A.D 1812-1852 : A.W.N Pugin • An English architect who designed the ornamental details of the British Houses of Parliament; the first 19th century designer to articulate a philosophy of Gothic style. • He defined design as a moral act that archived the status of art through the designer’s ideals and attitudes; • He al so believed the integrity and character of a civilization were linked to its design. WHO? - A.W.N Pugin (Above) Portrait of A.W.N Pugin (Right) One of Pugin’s architecture design 7 12/20/14 WHO? - Architecture Designs of A.W.N Pugin WHO? - Aloys Senefelder The Development of Lithography • A.D 1769 : Bavarian author Aloys Senefelder Invented stone printing called Lithography; based on the simple chemical principle that oil and water do not mix. (Left) Portrait of Aloys Senefelder & (Right) His Lithography printing press machine 8 12/20/14 WHO? - Godefroy Engelmann The Development of Chromolithography • A.D 1837 : A French printer Godefroy Engelmann He patented (invented) Chromolithography printing techniques; printing techniques that separated the colors from an image into a series of printing plates and printed these component colors one by one. WHO? - William Sharp The Boston School of Chromolithography • A.D 1840 : William Sharp He introduced chromolithography printing techniques to America, which began in Boston, where The Boston School of Chromolithography was started. Sharp was a London painter and drawing teacher who opened a lithography shop in 1829. (Right) Portrait of William Sharp 9 12/20/14 WHO? - William Sharp The Boston School of Chromolithography (Above) Chromolithography by William Sharp WHO? - John H. Bufford The Boston School of Chromolithography • A.D 1870 : John H. Bufford Is the major innovator of chromolithography in Boston, whose crayon- style images achieved a remarkable realism; hallmarks of his designs were meticulous and convincing tonal drawing and the integration of image and lettering into unified design such as in posters design. 10 12/20/14 WHO? - Louis Prang The Boston School of Chromolithography • A.D 1824 - 1909 : Louis Prang • Prang is a German immigrant to America whose work and influence were international in the Victorian Era. • He is ‘Father of the American Christmas card’ for his pioneering work in holiday graphics. • He also produced printed album cards called ‘Trade Cards’ or ‘Scrap’; beautiful art bits that was a (Above) major Victorian pastime. Photograph of Louis Prang WHO? - Joseph Niepce The Inventors of Photography: Heliogravure • A.D 1765 - 1833 : Joseph Niepce • A Frenchman who first produced a photographic image called Heliogravure • Heliogravure is a sun engraving method using a pewter sheet Covered in bitumen of Judea, a light-sensitive asphalt (a mixture of dark bituminous pitch made by the distillation of crude oil) (Left) Photograph of Joseph Niepce 11 12/20/14 WHO? - Joseph Niepce Heliogravure Photography (Above) Joseph Niepce, photolithographic print of Cardinal Ambroise, 1822 First image printed from a plate that was created by the photochemical action of light rather than by the human hand. WHO? - Louis Jacques Daguerre The Inventors of Photography: Daguerreotype • A.D 1799 - 1851 : Louis Jacques Daguerre • He worked with Joseph Niepce and perfected the early photographic process called Daguerreotype, which he presented to the French Academy of Sciences. • Daguerreotype used highly polished silver-plate copper sheet that was sensitized by placing it, silver side down, over a container of iodine crystals; the plate was placed in the camera and exposed to light Photograph of coming through the lens to produce Louis Jacques Daguerre a latent image. 12 12/20/14 WHO? - Louis Jacques Daguerre Daguerreotype Photography (Above Left) (Above Right) Daguerre camera Louis Jacques Daguerre, Paris boulevard, 1839. WHO? - William Henry Fox Talbot The Inventors of Photography: Calotype • A.D 1800 - 1877 : William Henry Fox Talbot • Talbot has pioneered a process that formed the basis for both photography and photographic printing plate by working with objects held over paper treated with silver compounds and exposed to light. • Calotype means; ‘beautiful impression in Greek that allowed greater light-sensitive paper. • Talbot created Photogenic drawing, Photogram and published a book that featured 24 photographs mounted into each copy by hand called
Load more

Recommended publications
  • Image Carrier Poster
    55899-11_MOP_nwsltr_poster_Winter11_v2_Layout 1 2/11/11 2:25 PM Page 1 The Museum of Printing, North Andover, MA and the Image Carrier www.museumofprinting.org Relief printing Wood cuts and wood engravings pre-dated moveable type. Called “xylographic printing,” it was used before Gutenberg for illustrations, playing cards, and small documents. Moveable type allowed corrections and editing. A wood engraving uses the end grain, where a wood cut uses the plank grain. Polymer plates are made from digital files which drive special engraving machines to produce relief plates. These plates are popular with many of today’s letterpress printers who produce invitations, and collectible prints. Metal relief cylinders were used to print repetitive designs, such as those on wrap - ping paper and wall paper. In the 1930s, the invention of cellophane led to the development of the anilox roller and flexographic printing. Today, flexography prints most of the flexible packaging film which accounts for about half of all packaged products. Hobbyists, artists, and printmakers cut away non-printing areas on sheets of linoleum to create relief surfaces. Wood cut Wood engraving and Metal plate Relief cylinder Flexographic plate Linoleum cut Foundry type began with Gutenberg and evolved through Jenson, Garamond, Moveable type Caslon and many others. Garamond was the first printer to cast type that was sold to other printers. By the 1880s there were almost 80 foundries in the U.S. One newspaper could keep one foundry in business. Machine typesetting changed the status quo and the Linotype had an almost immediate effect on type foundries. Twenty-three foundries formed American Type Founders in 1890.
    [Show full text]
  • Other Printing Methods
    FLEXO vs. OTHER PRINTING METHODS Web: www.luminite.com Phone: 888-545-2270 As the printing industry moves forward into 2020 and beyond, let’s take a fresh look at the technology available, how flexo has changed to meet consumer demand, and how 5 other popular printing methods compare. CONTENTS ● A History of Flexo Printing ● How Flexo Printing Works ● How Litho Printing Works ● How Digital Printing Works ● How Gravure Printing Works ● How Offset Printing Works ● What is Screen Printing? ● Corrugated Printing Considerations ● Flexo Hybrid Presses ● Ready to Get Started with Flexo? 2 A History of Flexo Printing The basic process of flexography dates back to the late 19th century. It was not nearly as refined, precise, or versatile as the flexo process today -- and can be best described as a high-tech method of rubber stamping. Printing capabilities were limited to very basic materials and designs, with other printing methods greatly outshining flexo. Over the past few decades flexo technology has continuously evolved. This is largely thanks to the integration of Direct Laser Engraving technology, advancements in image carrier materials, and in press technologies. These innovations, among others, have led to increased quality and precision in flexo products. These technological improvements have positioned flexography at the helm of consumer product and flexible packaging printing. Flexo is growing in popularity in a variety of other industries, too, including medical and pharmaceutical; school, home, and office products; and even publishing. How Flexo Printing Works Flexo typically utilizes an elastomer or polymer image carrier such as sleeves, cylinders, and plates. The image carrier is engraved or imaged to create the design for the final desired product.
    [Show full text]
  • Printing Industry Is the Large Proportion of Very Small Firms
    The printing sector is a diversified industry sector composed of firms who perform printing as well as firms who render services for the printing trade, such as platemaking and bookbinding. One of the most significant characteristics of the printing industry is the large proportion of very small firms. The Census Bureau reported that in 2002 nearly half of the 37,538 printing companies had fewer than five employees; approximately 80 percent employed fewer than 20 workers. Processes used in printing include a variety of methods used to transfer an image from a plate, screen, film, or computer file to some medium, such as paper, plastics, metal, textile articles, or wood. The most prominent of these methods is to transfer the image from a plate or screen to the medium (lithographic, gravure, screen, and flexographic printing). A rapidly growing new technology uses a computer file to directly "drive" the printing mechanism to create the image and new electrostatic and other types of equipment (digital or nonimpact printing). Four Main Segments The printing industry can be separated into four main segments: Lithography Flexography Gravure Screen printing Lithography Lithography is a planographic printing system where the image and non-image areas are chemically differentiated with the image area being oil receptive and non-image area water receptive. Ink film from the lithographic plate is transferred to an intermediary surface called a blanket, which, in turn, transfers the ink film to the substrate. Fountain solution is applied to maintain the hydrophilic properties of the non-image area. Ink drying is divided into heatset and non- heatset.
    [Show full text]
  • Inkjet Printing This Process Works by Spitting Small Droplets of Ink on the Surface of the Paper
    PRINTING FOR PACKAGING PREPARED BY MRS.M.JANANI DEPARTMENT OF COMMERCE (INTERNATIONAL BUSINESS) GOVERNMENT ARTS COLLEGE, COIMBATORE – 18. REFERENCE: http://imprimerie - sanjose.com/what - a r e - t h e - d i f f e r e n t - t y p e s - of- p r i n t i n g / https://www.brushyourideas.com/blog/types - p r i n t i n g - m e t h o d s - w e b - to- p r i n t - i n d u s t r y / https://www.glocaluniversity.edu.in/files/eContent/eBpharm/QUALITY%20C ONTROL.pdf TYPES OF PRINTING FOR PACKAGING 1. Lithography or “litho” or “offset” for short 2. Flexography or “flexo” for short 3. Rotogravure or “gravure” for short 4. Silkscreen or “screen” for short. 5. Digital 1. PLANOGRAPHIC PRINTING Lithography is the most dominant of the printing processes. When people refer to printing, especially color printing, they usually think of lithography. Lithography was invented by Alois Senefelder. Lithography is a chemical process. Lithography works on the principle that oil and water do not mix. A lithographic plate is treated in such a way that the image areas on the plate are sensitized and as such are oleophilic (oil-loving); and the non-image areas are treated to be ink repelling or oleophobic. During the press run, the plate is charged twice; first by a set of dampening rollers that apply a coat of dampening solution and second by a coat of the inking rollers. During this process the image areas have been charged to accept ink and repel water during the dampening.
    [Show full text]
  • The Art of the Cigar Label
    The Art of the Cigar Label A.AMO&CO. LA BVA TAMPA.FLA. An exhibition by the Ybor City Museum Society with assistance from the University of South Florida Libraries' Special Collections Curated by: Emanuel Leto "True, our pictures are many of them for the soap manufacturer, the insurance com­ panies, and the patent medicine man; but we try in our way to be educators of the people , and to give them good drawings and harmonious coloring. These business operators of ours who use pictures for advertising purposes know that the public have become fastidious; hence, they will only accept good designs. It is not so very long ago that advertising pictures invariably had hard, glaring backgrounds and crude, contrasting colors ... but that type of work would find no sale now except in the back woods." - Anonymous lithographer, New York, 1894 1 At first glance, the images on cigar labels seem simple; they are beautifully em­ bossed and the illustration- whether an attractive woman or a famous writer- jumps out at the viewer. However, cigar labels of the late 19th and early 20th centuries are also rich in allegory and symbolism, subtly illustrating themes like commerce, trade, or U.S. foreign relations. Label themes "reflect the tobacco industry's important influence on the economic, social, and political climate of Cuba and Florida cities like Key West and Tampa," 2 becoming "windows to the past," depicting contemporary events, political leaders, celebrities, and so­ cial life. A look at cigar labels also reveals quite a bit about America in the Gilded Age, from roughly 1870 to 1920.
    [Show full text]
  • Lithography Aluminum Plate Lithography
    Kevin Haas | http://kevinhaas.com/printmaking/ Lithography Aluminum Plate Lithography Preparing Your Plate The Five Main Steps in Cutting Your Plate to Size Lithography: The 25.5” x 36” aluminum litho plates can be cut either in half (18” x 25.5”), 1. Preparing Your Plate thirds (25.5” x 12”), or quarters (12.75” x 18”), but shouldn’t be any smaller than this. Plates should be handled by the edges only and with clean hands. 2. Drawing Your Image Lay the plate face down on a protective sheet of paper on a cutting board. Mark 3. First Etch and score the back of the plate about 10 times while firmly holding the straight 4. Roll-up and Second edge. Flip the plate over and fold the plate up and down. The plate will split at Etch the score. 5. Printing Round the corners of your plate with scissors and lightly file any rough edges. De-Oxidizing Before drawing on your plate, it is necessary to remove oxides that build up on the aluminum so the drawing material will attach well to your plate. To deoxidize your plate, rinse it with hot water. Wipe the entire surface in vertical and horizontal strokes for about two minutes to remove the oxides from your plate. Use a completely clean cotton rag or Webril Wipe that will not scratch or abrade your plate. If there are noticeable fingerprints or marks on the plate, use the Aluminum Plate Counter-Etch which contains phosphoric and hydrochloric acids. Wear gloves while applying in the same manner as above.
    [Show full text]
  • Commercial Nineteenth-Century American Lithography: an Economic History
    Commercial Nineteenth-Century American Lithography: An Economic History Georgia B. Barnhill American Antiquarian Society Presented at “Representations of Economy: Lithography in America from 1820 to 1860” The Ninth Annual Conference of the Program in Early American Economy and Society Co-Sponsored with the Visual Culture Program and “Philadelphia on Stone” At the Library Company of Philadelphia 1314 Locust Street, Philadelphia, PA Friday, October 15, 2010 1 Writers on American prints generally have ignored the speculative and entrepreneurial aspect of printing and publishing. We tend to focus on individual prints and the stories that they present, either through their publication and distribution or through the subject matter of the image. When Cathy Matson invited me to participate in this conference, I suggested a look at some of the economic aspects of the lithographic industry as a whole. This is a story that is difficult to construct because so little primary material has survived. I have tried to stitch together information gathered from a variety of sources with the understanding that this is not a definitive study. Others will have to build on this fragile patchwork. As in so many manufacturing enterprises, success is not guaranteed and seldom is there a straight line moving towards economic stability. There are many lithographic companies that lasted just a year or two, suggesting that being successful required a variety of skills. Other companies struggled at times and managed to survive. And, just as in book publishing, not all printers were publishers. Separating the two roles is important as we look at the business of lithographic printing and publishing.
    [Show full text]
  • Mechanization of the Printing Press Robin Roemer Western Oregon University, [email protected]
    Western Oregon University Digital Commons@WOU History of the Book: Disrupting Society from Student Scholarship Tablet to Tablet 6-2015 Chapter 08 - Mechanization of the Printing Press Robin Roemer Western Oregon University, [email protected] Follow this and additional works at: https://digitalcommons.wou.edu/history_of_book Part of the Critical and Cultural Studies Commons, Cultural History Commons, and the History of Science, Technology, and Medicine Commons Recommended Citation Roemer, Robin. "Mechanization of the Printing Press." Disrupting Society from Tablet to Tablet. 2015. CC BY-NC. This is brought to you for free and open access by the Student Scholarship at Digital Commons@WOU. It has been accepted for inclusion in History of the Book: Disrupting Society from Tablet to Tablet by an authorized administrator of Digital Commons@WOU. For more information, please contact [email protected]. 8 Mechanization of the Printing Press - Robin Roemer - One of the important leaps in the technology of copying text was the mechanization of printing. The speed and efficiency of printing was greatly improved through mechanization. This took several forms including: replacing wooden parts with metal ones, cylindrical printing, and stereotyping. The innovations of printing during the 19th century affected the way images were reproduced for illustrations as well as for type. These innovations were so influential on society because they greatly increased the ability to produce large quantities of work quickly. This was very significant for printers of newspapers, who were limited by the amount their press could produce in a short amount of time. Iron Printing Press One major step in improving the printing press was changing the parts from wood to metal.
    [Show full text]
  • Tamarind Homage to Lithography Preface by William S
    Tamarind homage to lithography Preface by William S. Lieberman. Introduction by Virginia Allen Author Museum of Modern Art (New York, N.Y.) Date 1969 Publisher Distributed by New York Graphic Society, Greenwich, Conn. Exhibition URL www.moma.org/calendar/exhibitions/1869 The Museum of Modern Art's exhibition history—from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art Tamarind:Homage to Lithography Tamarind: Homage to Lithography Preface by William S. Lieberman Introduction by Virginia Allen 4- The Tamarind Lithography Workshop has almost single- handedly revived the difficult medium of lithography in the past decade. It has provided not only the materials but also the environment that fosters the delicate collaboration be tween artist and printer. Such an environment and indeed even the materials were almost nonexistent in the United States before June Wayne and the Ford Foundation agreed on the importance of providing them. Since Tama rind opened its doors in 1960 it has provided fellowships for numerous artists and printers, most of whom have con tinued their exploration of lithography after leaving Tama rind. The author describes this unique Workshop and also gives a brief history of lithography in Europe and in the United States. Included is a list which catalogs part of the promised gift to The Museum of Modern Art of the Kleiner, Bell and Company Collection of Tamarind Impressions. The author, Virginia Allen, former curator of Tamarind, is now Assistant to William S.
    [Show full text]
  • Colour Lithography and Its Moral Nature a Paper Written As Part of the Requirements for the Masters in Library and Information Science Degree at Mcgill University
    This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. Colour Lithography and its moral nature a paper written as part of the requirements for the Masters in Library and Information Science degree at McGill University Allana Mayer 2014 Introduction Lithography, the process of applying paints and inks to a stone for transfer to paper, was invented in Germany in 1798 by Alois Senefelder (Twyman, 2013). The technique is less talked-of than the invention of movable type, or the diffusion of digital tools, in their effects on the respective industries and sociocultural climates of their times, but historical documents do portray a similar tension between a new technology and existing processes. Lithography is in particular an interesting halfway point between the former and the latter: while the process of mechanical reproduction is an obvious antecedent to the invention of printing in general, its chemical-based process is a herald of things to come, namely home laser printing that uses toner and ink to apply images to paper -- or even the chemical negative/ positive processes that make up photosensitive reactions. The chemical process that operates in lithography relies on oil and water repelling one another but adhering to stone. An image is drawn onto a lithographic stone (often limestone or zinc) with a grease stick or wax crayon, then the stone is coated with gum arabic, citric acid, and water, which is repelled from the oily design and adheres to the negative space, without etching the stone. Then the stone is prepared for printing with a mixture of oil-based paint and water: the water adheres to the gum arabic in the negative space, while the oil-based paint creates a positive image and is transferred to subsequent sheets of paper.
    [Show full text]
  • A Comparative Study of the Environmental Aspects of Lithographic and Digital Printing by Sachin R
    A Comparative Study of the Environmental Aspects of Lithographic and Digital Printing By Sachin R. Kadam Processes Graduate Student, Enviornmental Health and Safety Management Mary Anne Evans, Ph.D. Professor, School of Print Media Sandra Rothenberg, Ph.D. Professor, College of Business A Research Monograph of the Printing Industry Center at RIT Rochester Institute of Technology No. PICRM-2005-01 A Comparative Study of the Environmental Aspects of Lithographic and Digital Printing Processes By Sachin R. Kadam Graduate Student, Environmental Health and Safety Management Mary Anne Evans, Ph.D. Professor, School of Print Media Sandra Rothenberg, Ph.D. Professor, College of Business Rochester Institute of Technology A Research Monograph of the Printing Industry Center at RIT Rochester, NY December 2005 PICRM-2005-01 © 2005 Printing Industry Center at RIT— All rights reserved. With Thanks The research agenda of the Printing Industry Center at RIT and the publication of research findings are supported by the following organizations: bc Kadam, Evans, and Rothenberg (PICRM-2005-01) Table of Contents Introduction ..................................................................................... 3 Background ...................................................................................... 5 Evaluation Method ........................................................................... 9 Results ........................................................................................... 15 Analysis of the Results ...................................................................
    [Show full text]
  • 17. Chromolithography 1870-1930
    Chromolithography 1870-1930: The identification of commercial Erin Walker colour lithography processes, ink modifications and conservation [email protected] INTRODUCTION The research summarised in this poster contextualises chromolithography in the commercial printing trade by the various methods of their production and their ink compositions. Colour lithographic printing, commonly referred to as chromolithography, entered the commercial printing trade in the mid-nineteenth century. The rising demand for colour printing in the twentieth century resulted in more economic and efficient colour printing processes. These demands resulted in an array of new patents for ink formulations, printing papers and photomechanical productions. This research aims to uncover many of the patents, formulas and recipes used in the manufacturing of lithographic inks of the late 19th and early 20th centuries, with a specific focus on additives and modifiers used as driers, extenders and reducers. Information was gathered from relevant patents, treatises, technical manuals, and other historical literature. An overview of published conservation case studies was conducted to understand the potential sensitivities printing inks face. A clearer understanding of the composition of colour lithographic printing inks will serve to inform conservation practice on some of the risks associated with aqueous, solvent cleaning and other treatments. OVERVIEW OF PROCESS COMPOSITION AND MODIFICATIONS Chromolithography, photolithography and offset printing are all variants of the original lithography process invented by Alois Senefelder in 1798. Lithographic inks were specially formulated for several printing processes but the main components remain to be a pigment/dye mixed in a While the methods of etching the stone and zinc plate changes, there is no great difference in the lithographic principle, ink process, ink vehicle with added driers, extenders and reducers.
    [Show full text]