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Horgan's Half-Tone and Photomechanical Processes I- / \ > ' ' >f 1 t.t t r^r~ AND PHOTOMECIL^IICL'oj PROCESSES : '7: r '.\ Digitized by the Internet Archive in 2014 https://archive.org/details/horganshalftonepOOhorg PHOTOGRAVURE. Portrait of the Author. H0RGAN5 HALF-TONE AND PHOTOMECHANICAL 3y STEPHEN H.HORGANT PUBLISHED BY THE INLAND PRINTER COMPANY CHICAGO Copyright, 1913. The Inland Printer Company. PREFACE. It was the writer's fortune to witness the culmination of what may be termed the Golden Age of Wood Engraving in the United States; to be present at the birth of photo- engraving; to have taken an active part in the struggle for supremacy between wood engraving and photoengraving; to regretfully witness the decline of wood engraving, and to contribute somewhat to the success and popularizing of what is now included in the generic term, " Processwork." Now that manual engraving has surrendered and photo- mechanical engraving occupies the field, it has been sug- gested that the writer put on record some of the knowledge gained through his unique experience. The contest began with the appearance of the first illus- trated daily newspaper in the world. This was on March 4, 1873, when the New York Daily Graphic issued its first copy. Artists, engravers, publishers, printers everywhere were startled by the boldness of what they thought was but an experiment. Still the Graphic lived for eighteen years. It raised up a school of illustrators that became pioneers in the newer methods, and taught that the camera was the future medium for introducing illustrations to the printing- press. In 1874 the writer was initiated into the mysterious chambers where the Graphic processes were worked behind locked and barred doors. From that day his life has been given to the study of all the methods by which photography could be applied to producing pictures in printing-ink. Many of these methods he has put into practice. During the past eighteen years it has been the writer's pleasure to contribute from his storehouse of experience to those who ask for information regarding the photomechan- ical printing processes, through the columns of The Inland Printer. Reciprocity has resulted. There has been an interchange of knowledge, and he has learned, among other ii iiorgan's half-tone things, what are the subjects, relating to processwork, on which there is most frequently a demand for light. These queries came from the journeyman engraver as well as the apprentice; from artists, employing engravers, publishers, printers, advertisers, investors of capital and the varied classes who read The Inland Printer. So one object of this book has been to combine in one volume, in a brief way, the information most desired. Nothing theoretical is recorded. All the processes and formulas as given have been evolved by practical use. Many of them have cost a fortune, together with years of experi- ment, to develop. They follow in the book in something like the order in which they came into use. Preference has been given to the methods that have survived, those that have proved entirely practical and are either in use to-day or are merely awaiting application. An account of the photo- mechanical printing processes that have been tried and found wanting would fill many volumes, yet some space has been given to them here for the reason that many of them are being rediscovered by beginners at processwork. These tyros, thinking they have an important discovery, interest capital only to find later, after much waste of energy and money, that they are trying to resurrect a corpse. If the student of processwork will begin with photo- lithography and master that process he will possess a knowl- edge of the underlying principles in all of the photomechan- ical printing methods and particularly as regards negative- making, which, after all, is the basis for good processwork of any description. The index will guide the reader to the information he is seeking, and the perplexed processworker to a way out of his troubles ; while a study of the illustra- tions, with a magnifying glass, will enable any one to learn to distinguish the varied processes that contribute the pic- tures which illuminate printed matter to-day. Gratitude is herewith expressed to those who so willingly contributed the splendid educational exhibits of their work. These illustrations were not selected for their attractiveness (the pictures of the gentle sex, of course, excepted), but for ; : PREFACE 111 their technical value, which will be appreciated by the stu- dent. Wood, steel and wax engraving needle-point etching, ; mezzotint, aquatint and the manual methods of engraving are of course omitted because photography does not neces- sarily enter into their production. As to the future of processwork — there is no one suffi- ciently prophetic to predict it. It is conceded that it has been one of the principal factors in popularizing the product of the printing-press, thus spreading knowledge and hasten- ing progress. It has also created enormous lines of new business, introduced special kinds of paper, ink, and much improved presses. The exhibits of the offset press and rotary photogravure in this volume point in the direction of future conquests. That it is destined to wider, better, higher achievement is inevitable, as Tennyson's lines come to mind Not in vain the distance beacons. Forward, Forward let us range Let the great world spin forever down the Ringing grooves of change. Yet I doubt not through the ages one Increasing purpose runs, And the thoughts of men are broadened by THE PROCESS OF THE SUNS. CONTENTS. PAGES Engravers' and Printers' Exhibits 5-10 Photolithography Applied to Stone or Metal 11-40 Collotype 41-45 Colloids Used — Gelatin, Isinglass 46 Photogravure 47-60 Moss Process of Swelled-gelatin Relief 61-62 Photoelectrotype 63-68 Relief-line Engraving 69-84 Half-tone Process 85-109 Half-tone Engravers Should Know 109-110 Three-color and Four-color Blockmaking 111-132 Photoplanography for the Offset Press 133-144 Rotary Photogravure 145-153 Transferring Enamel to a Roll 153-154 Facts for Every Process Photographer 155-164 Zinc and Copper Etchers' Formulas, Methods 165-170 For Foremen, Finishers, Journeymen 171-176 Pointers for the Photographer 177-179 Bichromate Poisoning Remedies 180 Proper Care of a Lithographic Roller 181-182 Negatives Etched by Hand 183-185 Screens and Their Care 185-186 Processworkers May Be Jailed 187-188 " Direct Process " with Norwich Film 189 Key-plates, to Photograph on Zinc 190 Weights and Measures 191 Metric Measures Converted Into English 192 Thermometer Comparisons 193 Poisons, Symptoms and Antidotes 194-195 Chemicals in English, Latin, German and French 196-197 Chemical Symbols and Solubilities 198-199 Exposures Affected by Focus and Stop 200 Glossary of Process Terms 201-222 iv THE ILLUSTRATIONS IN THIS VOLUME AND THE ENGRAVERS AND PRINTERS TO WHOM CREDIT IS DUE FOR THE EXHIBITS OF PHOTOMECHANICAL PRINTING PROCESSES. AUTOCHROME REPRODUCTION IN THREE PRINTINGS. This is "the last word" in reproducing in printing-ink the colors of nature. And it is most appropriate that the subject of the picture should be M. Louis Lumiere, one of the famous brothers of Lyons, France, to whom the invention of the Autochrome system of photography in colors is due. The reproduction of the auto- chrome into three printing-plates, as well as the printing, is by J. Horace McFarland, of Harrisburg, Pennsylvania. BOOK STAMPS FOR THE COVER. Here is a little-known application of photoengraving. The half- tone screen enlargement, used as a band around the cover, and the lettering in gold, were stamped from brass plates one-quarter inch in thickness. The designs were photographed upon the brass plates when sensitized with an enamel. They were etched in an etching machine. These plates are known as book stamps for hot-press work, and are a specialty with The Photo-Chromotype Company, of Phila- delphia, who supplied them. COLLOTYPE. " Bed Time Stories " was printed direct from gelatin on a steam press by the Autogravure Company, of New York. This process, while equaling a photograph in quality, has the advantage that it is printed in a permanent printing-ink. It is one of the photomechan- ical printing processes much neglected by publishers through want of knowledge of its possibilities. A chapter on Collotype will be found on page 41. COMBINATION PLATE. Scenes recalling Paul Revere's famous ride are contributed by the Folsom & Sunergren Company, of Boston. The border and the several scenes inserted in it were photographed from different copies and the negatives combined in one plate, hence the name " Combination Plate." Paul Revere was the earliest American engra- ver and the first one to roll copper into sheets, so that he is a sort of patron saint of American engravers. v vi horgan's half-tone " DIRECT PROCESS " WITH NORWICH FILM. This is an extremely simple engraving method by which the drawing of the artist can be used as a positive for intaglio engra- ving or turned into a negative for relief engraving or planographic printing. This engraving was made by the inventor, Ozias Dodge, of Norwich, Connecticut. The process is described on page 189. DUOGRAPH, WITH MEZZOGRAPH SCREEN. The portrait of "A Sweet Girl Graduate" is printed from a half-tone with a mezzograph tint-plate. The grain of the mezzo- graph screen underneath breaks up the mechanical character of the screen half-tone with a most pleasing result. This style of engra- ving is not in use to the extent it should be. These plates are from Gatchell & Manning, Philadelphia, Pennsylvania. DUOGRAPH. The portrait of Louis J. M. Daguerre, who gave to the world the Daguerreotype process, January 9, 1839, is from a daguerreotype made in 1846.
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