Other Printing Methods

Total Page:16

File Type:pdf, Size:1020Kb

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. Ink is transferred from the ink pan via an anilox roll onto the image carrier, where it is then printed onto the substrate. Flexo printing is most commonly associated with uses in flexible packaging and labels, utilizing a variety of substrates including film, paper, foil and non-woven. Producing these products generally takes 3 steps: 1. Artwork The first step in flexographic printing is designing your artwork. Creating a design that fits the specifications needed to produce the final desired print can be challenging. Failure to thoroughly proof your artwork can result in costly mistakes. Image carriers cannot be changed once they are produced. When mounted to a printing cylinder, image carriers created flat stretch and distort your image. You can learn how to calculate and compensate for the distortion -- or opt for In-The-Round, continuous print image carriers that are distortion free. 2. Web-Fed Substrate Materials The rolling design of the flexographic printing press allows for continuous substrate materials (in roll-form) to be fed through the machine. This feature of flexography is what allows for the continuous printing process that can achieve high speeds, maintain accuracy, and efficiently produce large print runs. 3 3. The Flexographic Printing Press ● Unwind and Infeed - A roll of substrate is fed into the printing press. Tension must be kept taught to prevent slack which can cause wrinkling, misregistration, web breaks, and other print defects. ● Enclosed Doctor Blade Inking System - A continuous cycling pump fills the enclosed chamber with ink. The ink is transferred onto the anilox roll with any excess removed by the doctor blade. The ink cycles in and out of the enclosed system during printing. ● Inking Anilox Roller - The anilox roller contains microscopic cells which carry a thin layer of ink from the inking system to the image carrier. ● Image Carrier and Impression Cylinder - The image carrier transfers the image to the substrate. The flexographic press pulls the substrate between the image carrier and the impression cylinder. Simultaneously, the impression cylinder holds exactly the right amount of pressure on the substrate for even ink distribution. ● Drying - The substrate winds through roller-less and plate-less sections to dry the ink. Depending on the number of colors used, the substrate might pass through multiple image carriers, impression cylinders, and drying sections in a single print run (one per color). ● Outfeed and Rewind - The final step on a flexographic printing press is the outfeed and rewind, where a substrate is rolled up again in preparation for a cutting die, which will separate individual prints. 4 How Litho Printing Works Litho printing is an offset process which uses a printing plate. The ink is first applied onto the printing plate and then transferred to a rubber blanket through multiple ink rolls, and finally applied to the substrate from the blanket. This means the image is not printed directly onto the substrate from the plate. What is the Difference Between Flexo & Litho Printing? Both flexo and litho printing can produce reliable prints in very high volumes. They can be used to produce quality product packaging, labels, and a wide variety of printed paper materials. While lithographic printing might dominate some markets, flexo printing has increasingly gained popularity since the 1970s with the introduction of direct laser engraving. COST: Litho can accommodate foil stamping, spot gloss, embossing, and other embellishments, but these options also come at a higher cost. Additionally, since the only way to print with litho is through an indirect pre-print, this guarantees an additional step in production and thusly raises costs. Both processes can be very cost-effective when printing large runs with basic needs. With proper maintenance and storage, as well as an investment in durable image carrier materials, flexo image carriers can be reused many times before they need to be replaced. SUBSTRATES: Litho is generally limited to printing on smooth, flat surfaces as the image must be pressed onto the substrate. Printing on corrugated substrates requires an additional step in production where the images are first printed onto linerboard, which is then attached to the corrugated substrate. Flexo can print on both porous and non-porous surfaces, making it ideal for a wider variety of substrates, including coated linerboard and paper. INKS: Litho generally uses oil-based inks, and printing usually consists of the four process colors, each requiring a dedicated printing station. Flexo also utilizes one image carrier per color and can use oil-based inks; it additionally accommodates printing with a wide variety of other inks -- including water-based, solvent-based, and UV inks. Curable inks, such as UV, afford faster drying times. Faster drying can lead to faster production runs. IMAGE QUALITY: Flexo is noted for producing superior print with fine line and text detail. Making the final decision whether to print using the flexo or litho process depends on the substrate, budget considerations, and a number of other production requirements. 5 How Digital Printing Works Digital printing presses function similarly to the printers we use at home. Unlike the other printing methods, digital printing does not require the creation of printing plates because a digital press uses electronic files to print images. Digital printing is capable of rendering high resolution images. This method costs more per print than the other methods and moves more slowly, but without the need for printing plates, set up is less expensive. This makes digital printing a great option for small volume printing, samples, or test marketing. What is the Difference Between Flexo & Digital Printing? COST: Flexo is a more cost effective option than digital for high-speed and high-volume printing needs. Being a continuous printing solution, there is little to no press downtime. However, for short runs, digital printing is considered more cost effective due to the comparatively minimal initial investment in materials and quick set-up time. INKS/SPEED: Due to the fast-drying inks that are compatible with flexo printing image carriers and presses, flexo is a great option for applications where speed is of utmost importance. QUALITY: For some industries, digitally printed final products may be less durable than ones printed with flexography. This is a particular consideration when printing products intended for outdoor use, or needed to withstand many years of display. 6 How Gravure Printing Works Gravure printing works by applying ink to a substrate with the use of a metal plate that is typically mounted onto a cylinder. This plate is often made of copper or chrome. The image or text that is intended for printing is typically laser etched into said metal plate, a process that often delivers high quality and precise results with good repeatability. What is the Difference Between Flexo & Gravure Printing? COST AND LEAD TIME: Gravure image carriers are typically much more expensive than Flexo, making the number of prints required to break even much higher. Gravure, however, has a longer press run time as the cylinders do not require as frequent changing as Flexo. Gravure lead time is usually 3-4 times that of Flexo in the time it takes to manufacture the image carrier. SUBSTRATES: One of the limitations of gravure printing is that it generally better suited for porous substrates. This is one of the reasons that gravure is best suited for high detail printing on applications such as magazine covers. That isn’t the case with flexo printing, which is able to print on both porous and non-porous substrates, making the technology ideal for everything from film to paperboard. INKS: Another key differentiator is the range of inks Flexo is able to print with. Gravure is more limited in the inks that it works with, often making Flexo the superior choice due to the ease of printing with a wider variety of inks. Gravure requires much more ink per print, which can drive up the cost of printing. ENVIRONMENTAL CONSIDERATIONS: Due to the fact that Gravure is traditionally associated with solvent based inks, although water based ink capabilities have been evolving, Flexo is commonly considered the “greener” options.
Recommended publications
  • Flexographic Printing – High Throughput Technology for Fine Line Seed Layer Printing on Silicon Solar Cells
    Presented at the 28th European PV Solar Energy Conference and Exhibition, 30 September – 04 October 2013, Paris, France FLEXOGRAPHIC PRINTING – HIGH THROUGHPUT TECHNOLOGY FOR FINE LINE SEED LAYER PRINTING ON SILICON SOLAR CELLS Andreas Lorenz1, Andre Kalio1, Gunter Tobias Hofmeister1, Sebastian Nold1, Lorenz Friedrich1, Achim Kraft1, Jonas Bartsch1, Dietmar Wolf2, Martin Dreher2, Florian Clement1, Daniel Biro1 1Fraunhofer Institute for Solar Energy Systems ISE, Heidenhofstr. 2, 79110 Freiburg, Germany 2Deutschsprachiges Flexodruck-Technologiezentrum DFTA-TZ, Nobelstraße 10, 70569 Stuttgart, Germany Phone: +49 761 4588 5299, email: [email protected] ABSTRACT: Within this work, seed layer grids for solar cell front side metallization were applied using flexographic printing which represents an innovative, high-throughput approach for solar cell front side metallization. Fine line seed layer contact grids with a silver consumption lower than 10 mg per cell could be realized on alkaline textured Czochralski-grown silicon wafers with an edge length of 156 mm. Subsequently, the seed layer has been reinforced with silver using light induced plating (LIP). In order to determine the optimum LIP process, three groups were plated with different amounts of silver deposition. The results were analyzed before and after plating regarding silver consumption, contact finger geometry and interruptions. Solar cell parameters were determined after plating. It was demonstrated, that a homogeneous front side seed layer metallization without interruptions down to a line width of 25 µm can be realized using flexographic printing. The best cell reached a conversion efficiency of 18 % after silver LIP which is comparable to standard screen printed cells on the used Si wafer material.
    [Show full text]
  • 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]
  • Printing Technology (Offset, Flexo, Gravure, Screen, Digital, 3D Printing)
    Printing Technology (Offset, Flexo, Gravure, Screen, Digital, 3D Printing) (Noncontact Printing ,Commercial Printing, Gravure Printing, Letterpress Printing, Offset Printing, Screen Printing, Offset Lithography, Lanography ,Flexography, Rotogravure, Digital Printing,3D Printing, 3D Printing Machinery, Blanket Cylinder, Plate Cylinder, Impression Cylinder, Web Offset Machines, printing press) Introduction Printing is a process of producing copies of text and pictures. Modern technology is radically changing the way publications are printed, inventoried and distributed. There are a wide variety of technologies that are used to print stuff. The main industrial printing processes are: Offset Lithography, Flexography, Digital Printing (Inkjet & Xerography), Gravure, Screen Printing. 3D printing which is also referred as additive printing technology that enables manufacturers to develop objects using a digital file and variety www.entrepreneurindia.co of printing materials. Global market for 3D printing material includes polymers, metals and ceramics. In addition, 3D printing offers a wide array of applications in various industries, namely consumer products, industrial products, defense & aerospace, automotive, healthcare, education & research and others. In India, the market for printing technology is at its nascent stage however offers huge growth opportunities in the coming years. Digital printing is now taking much more share, particularly in graphics (i.e. non- packaging applications). www.entrepreneurindia.co Digital's share of the whole market doubles in constant value terms from 9.5% to 19.7% and 3D printing market is estimated to garner $8.6 billion in coming years. The print technology in use is also changing. Digital printing is now taking much more share, particularly in graphics (i.e. non-packaging applications). Digital's share of the whole market doubles in constant value terms from 9.5% in 2008 to 19.7% by 2018, when packaging is excluded this share is 23.5% in 2012 to 38.1% by 2018.
    [Show full text]
  • A Context and Taxonomy for Printing: Intersections of Culture and Technology, 1850-2000
    A context and taxonomy for printing: Intersections of culture and technology, 1850-2000 This project is based upon a research funding application being made to the UK Arts and Humanities Research Council (AHRC), the body responsible in the UK for funding University research in this area. It has been written by myself, Stephen Hoskins and Paul Thirkell in response to a series of discussions at the last AEPM General Meeting in Odense, Denmark and in particular response to Alan Marshall’s paper at that meeting. Unfortunately there have been problems in submitting this application, partly because of the pressures of daily life, which fall upon us all, but primarily because of the (AHRC) body closing its application process for 12 months and the ongoing funding crisis in UK universities. However the AHRC is now open to fresh bids, if there are still enough museums interested Research Context: As observed by Alan Marshall in 2008,1 ‘in the 1960s, before the extraordinary eruption of digital techniques in the graphic arts, no one, not even the best informed commentator could have imagined the desktop publishing and digital prepress techniques which we take for granted…’ Forty years later, we are in a position to put the apparently unique phenomenon of the digital revolution into its broader technological, historical and social perspective. However, there has been little analysis of the technical developments, social impacts, and market shifts that led up to the present domination of digital printing. The printing museum offers an entirely appropriate forum for understanding the core events that have culminated in the digital revolution.
    [Show full text]
  • Aspects of Flexographic Print Quality and Relationship to Some Printing Parameters
    Faculty of Technology and Science Chemical Engineering Johanna Johnson Aspects of Flexographic Print Quality and Relationship to some Printing Parameters DISSERTATION Karlstad University Studies 2008:28 Johanna Johnson Aspects of Flexographic Print Quality and Relationship to some Printing Parameters Karlstad University Studies 2008:28 Johanna Johnson. Aspects of Flexographic Print Quality and Relationship to some Printing Parameters DISSERTATION Karlstad University Studies 2008:28 ISSN 1403-8099 ISBN 978-91-7063-187-0 © The Author Distribution: Faculty of Technology and Science Chemical Engineering 651 88 Karlstad 054-700 10 00 www.kau.se Printed at: Universitetstryckeriet, Karlstad 2008 Abstract Flexographic printing is a common printing method in the packaging field. The printing method is characterized primarily by the flexible printing plate and the low viscosity inks which make it suitable for use on almost any substrate. The object of this study was to obtain further knowledge of some important mechanisms of flexographic printing and how they influence the print quality. The thesis deals with printing primarily on board and liner but also on newsprint with water-borne ink using a full- scale flexographic central impression (CI) printing press. Several printing trials have been performed with a focus on the chemical interaction between the ink and substrate and the physical contact between the ink- covered printing plate and the substrate. Multicolour printing exposes the substrate to water from the water- containing ink. The emphasis was to investigate the relation between print quality and water-uptake of the paper surface with heat and water. Printing trials was carried out on substrates possessing a hydrophobic, and also a rather hydrophilic surface using a regular commercial water-borne ink.
    [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]
  • I. INTRODUCTION and BACKGROUND the Printing Industry Is One of the Largest Manufacturing Industries in the United States
    I. INTRODUCTION AND BACKGROUND The printing industry is one of the largest manufacturing industries in the United States. The industry is dominated by small and medium-sized businesses, most of them with fewer than 20 employees. In 2002, according to the Bureau of Census, approximately 83 percent of the screen printing industry was comprised of small businesses. The Info USA Power Business Database estimates the number of screen printers in 2002 in the U.S. at 16,341. California has 1,886 screen printing establishments. Volatile Organic Compound (VOC) emissions from solvent cleaning operations contribute significantly to the South Coast Air Basin’s emission inventory. The South Coast Air Quality Management District (SCAQMD or District) periodically adopts an Air Quality Management Plan (AQMP). This AQMP calls for significant reductions in VOC emissions from cleaning and degreasing operations by 2010 to achieve attainment status. The SCAQMD regulates VOC emissions from businesses located in the four county area including Los Angeles County, Orange County, San Bernardino County and Riverside County. One of the SCAQMD rules, Rule 1171 “Solvent Cleaning Operations,” regulates the VOC content of screen printing cleanup solvents. The VOC content of screen printing cleanup solvents is currently set at 500 grams per liter. The District plans to reduce the allowed VOC content to 100 grams per liter on July 1, 2006. Lowering the VOC content to 100 grams per liter would reduce emissions of these solvents by about 1.3 tons per day. By July 1, 2006, screen printers in southern California must convert to alternative low-VOC cleanup materials.
    [Show full text]
  • Introduction to Printing Technologies
    Edited with the trial version of Foxit Advanced PDF Editor To remove this notice, visit: www.foxitsoftware.com/shopping Introduction to Printing Technologies Study Material for Students : Introduction to Printing Technologies CAREER OPPORTUNITIES IN MEDIA WORLD Mass communication and Journalism is institutionalized and source specific. Itfunctions through well-organized professionals and has an ever increasing interlace. Mass media has a global availability and it has converted the whole world in to a global village. A qualified journalism professional can take up a job of educating, entertaining, informing, persuading, interpreting, and guiding. Working in print media offers the opportunities to be a news reporter, news presenter, an editor, a feature writer, a photojournalist, etc. Electronic media offers great opportunities of being a news reporter, news editor, newsreader, programme host, interviewer, cameraman,Edited with theproducer, trial version of Foxit Advanced PDF Editor director, etc. To remove this notice, visit: www.foxitsoftware.com/shopping Other titles of Mass Communication and Journalism professionals are script writer, production assistant, technical director, floor manager, lighting director, scenic director, coordinator, creative director, advertiser, media planner, media consultant, public relation officer, counselor, front office executive, event manager and others. 2 : Introduction to Printing Technologies INTRODUCTION The book introduces the students to fundamentals of printing. Today printing technology is a part of our everyday life. It is all around us. T h e history and origin of printing technology are also discussed in the book. Students of mass communication will also learn about t h e different types of printing and typography in this book. The book will also make a comparison between Traditional Printing Vs Modern Typography.
    [Show full text]
  • Glossary of Flexographic Printing Terms
    GLOSSARY OF FLEXOGRAPHIC PRINTING TERMS AA: Authors Alterations, changes other than corrections, made by a client after the proofing process has begun. AA's are usually charged to a client as billable time. Abrasion: Process of wearing away the surface of a material by friction. Abrasion marks: Marks on a photographic print or film appearing as streaks or scratches, caused by the condition of the developer. Can be partially removed by swabbing with alcohol. Abrasion resistance: Ability to withstand the effects of repeated rubbing and scuffing. Also called scuff or rub resistance. Abrasion test: A test designed to determine the ability to withstand the effects of rubbing and scuffing. Abrasiveness: That property of a substance that causes it to wear or scratch other surfaces. Absorption: In paper, the property which causes it to take up liquids or vapors in contact with it. In optics, the partial suppression of light through a transparent or translucent material. Acceptance sampling or inspection: The evaluation of a definite lot of material or product that is already in existence to determine its acceptability within quality standards. Accelerate: In flexographic printing, as by the addition of a faster drying solvent or by increasing the temperature or volume of hot air applied to the printed surface. Electrical - To speed rewind shafts during flying splices, and in taking up web slackness. Accordion Fold: Bindery term, two or more parallel folds which open like an accordion. Acetone: A very active solvent used in packaging gravure inks; the fastest drying solvent in the ketone family. Activator: A chemistry used on exposed photographic paper or film emulsion to develop the image.
    [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]