Experimental combinations of planographic and intaglio processes in graphic arts

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EXPERIMENTAL COMBINATIONS OF PLANOGRAPHIC AND INTAGLIO PROCESSES IN GRAPHIC ARTS

A T hesis P re se n te d to th e F a c u l t y of th e Departm ent o f Fine A r t s The U n i v e r s i t y o f S o u t h e r n C a l i f o r n i a

In P a r t i a l F u lfillm e n t o f t h e R e q u i r e m e n t s f o r t h e D e g ree M aster of Fine A rts

by J o e Funk J u n e 1950

UMI Number: EP57877

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This thesis, written by ................................ jTpje^Fundk

under the guidance of AJr.?... Faculty Committee, and approved by all its members, has been presented to and accepted by the Council on Graduate Study and Research in partial fulfill­ ment of the requirements for the degree of

M aster of Fine A rts H .J . D e u e l , J r « Dean n„,„ J u n e , 1950

Faculty Committee

ALe^. Chairman

TABLE OF CONTENTS CHAPTER I.

PAGE

THE PROBLEM AND DEFINITIONS OF TERMS USED

. .

1

.....................

1

..............................

1

..................................

2

D e f i n i t i o n s o f t e r m s ...................................................

3

The p r o b l e m

. . . . . . . . . .

S ta te m en t o f th e problem . Im p o rtan ce o f th e problem

L ithography In tag lio R elief

...................................................

........................... . .

. . . . . . . .

II.

4

................................................................................

S i l k Screen . . . . .

4

. . . . .

5 5

O rg a n iz a tio n o f th e rem ainder o f th e t h e s i s .

6

A SELECTIVE ANALYSIS OF GRAPHIC ARTS METHODS .

7

A b r i e f survey of h i s t o r i c a l a sp e c ts of l i t h o g r a p h y ........................................

7

The new u s e o f t h e l i t h o g r a p h ............................

.

The work o f t h e H a y t e r g r o u p . . . . . . . .

9

The work o f o t h e r s ............................................. III.

8

11

METHODOLOGY IN THIS STUDY..............................................

14

P l a n n i n g o f t h e c o m p o s i t i o n s u s e d ....................

14

Mediums ..............................................

. . . . . . .

15

S c a l e ....................................................... L i m i t a t i o n s ....................................

15 .

16

CHAPTER

PAGE

S e l e c ti n g the m a te r ia ls

............................................

P l a t e s ............................

16

P o s s i b i l i t i e s and l i m i t a t i o n s

....................

16

C o p p e r ....................................................................

17

Z i n c ..................... ................................................

17

O t h e r s ....................................................................

17

L ithograph sto n es

.....................................................

17

S e l e c t i o n ...............................................................

17

P r e p a r a t i o n ..........................................................

18

P a p e r , i n k s , a n d v a r n i s h e s ......... ..............................

18

P rin tin g ro lle rs L eather

......................................................

19

....................................................................

19

C o m p o s i t i o n .................................................... A pplying th e d esig n to thesto n e or p l a t e

19 .

19

L i t h o g r a p h ....................................................................

19

I n t a g l i o ........................................................................

19

R e g i s t e r i n g th e c o l o r andb l a c k p l a t e M e th od s o f r e g i s t e r i n g

. . .

£0

..............................

£0

P r i n t i n g .............................................................................

21

The c o l o r l i t h o g r a p h

............................................

The e n g r a v e d a n d e t c h e d

17.

16

£1

p l a t e .......................

£1

P r e s s i n g a n d m a t t i n g ................................................

£1

R E S U L T S ..................................................................................

23

T e c h n i c a l n o t e s on e a c h p l a t e a n d comments

£4

CHAPTER

PAGE F ig u r e 1 "D ust Bath"

....................................................

24

Figure 2

"D ust Bath"

. . . . .

............................

25

Figure 3

" D u s t B a t h " ....................................................

26

Figure 4

" P s y c h o l o g i c a l D e b r i s ” ..............................

27

11

Figure 5

" P s y c h o lo g ic a l D ebris

..............................

28

Figure 6

" P s y c h o lo g ic a l D ebris

..............................

29

V. SUMMARY AND CONCLUSION S......................................

30

T echniques and l i m i t a t i o n s i n l i t h o g r a p h y

.

30

T echniques and l i m i t a t i o n s i n i n t a g l i o a n d r e l i e f p r i n t i n g .......................................

31

T echniques and l i m i t a t i o n s in th e c o m b in ed p r o c e s s e s

.....................................................

32

Other p o s s i b i l i t i e s f o r f u r t h e r e x p e rim e n t sug gested in the course of t h i s s tu d y

. .

32

C o n c l u s i o n s ...............................................................

33

BIBLIOGRAPH Y.............................................................................

34

LIST OF FIGURES FIGURE

PAGE

1.

nD u s t B a t h ” , a p r i n t f r o m t h e i n t a g l i o p l a t e

2.

"Dust B a th " , a t h r e e c o lo r l i t h o g r a p h p r i n t e d from t h r e e l i t h o g r a p h s t o n e s

3.

"Dust B ath ",

the f i n a l p r i n t

4.

"P sychological D ebris",

. .

24

...................................

25

........................................

26

a p r i n t from th e i n t a g l i o

p l a t e ............................................................................................ 5.

"P sychological D ebris", a th ree color lith o g ra p h p r i n t e d from t h r e e s t o n e s

6.

27

.............................................

"P sy ch o lo g ica l D e b ris", the f i n a l p r i n t

. . . .

28 29

CHAPTER I THE PROBLEM AND DEFINITIONS OF TERMS S t u d e n ts w orking i n g r a p h i c a r t s workshops in s c h o o ls a nd i n p r i v a t e g r o u p s t h r o u g h o u t t h e c o u n t r y a r e e x h i b i t i n g p r i n t s c o n c e i v e d , e x e c u t e d , a n d p r i n t e d by t h e m s e l v e s . U n i v e r s i t i e s , the w orld o v e r, a re tu r n in g out p r in tm a k e r s . These young p r i n t m a k e r s a r e i n t e r e s t e d i n c o l l e c t i n g p r i n t s , a r e d o i n g r e s e a r c h i n new p r o c e s s e s an d m a t e r i a l s , an d a r e e x p e r i m e n t i n g w i t h new c o m b i n a t i o n s o f o l d e r p r o c e s s e s . In the p r i n t s e c t i o n s of c u r r e n t a r t p u b l i c a t i o n s such as A r t News v a r i o u s c o m b i n a t i o n s o f b a s i c p r o c e s s e s a r e men­ tio n ed .!

A r t i s t s i n t h e " A t e l i e r 17" g r o u p w o r k i n g w i t h

S t a n l e y W. H a y t e r h a v e b e e n e x p e r i m e n t i n g s i n c e 1926 w i t h the p o s s i b i l i t i e s o f b u rin e n g ra v in g , t e x t u r e s a ch iev e d in s o f t ground e t c h i n g , and c o l o r p r i n t i n g u s i n g c o m b in a tio n s of r e l i e f ,

i n t a g l i o , and o f f s e t p r o c e s s e s . 2 I.

THE PROBLEM

S tatem en t of the p roblem .

As t h e g r a p h i c a r t i s t

g ain s ex p erien ce w ith the v a rio u s p ro c e sse s of r e l i e f ,

in tag ­

l i o , and p l a n o g r a p h y , he may f i n d t h a t h i s c o n c e p t i o n o f a 1 I n f r a , Chap. I I , p . 1 0 . 2 S t a n l e y W. H a y t e r , New Ways o f G r a v u r e P a n t h e o n Books I n c . , 1 9 4 9 ) , p . 2 1 7 .

(New York :

2

s p e c i f i c p r i n t may be h e l p e d o r e n r i c h e d by c o m b i n i n g o r m ixing th e p ro c e s s e s u sin g c o lo re d a n d /o r b la c k in k s .

The

p ro b lem o f th e w r i t e r has been t o combine, in a s i n g l e p r i n t , t h e p l a n o g r a p h i c p r o c e s s a nd t h e i n t a g l i o p r o c e s s a s t h e y a re used i n the grap h ic a r t s .

An a t t e m p t h a s b e e n made t o

u s e t h e t o n e and c o l o r o f l i t h o g r a p h y w i t h t h e l i n e a n d t e x ­ tu re p re s e n t in e tc h in g .^ Im portance of th e p ro b lem .

The r e v i v a l o f l i t h ­

o g r a p h y w i t h t h e e x t e n s i o n s o f t h e means fro m t h e u s e o f c h a lk or c ray on t o n a l draw ings t o sto n e t e x t u r e s a c h ie v e d by s c r a p i n g , or l o c a l g r a i n i n g o f the s t o n e ,

tusche washes,

h a l f s c r a p i n g o f tft u s c h e d - i n - a r e a s n , a n d w h i t e l i n e e n g r a v i n g , have a d d e d new t e x t u r e s a s w e l l a s new i n t e r e s t t o a l a n g u i s h ­ ing p r o c e s s .4 By p u b l i s h i n g o r i g i n a l p r i n t s a t f i v e d o l l a r s ,

the

A m erican A s s o c ia t e d A r t i s t s group has e n la r g e d th e p o s s i b i l ­ i t y o f g r e a t e r nu m bers o f p e o p l e ow n in g p r i n t s ,

a t t h e same

t i m e i t h a s s t i m u l a t e d a new i n t e r e s t i n p r i n t m a k i n g .

3 I t has been s u g g e s t e d by th e i n v e s t i g a t o r ’ s c o ­ w o r k e r s t h a t t h e word ,tp l a n a g l i o rt be u s e d t o d e s c r i b e t h e two p r o c e s s e s u s e d t o g e t h e r . 4 See u n d e r d e f i n i t i o n s o f t e r m s , p . 4

3

A r t i s t s have d e v o t e d more t i m e t o p r i n t m a k i n g b e c a u s e t h e o i l p a i n t i n g a n d w a t e r c o l o r mediums n e c e s s a r i l y have t o be p r i c e d h i g h e r an d seem t o move s l o w l y on t h e m a r k e t . H e r b e r t R ead s a y s ,

i n t h e i n t r o d u c t i o n t o S t a n l e y W.

H a y t e r f s n e w b oo k : H a y t e r a n d h i s s t u d e n t s h a ve d e v e l o p e d new p r o c e s s e s an d new p o s s i b i l i t i e s i n e x i s t i n g p r o c e s s e s ; t h e y h a v e a d d e d new " v a l u e s " t o t h e a r t — v a l u e s o f t e x t u r e s , d i m e n s i o n , a n d c o l o r . "5 Sternberg says,

" R e s e a r c h a nd e x p e r i m e n t i n c o m b i n ­

a t i o n s o f t h e g r a p h i c mediums m i g h t r e s u l t i n new v i t a l i t y a nd dynamic g r o w t h f o r t h e a r t i s t a n d t h e g r a p h i c a r t s . " 6 II.

DEFINITIONS OF TERMS

T his i s a s h o r t l i s t o f term s u s u a l l y found i n th e l i t e r a t u r e o f the g rap h ic a r t s .

No a t t e m p t ha s b e e n made t o

c o m p i l e a l i s t o f e s o t e r i c o r h i g h l y p r o f e s s i o n a l sh o p t e r m s . P r o c e s s e s , mediums, a n d t e c h n i q u e s .

In o rd er to a v o id

c o n f u s i o n , s i n c e t h e t e r m s , p r o c e s s , m e d i u m s , an d t e c h n i q u e s a re used in te r c h a n g e a b ly in the l i t e r a t u r e o f the f i e l d ,

the

i n v e s t i g a t o r h a s s e l e c t e d t h e word p r o c e s s a l o n e t o mean a s e r i e s of procedures th a t accom plish a p a r t i c u l a r r e s u l t . ^ H ay ter, op. c i t ., p. 17. E tch in g

6 H a r r y S t e r n b e r g , Modern M e tho d s a n d M a t e r i a l s o f (New Y ork : McGraw H i l l C o . }, p . 1 7 .

4 L ithography.

The w ord s p l a n o g r a p h i c o r l i t h o g r a p h i c

a r e t h e same a nd r e f e r t o a p r o c e s s o f d r a w i n g on a l i m e s t o n e w ith a g re a s y crayon or in k .

The un draw n a r e a s a r e d e s e n s i ­

t i z e d , o r made u n r e e e p t i v e t o p r i n t i n g i n k , w i t h a s o l u t i o n o f gum a r a b i c a n d n i t r i c a c i d .

The p r i n t i n g i s a c c o m p l i s h e d by

r o l l i n g t h e dampened s t o n e w i t h a n i n k c h a r g e d r o l l e r , p l a c ­ i n g a dampened p a p e r on t h e s t o n e , a n d r u n n i n g i t t h r o u g h t h e lithograph p ress. Tusche.

A g r e a s y l i t h o g r a p h i c i n k t h a t i s m ix e d w i t h

w a t e r and a p p l i e d t o t h e s t o n e . T u sc h e Wash.

A t o n a l e f f e c t o b t a i n e d by d i l u t i n g th e

tu sch e. E tch in g . m etal p l a t e ,

p r o c e s s i n w h ic h l i n e s a r e b i t t e n i n t o a

A

t h r o u g h a t h i n f i l m o f wax, by a c i d .

The l i n e s

a r e t h e n f i l l e d w i t h i n k , a n d t h e p l a t e i s p r i n t e d on an etch in g p re s s .

The i n d e n t a t i o n s o f t h e p l a t e w i l l a p p e a r i n

r e l i e f a bo v e t h e s u r f a c e o f t h e p a p e r . A q u atin t.

The p r o c e s s by w h i c h a r e a s o f t o n e a r e

o b t a i n e d by t h e a c t i o n o f a c i d t h r o u g h a p o r o u s g r o u n d o f p o w d e red r e s i n o u s s u b s t a n c e . S o f t Ground.

The p r o c e s s by w h i c h l i n e s a n d t o n e s

a r e o b t a i n e d by l i f t i n g o f f a wax g r o u n d t h a t c o n t a i n s t a l l o w b y t h e p r e s s u r e o f a p e n c i l on a p a p e r l a i d o v e r t h e g r o u n d

5 o r by p r e s s i n g v a r i o u s t e z t u r e d m a t e r i a l s i n t o t h e g r o u n d an d l i f t i n g o f f t h e g r o u n d . Dry P o i n t .

‘The p l a t e i s t h e n e t c h e d .

T his i s th e p r o c e s s o f s c r a t c h i n g l i n e s

in to a m etal p la te w ith a sharp n e e d le , f i l l i n g the l in e s w i t h i n k a nd p r i n t i n g on t h e e t c h i n g p r e s s . E ngraving.

The p r o c e s s o f c u t t i n g l i n e s i n t o a m e t a l

p la te w ith engraving to o ls ,

or b u r i n s , f i l l i n g th e l i n e s

w i t h i n k an d p r i n t i n g . M ezzo tin t.

T h is i s th e p r o c e s s o f ro u g h en in g the

su rfa c e o f the p l a t e u n t i l the e n t i r e s u r f a c e , i f inked, would p r i n t b l a c k ,

t h e n s m o o t h i n g o r b u r n i s h i n g i t down t o

a c h i e v e h a l f t o n e s and w h i t e s .

The d e s i g n p r o c e e d s f r o m

b la c k to w h ite . R e lief.

A

p r o c e s s o f p r i n t i n g fro m t h e s u r f a c e o f

a wood b l o c k o r o t h e r m a t e r i a l , surface p r in tin g w hite.

A

the a re a s c u t out of the

r o l l e r p assed over the su rfa c e

w i l l l e a v e i n k o n l y on t h e r a i s e d p a r t s .

The p r i n t e d s u r ­

face is indented. Reverse P r i n t i n g .

R e l i e f p r i n t i n g u s i n g an e t c h e d

or engraved p l a t e . S ilk Screen.

A

p r o c e s s o f m a k i n g p r i n t s by u s i n g a

s t e n c i l made up o f f i n e c l o t h a n d g l u e .

The p a i n t i s f o r c e d

6

t h r o u g h t h e s c r e e n , e x c e p t where i t i s b l o c k e d by t h e f i l l e d p a r t s o f t h e s c r e e n , a n d on t o t h e p a p e r p l a c e d b e lo w . III.

ORGANIZATION OF THE REMAINDER OF THE THESIS

C h a p t e r two c o n t a i n s h i s t o r i c a l a n d p r e s e n t day a s p e c t s o f t h e l i t h o g r a p h i c a n d m ix e d p r o c e s s , a n d a s e l e c ­ t i v e a n a l y s i s o f g ra p h ic a r t s m ethods.

An a c c o u n t o f t h e

p r o c e d u r e s u s e d by t h e w r i t e r t o p r o d u c e p r i n t s u s i n g mix ed processes i s described in chapter th re e .

The i l l u s t r a t e d

r e s u l t s o f t h e s t a g e s o f p r i n t i n g w i t h t e c h n i c a l n o t e s on each p r i n t are su p p lied in chapter fo u r. conclusions,

The summary an d

t e c h n iq u e s and l i m i t a t i o n s i n th e v a r i o u s

p r o c e s s e s , and o t h e r p o s s i b i l i t i e s f o r f u r t h e r e x p e r i m e n t a re m entioned in c h a p te r f i v e .

CHAPTER I I A SELECTIVE ANALYSIS OE GRAPHIC ARTS METHODS W it h t h e r e v i v a l o f c o n t e m p o r a r y i n t e r e s t i n p r i n t making t h e r e has been an a t t e m p t to r e - e v a l u a t e the o l d e r processes.

An e f f o r t h a s b e e n made t o c o m b in e , i n a s i n g l e

p r i n t , many o f t h e p r o c e s s e s t h a t h a v e f o r m e r l y b e e n u s e d alone.

C o l o r h a s b e e n a d d e d t o t h e b l a c k a nd w h i t e f o r i t s

s p a t i a l and e x p r e s s i v e q u a l i t i e s . A b r i e f survey of h i s t o r i c a l a sp ec ts of lith o g r a p h y . The l i t h o g r a p h i c - c h e m i c a l s u r f a c e p r i n t i n g p r o c e s s was i n ­ v e n t e d by A l o i s S e n e f e l d e r , a German, i n 1 7 9 8 . 1

Because o f

the p o p u l a r i t y o f re p ro d u c in g p a in t i n g s in the v a rio u s German museums by means o f t h e l i t h o g r a p h , German a r t i s t s were a b l e t o work on s t o n e l e s s o f t e n a s o r i g i n a l a r t i s t s , t h a n a s f a i t h f u l c o p y i s t s o f t h e Old M a s t e r s .

The E n g l i s h

c a l l e d L i t h o g r a p h y " P o l y a u t o g r a p h y " a n d S e n e f e l d e r was o v e r s h a d o w e d by P h i l i p Andre and H u l l m a n d e l l , who t r i e d t o a p p r o p r i a t e c r e d i t an d p r o f i t fro m t h e p r o c e s s u n t i l t h e Royal S o c ie ty o f A rts re c o g n iz e d S e n e fe ld e r as the i n v e n t o r . L i t h o g r a p h y l a n g u i s h e d a s a n a r t when a lb u m s o f " v i e w s " w ere p u b l i s h e d .

These w e re r e p r o d u c e d on s t o n e by p r o f e s ­

s i o n a l l i t h o g r a p h e r s from th e s k e tc h b o o k s o f v a r i o u s a r t i s t s . 1 A l o i s S e n e f e l d e r , The I n v e n t i o n o f L i t h o g r a p h y (New Y o r k : Fu c h s and Lang C o . , 1 9 1 1 ) .

8

I n F r a n c e i n t h e 1 8 6 0 ! s a m y s t e r y was made o f t h e a c t u a l p ro cess of p r i n t i n g .

A r t i s t s were k e p t w a i t i n g i n a n o u t e r

room f o r p r o o f s a nd w ere n o t a l l o w e d n e a r t h e p r e s s .

In

A m e r i c a , f a c t o r s i n a r o u s i n g new i n t e r e s t i n l i t h o g r a p h y i n t h e 1 8 9 0 1s were t h e im p r o v e m e n t o f t r a n s f e r p a p e r ,

i t s use

by J o s e p h P e n n e l l , and t h e g r o w i n g t e n d e n c y o f t h e a r t i s t t o p r i n t h i s l i t h o g r a p h s h i m s e l f on h i s own p r e s s . 2

A r t h u r B.

D a v i e s ^ u s e d u n o r t h o d o x m e th o d s o f r e n d e r i n g i n c o l o r a n d i n b la c k and w h ite .

Some v e r y i n t e r e s t i n g t u s c h e wash d r a w i n g s

r e s u l t e d fro m h i s e x p e r i m e n t a l a p p r o a c h .

B o l t o n Brown e x ­

p e rim e n te d w ith c r a y o n s , i n k s , and e t c h e s used i n s to n e p rin tin g .4 The new a n d e n r i c h e d u s e o f t h e l i t h o g r a p h .

Few

a r t i s t s had t h e o p p o r t u n i t y t o e x p e r i m e n t w i t h t h e t e c h n i q u e s of lith o g ra p h y in previous tim es.

A r t i s t s o f t o d a y who p r i n t

t h e i r own l i t h o g r a p h s have much more o p p o r t u n i t y f o r e x p e r i ­ m e n t a l work on t h e s t o n e , a n d i n p r i n t i n g .

I t i s in the

m a n ip u la tiv e h a n d lin g o f the t o o l s of lit h o g r a p h y , in g o f the s to n e ,

the e tc h ­

t h e r o l l i n g up o f t h e d e s i g n on t h e s t o n e ,

a n d k e e p i n g t h e i d e a on t h e s t o n e i n a s t a t e o f f l u x u n t i l the a r t i s t i s s a t i s f i e d ,

t h a t a c r e a t i v e a p p r o a c h i s made.

2 Graphic A r t s , E n cy c lo p e d ia B r i t a n n i c a B ooklet Number f o u r , E n c y c l o p e d i a B r i t a n n i c a I n c . , 1 9 3 3 . p . 3 5 . 3 A r t h u r B. D a v i e s , an A m e ri c a n p a i n t e r and l it h o g r a p h e r , (1862-1928). 4 B o l t o n Brown. L i t h o g r a p h y f o r A r t i s t s o f Chicago P r e s s , 1 9 3 0 ).

(U niversity

9

T h i s a c t i o n a n d r e a c t i o n i n p r i n t i n g p l a c e s t h e w h ole o f t h e a rtist

i n t h e f i n i s h e d p r i n t more so t h a n by r e n d e r i n g t h e

d e s ig n and t u r n i n g i t over to th e p r i n t e r . The t e c h n i c a l means o f d r a w i n g on t h e l i t h o g r a p h i c s t o n e , a t t h e p r e s e n t t i m e , h a s a d v a n c e d f a r be y o nd e a r l i e r t o n a l draw ings w ith a c c e n ts o f t u s c h e .

The a r t i s t o f t o d a y

may u s e o t h e r t e x t u r e s a c h i e v e d by l o c a l g r a i n i n g o r s c r a p ­ in g of the sto n e w ith n e e d le s or k n iv e s .

L ith o g rap h ic ink

o r t u s c h e may be d i l u t e d w i t h w a t e r a n d u s e d a l m o s t i n t h e same manner a s w ash d r a w i n g s .

T u s c h e may be p a i n t e d on t h e

s t o n e , a n d t h e d r a w i n g may p r o c e e d f r o m b l a c k t o w h i t e . C o l o r work f r o m t h e s t o n e a c h i e v e s a new r i c h n e s s w i t h t h e a d d i t i o n o f t h e s e new t e c h n i c a l m e a n s . The w ork o f t h e H a y t e r g r o u p .

T his group, a l s o

c a l l e d nA t e l i e r 1 7 ” , h a s b r o u g h t o u t t h e i n h e r e n t c h a r a c t e r ­ i s t i c s o f a p r o c e s s , a s f o r e x am ple b u r i n e n g r a v i n g , a n d worked w i t h a d e ep r e s p e c t f o r t h e medium. u sin g the p ro cesses as re p ro d u c tio n .

They h a v e a v o i d e d

The e m p h a s i s o f t h e i r

work h a s b e e n away f ro m n a t u r a l i s m , r e a l i s m , o r t h e o b j e c t i v e w o r l d a s i t i s v i s u a l l y s e e n , an d t o w a r d a n i n t e r e s t i n p rim itiv ism , an aly sis,

th e s u b j e c t i v e and e x p r e s s i v e e le m e n t s , p sy c h o ­

t h e f o r m a l o r g a n i z a t i o n , a n d a n e m p h a s i s on t h e

m a t e r i a l s o f the g ra p h ic a r t s .

Many a r t i s t s ,

a f t e r working

w i t h t h e g r o u p h a ve l o s t some o f t h e i r i n d i v i d u a l s t y l e a nd have been i d e n t i f i e d w i t h th e "H ayter s t y l e . ”

10 They have " r e v i v e d t h e w o rk s h o p c o n c e p t i o n o f t h e artist.

. . a s a member o f a g r o u p o f a r t i s t s w o r k i n g t o ­

g e th e r."5

They r e p r e s e n t a s c h o o l o f t h o u g h t w h i c h b e l i e v e s

t h a t t h e p r i n t s s h o u l d be " i n v e n t e d , e x e c u t e d on p l a t e s and p r i n t e d by t h e a r t i s t h i m s e l f . " 6

A constant s p i r i t of in ­

v e n t i v e n e s s a n d i n t e r e s t i n t h e p r o c e s s e s i s shown i n p r e p a r ­ ing the p l a t e s .

The g r o u p h a s a d d e d t o t h e g r a p h i c a r t s

" v o c a b u l a r y " t h e r a i s e d w h i t e s t h a t a p p e a r t o be i n f r o n t o f t h e " p i c t u r e p l a n e " , w h i c h a r e a c h i e v e d by d r i l l i n g t h r o u g h th e p l a t e or w ip in g o u t in k from th e g rooves o f the p l a t e . They have e x p e r i m e n t e d a l s o w i t h m e th o d s o f c o l o r p r i n t i n g f r o m intag lio p la te s ,

s u c c e s s i v e l y o r s i m u l t a n e o u s l y , and th e s i m u l ­

t a n e o u s p r i n t i n g o f s i l k - s c r e e n a nd t h e i n t a g l i o p l a t e . M eth o d s o f p r i n t i n g on p l a s t e r a n d o f c a r v i n g t h i s

c a s t havebeen d ev el­

oped. Garl

Z i g r o s s e r w rote i n 1948:

"H ayter has u n d e r ta k e n . . . t o r e v i v e and e x p lo r e a c r e a t i v e a p p r o a c h t o t h e h a n d l i n g o f t h e b u r i n an d to th e i n t a g l i o p r o c e s s e s in g e n e r a l . The members o f ' S t u d i o 17 * h e l p one a n o t h e r ; t h e y s h a r e t h e i r t e c h n i c a l d i s c o v e r i e s , h a v e a more o r l e s s common o u t l o o k on t h e p r o b l e m o f c r e a t i v e e x p r e s s i o n u n ­ t r a m m e l e d by l i t e r a l r e p r e s e n t a t i o n , t h e y s e e k t o e x p l o r e t h e human s u b c o n s c i o u s a n d t o r e n d e r c o n ­ c r e t e t h e m yth s a n d i n t a n g i b l e s o f m odern l i f e . "7 5 S t a n l e y W. H a y t e r , New Ways o f G r a v u r e , (New Yo rk : P a n t h e o n Books I n c . , 1 9 4 9 ) , p . 1 5 . 6 I b i d . , P* 1 9 .

7 A t e l i e r 1 7 , (A c a t a l o g u e o f an e x h i b i t i o n o f work o f the g r o u p ), p . 6.

11 James J o h n s o n Sweeney r e m a r k s ; "The A t e l i e r was c o n c e i v e d a s a wo rk sh o p w h e r e e q u ip ' m ent a n d t e c h n i c a l a s s i s t a n c e were a v a i l a b l e f o r a r t i s t s w ish ing to experim ent in g raphic m ethods. As a r t i s t s t h e y w ere t h e p r o d u c t s o f a r e s t l e s s , e x ­ perim ental p e rio d . The work o f A t e l i e r 17 i s a r e ­ s e a r c h toward ex p an d in g th e f r o n t i e r s o f e x p r e s s i o n . " 8 W h ile t h e e m p h a s i s may seem t o be on t e c h n i q u e , t h e a r t i s t s i n t h i s g r o u p and t h e i r f o l l o w e r s a r e r e c o g n i z e d a s w o r k i n g i n t h e new f r o n t i e r s o f t h e g r a p h i c a r t s . The work o f o t h e r s . The d e v e l o p m e n t o f t h e s i l k s c r e e n o r s e r i g r a p h p r o c e s s by S t e r n b e r g and o t h e r s on t h e F e d e r a l A r t s P r o j e c t , h a s a d d e d a new medium f o r p o s s i b l e com bination w ith the o th e r p ro c e s s e s a lr e a d y m entioned. S e r i g r a p h y i s s u p e r i o r to th e form er s t e n c i l p r o c e s s and g en erally replaces i t .

R o u a u l t one o f t h e m a s t e r s i n e t c h ­

in g , uses ro to g ra v u re in com bination w ith o th er tec h n iq u e s a n d a q u a t i n t i n m a k in g h i s p r i n t s . 9 The p r i n t s e c t i o n s o f a r t m a g a z i n e s s u c h a s A r t News, c o n t a i n t h e names o f a r t i s t s

u s i n g new p r o c e s s e s f o r

m a k i n g p r i n t s i n b l a c k and w h i t e , a n d i n c o l o r .

An a r t i c l e

d e s c r i b i n g t h e B r o o k l y n Museumf s P r i n t A n n u a l E x h i b i t i o n , h e l d i n 1 9 4 9 , comments: 8 A t e l i e r 1 7 , (A c a t a l o g u e o f a n e x h i b i t i o n o f w or k o f t h e g r o u p ) , p . 2 . 9 I ^ i d . , p. 3.

12 The s t a n d a r d s o f t h e c r a f t a r e v e r y h i g h . . . And w i t h t h i s f e e l i n g f o r t h e medium h a s come a n a d v e n t u r ­ o u s, a lm o s t c a r e f r e e a t t i t u d e toward e x p e r im e n tin g w ith i t . E t c h i n g , e n g r a v i n g , d r y p o i n t , an d a q u a t i n t a r e m ix e d i n M i r i a m B r a c h ’ s " E s t e r " , A ndre Racz u s e s the s o f t ground e t c h i n g w ith e n g ra v in g and a q u a t i n t , and many o f t h e a r t i s t s have a c h i e v e d wide r a n g e s o f w i l d c o l o r and t r i c k y t e x t u r e s w i t h e v e r y m ea n s, fro m u s i n g t h e l a t e s t p l a s t i c s t o s i m p l y j u m p i n g up a nd down on a b l o c k . 10 I r v i n Haas w r i t e s i n t h e S e p t e m b e r A r t News: C h a rle s Quest has a s e r i e s o f s t i l l l i f e s i n s o f t ground, a q u a t i n t , and e n g r a v i n g . A lth o u g h th e y a r e b a s e d on n a t u r a l i s t i c f o r m s . . . t h e a p p r o a c h i s a b s t r a c t i n i t s c o n c e n t r a t i o n on g r a p h i c t e r m s o f e x p r e s s i o n . . . . A q u a t i n t i s u s e d t o g i v e w e i g h t and fo u n d atio n to the d e sig n . S o ft-g ro u n d i s used fo r t h e t e x t u r e s , a n d t h e l i n e a r p a t t e r n i s i m p o s e d by engraving. The t e c h n i c a l d e t a i l s o f C h a r l e s P o l l o c k ’ s r e l i e f p r i n t s i n c o l o r , " P l i g h t " , "Two F i g u r e s No. 2 " , and "Angry C o c k " , w i l l i n t e r e s t p r i n t m a k e r s . The l a t t e r two a r e b o t h r e v e r s e e t c h i n g s . I n "Ang ry C o c k " , c o l o r was p r i n t e d f r o m l i n o - b l o c k s a n d i n "Two F i g u r e s No. 2 " , t h e c o l o r was p r i n t e d f r o m wood w i t h v e r y sh allo w cardboard d e f in in g the s o l i d c o lo r a r e a s , t h u s m a k i n g i t p o s s i b l e t o p i c k up i n t h e p r i n t i n g a c o n t r o l l e d amount o f c o l o r i n t h e open a r e a s . I 1 I n a n o t h e r i s s u e o f A r t News i n a n a r t i c l e

under

t h e h e a d i n g o f C o l o r L i t h o g r a p h r e v i v a l , some comments a r e : The l a r g e number o f c o l o r l i t h o g r a p h s s u b m i t t e d t o t h e C i n c i n n a t i Museum’ s s u r v e y ( F i r s t I n t e r n a t i o n a l B i e n n i a l o f Contem porary Color L ith o g ra p h y ) i s s u r p r i s ­ i n g and g r a t i f y i n g p r o o f o f t h e t e n a c i t y a n d d e v o t i o n o f o u r p r i n t - m a k e r s t o a r i c h an d s a t i s f y i n g medium d e s p i t e s e v e r e t e c h n i c a l a nd econom ic d i f f i c u l t i e s . . . . I r v i n H a a s , "The P r i n t C o l l e c t o r " , A r t News, 4 8 : 8 , A p r i l , 1949. 11 I r v i n H a a s , Septem ber, 1949.

"The P r i n t C o l l e c t o r ?

A r t News, 4 8 : 1 0 ,

13

I t i s a t e c h n i q u e t h a t demands a n enormous amount o f e x p e rim e n ta tio n in c o lo r-m ix in g , in k in g , m ake-ready, a n d p r e s s - w o r k , a n d u n l e s s a sh o p i s a v a i l a b l e f o r t h i s s t u d y , v e r y f e w c a n d e v e l o p k n o w le d g e a n d s k i l l . I f t h e r e i s t o be a r e n a s c e n c e o f c o l o r l i t h o g r a p h y i n A m erica we m u s t h a v e g r a p h i c w o r k s h o p s t h r o u g h o u t t h e c o u n t r y . . . t h e o n l y r e a l s o l u t i o n c a n be t o e s t a b l i s h a s e r i e s o f s u b s i d i z e d workshops i n such p u b l i c i n s t i t u t i o n s a s l i b r a r i e s , museums, s c h o o l s a n d community c e n t e r s . I 2 12 I r v i n H a a s , "The P r i n t C o l l e c t o r " , A r t News, 4 9 :1 0 , A p r i l , 1950.

CHAPTER I I I METHODOLOGY IN THIS STUDY An a t t e m p t w i l l be made h e r e t o g i v e a i d t o f e l l o w t r a v e l e r s in t h i s f i e l d of graphic a r t s .

T h es e a r e n o t f i n a l

w ord s c o n c e r n i n g m e t h o d s , b u t o n l y some m e t h o d s w h i c h have w o rk e d a n d e v e n some w h i c h have p r o d u c e d g r o s s o r p o o r r e ­ su lts.

A hope i s h e r e e x p r e s s e d t h a t o t h e r s w i l l e x t e n d

t h e means o f e x p r e s s i o n o f t h e g r a p h i c a r t s a n d comm unicate new i d e a s f o r a p o o l a v a i l a b l e t o a l l .

Standard procedures

h a v e b e e n u s e d a n d m o d i f i e d where l o c a l m a t e r i a l s an d f a c i l ­ i t i e s h a v e b e e n more a v a i l a b l e . I . PLANNING THE COMPOSITIONS USED For t h e p u r p o s e o f a n a l y s i s o r o f b r e a k i n g down a p r o c e s s to t r a n s l a t e i t i n t o w ords, th e methods u sed h e re may seem t o be m e c h a n i c a l ; h o w e v e r , t h e s e i n v e n t o r i e s o f t h e s t e p s u s e d s h o u l d be c o n s i d e r e d o n l y a s a s k e l e t o n . The f l e s h o f a l i v i n g work c a n be a d d e d , u s i n g t h e c r e a t i v e im a g in a tio n , w hile the p ro ce ss i s

in a s t a t e of f lu x .

The s t e p s g i v e n c a n be a t t a c k e d i n o t h e r s e q u e n c e s t o g i v e t h e same o r d i f f e r e n t r e s u l t s .

Work may p r o c e e d f o r w a r d i n

a s t r a i g h t l i n e o r may p r o c e e d f o r w a r d an d b a c k w a r d w i t h r e - e v a l u a t i o n s a nd j u d g m e n t s o f p r e v i o u s s t e p s .

So m etim es a

c h a n g e fro m one medium t o a n o t h e r , a s f o r e x a m p l e , f ro m

15

p en a nd wa sh t o o i l p a i n t i n g , may h e l p t o b r i n g o a t an i d e a . Mediums u s e d .

Two p o s s i b i l i t i e s a r e s u g g e s t e d f o r

th e s o l u t i o n o f a problem in th e g ra p h ic a r t s .

One m eth o d i s

t o p l a n t h e c o m p o s i t i o n c o m p l e t e l y i n c o l o r and b l a c k a n d w hite,

then ren d e r t h i s d esig n ,

as to c o l o r ,

l i n e , and l a y o u t .

fo llo w in g the o r i g in a l lay o u t A n o t h e r m eth o d i s t o s k e t c h

d i r e c t l y on t h e p l a t e o r s t o n e , a l l o w i n g t h e p r o g r e s s o f th e work t o s u g g e s t m o d i f i c a t i o n s l e a d i n g t o a s t a t e a t w h i c h t h e w o r k e r w i l l f e e l some r e s u l t h a s b e e n a c h i e v e d .

Pen and

i n k w i t h c o l o r e d wax c r a y o n s a d d e d was u s e d t o v*ork up a d e s i g n f o r a p r i n t u s i n g t h e c o m b i n a t i o n s o f e t c h i n g and c o l ­ ored lith o g r a p h .

The c r a y o n s u g g e s t s t h e c r a y o n - l i k e t e x ­

t u r e t h a t c a n be a c h i e v e d by d r a w i n g on t h e g r a i n e d l i t h o ­ g r a p h i c s t o n e a n d t h e pen a n d i n k l i n e s u g g e s t s t h e e t c h e d or en g ra v ed l i n e p r i n t e d from th e p l a t e .

A n o t h e r m eth o d

u s e d was t o c a r r y o u t t h e w o rk on t h e b l a c k an d w h i t e p l a t e up to an a l m o s t c o m p l e t e s t a t e ,

t h e n a p r o o f was p u l l e d a n d

when t h i s h a d d r i e d t h e c o l o r was a d d e d w i t h wax c r a y o n s . S cale.

T h e r e was s e e n t h e p o s s i b i l i t y o f r e d u c i n g

a n d t r a n s l a t i n g a c o n c e p t i o n f r o m a n o t h e r medium, i . e . , m a k in g a p r i n t fro m a n o i l p a i n t i n g ,

tem pera, or w a te r c o lo r .

I t was c o n s i d e r e d a d u b i o u s p r o c e d u r e t o " i m i t a t e " a n o t h e r medium, a nd t e c h n i c a l d i f f i c u l t i e s a c c o u n t e d f o r t h e u s e o f f u l l scale designs.

16

L im itatio n s.

A l l methods o f s k e t c h i n g th e d e s ig n

f o r a p r i n t , h o w e v e r , m e r e l y s u g g e s t i n a v e r y l i m i t e d way the r i c h c o lo rs o b ta in a b le u sin g p r i n t i n g inks in o v e r p r i n t ­ ing,

th e i n c i s i v e n e s s o f th e en g ra v ed l i n e , and th e r a i s e d

t e x t u r e s " m o u ld e d ” i n t o t h e p a p e r fro m t h e b i t t e n p l a t e . I I . SELECTING MATERIALS P la te s.

I t i s p o s s i b l e t o e n g r a v e o r e t c h upon a n y

number o f m a t e r i a l s o b t a i n a b l e h a v i n g a u n i f o r m t h i c k n e s s a n d c o n s i s t e n c y t h r o u g h o u t t h e p l a t e so t h a t i t w i l l p r i n t e q u a l l y fr o m a l l p a r t s o f t h e p l a t e a n d w i l l e n g r a v e o r b i t e i n some p r o p o r t i o n t o t h e i n t e n t i o n s o f t h e p r i n t m a k e r . The p l a t e s m u s t be t h i c k e n o u g h t o r e c e i v e a s h e a v y a l i n e as i s needed.

P l a t e s o v e r s i x t e e n g a u g e , o r one s i x t e e n t h

o f a n i n c h , m u s t h ave a c a r d b o a r d o r o t h e r m a t e r i a l w i t h its

t h i c k n e s s a b o u t one t h i r t y - s e c o n d o f a n i n c h l e s s t h a n

t h e p l a t e a n d w i t h an o p e n i n g t h e s i z e o f t h e p l a t e , p l a c e d o v e r t h e p l a t e so t h a t t h e r o l l e r w i l l n o t h a v e t o " c l i m b ” so much t o s t a r t t h r o u g h t h e p r e s s .

Thick p l a t e s w i l l t e a r

o v e r t h e edge o f t h e p l a t e u n d e r t h e h e a v y p r e s s u r e o f p r i n t ­ i n g on t h e damp p a p e r u s e d i n p r i n t i n g .

Among t h e m a t e r i a l s

u s e d f o r p l a t e s h ave b e e n c o p p e r , z i n c , alu m in u m , c e l l u l o i d , p lastics,

t i n p la te d iro n , or t i n cans; o th e rs suggested are

a l l o y s o f a lu m in u m , z i n c , l e a d , a n d t i n ; less s te e l,

brass,

steel,

stain ­

d u r a l u m in u m , m onel m e t a l , and s i l v e r s u b s t i t u t e s

s u c h a s german s i l v e r .

17

Copper i s one o f t h e m o st u s e f u l m a t e r i a l s f o r p l a t e s and th e most a c c e p t a b l e f o r b u r i n e n g r a v i n g . r o l l e d c o p p e r , p o l i s h e d on one s i d e ,

A t t h i s tim e

is re a d ily a v ailab le a t

p h o to en g rav in g or p r i n t i n g in k supply houses, e . g . , C a l i f o r n i a I n k Company i n Los A n g e l e s . expensive type of p l a t e .

the

Co pper i s t h e m o s t

S i x t e e n gauge i s

the u su a l th ic k n e s s

b u t p r i n t s h ave b e e n made fro m p l a t e s one t h i r t y - s e c o n d o f a n inch th ic k . Z i n c p l a t e s a r e v e r y u s e f u l a n d more e c o n o m i c a l . They a r e r e a d i l y a v a i l a b l e a t t h e same s o u r c e s where c o p p e r p la te s are so ld .

They come p r e p a r e d w i t h a n a c i d r e s i s t a n t

c o a t i n g on t h e b a c k .

The p l a t e s u s e d by t h e w r i t e r were

found to resp o n d w e ll to th e e n g r a v e r 's t o o l s .

The c h i p s

p r o d u c e d l e f t t h e b u r i n i n a c u r l a n d d i d n o t c r u m b l e and p i l e up a t t h e p o i n t . C e l l u l o i d w i l l produce an e n g rav ed e f f e c t and w i l l respond to b u rin engraving, being c o n s i s t e n t a t a l l p o in ts . Sheet p l a s ti c s are r e a d ily a v a ila b le . be e a s y t o r e g i s t e r

Color en g ra v in g should

i f c l e a r p l a s t i c s a re u sed , as the d esign

c o u l d be t r a c e d f r o m a k e y d r a w i n g . L ithograph s to n e s .

The b e s t c o l o r t o s e l e c t i s a

medium g r e y .

The s o f t e r y e l l o w s t o n e s w i l l , h o w e v e r , p r i n t

color w e ll.

The d a r k g r e y s t o n e h o l d s a d e s i g n w e l l a n d c a n

be f i n i s h e d w i t h a f i n e g r a i n o r p o l i s h f o r p e n w ork , b u t t h e d a rk c o l o r is o b j e c t i o n a b l e as a background f o r draw ing or

18 p rin tin g .

When c o l o r p r i n t i n g , s e l e c t a s t o n e l a r g e en ou g h

to c o n t a i n t h e d e s ig n w i t h enough space to p l a c e th e r e g i s ­ t r a t i o n m arks. The s t o n e s h o u l d be g r o u n d e nough t o remove a l m o s t a ll

t r a c e s of the o ld design, th en checked w ith a s t r a i g h t

e dg e t o s e e i f t h e s t o n e i s l e v e l .

The f l a t s t o n e s i d e s c a n

be c h e c k e d t o s e e i f t h e y a r e p a r a l l e l by r u n n i n g t h e s t o n e t h r o u g h t h e p r e s s w i t h medium p r e s s u r e a f t e r p l a c i n g a few s h e e t s o f n e w s p r i n t p a p e r on t h e s t o n e .

The p r e s s u r e f e l t

when t u r n i n g t h e c r a n k s h o u l d be e v e n a c r o s s t h e s t o n e . A 220 g r a d e g r i t c a r b o r u n d u m w i l l make a s u i t a b l e g r a i n f o r most p u r p o s e s .

The e d g e s o f t h e s t o n e s h o u l d be r o u n d e d a nd

p o l i s h e d so t h a t t h e r o l l e r w i l l n o t scum up t h e edge w h i l e ro llin g .

The s t o n e s h o u l d be t h o r o u g h l y f l u s h e d w i t h w a t e r

t o rem ove p a r t i c l e s o f c a r b o r u n d u m an d s t o n e l e f t a f t e r grin d in g . P a p e r , i n k s , and v a r n i s h e s .

A paper s e le c te d fo r

m ix e d p r i n t i n g s h o u l d be t h e b e s t r a g p a p e r t h a t t h e a r t i s t can a f f o r d . in ta g lio .

I t s h o u l d be s u i t a b l e b o t h f o r l i t h o g r a p h a nd I t m u st be a b l e t o t a k e a good s o a k i n g i n w a t e r

b e fo re ta k in g the i n t a g l i o im p rin t.

Two t y p e s o f c o m m e r c i a l

p a p e r s have been used and a r e v e r y s a t i s f a c t o r y ;

one i s a

S t r a t h m o r e p a p e r c a l l e d F i e s t a C o v e r , s o l d by B l a k e , M o f f i t a n d Towne; a n o t h e r i s a S t e v e n s N e l s o n p a p e r c a l l e d S e v i r s o l d by t h e Z e l l e r b a c h Company, a l s o o f Los A n g e l e s .

19

I n k s u s e d a r e s u p p l i e d by t h e S e n e f e l d e r Company i n New Y o r k ,

The c o l o r i n k s c a n be u s e d a s t h e y come fro m t h e

can w ith l i t t l e

o r no v a r n i s h m ix e d w i t h th e m .

The a d d i t i o n

o f number 00 v a r n i s h t o t h e b l a c k i n k makes i t more w o r k a b l e . P rin tin g r o l l e r s .

The l e a t h e r r o l l e r i s b e s t f o r a l l

p r i n t i n g as i t keeps the s to n e c le a n e r and h e lp s to p re v e n t f i l l i n g up t h e d e s i g n .

As t h e c o l o r i n k s c o n t a i n a d r i e r ,

a l l i n k m u s t be s c r a p e d o u t a f t e r u s i n g a n d t h e r o l l e r t h e n m u st be r o l l e d up i n v a r n i s h .

I t i s a long t a s k to m a in ta in

three or four le a th e r r o l l e r s fo r co lo r p rin tin g ; the com position r o l l e r i s fav o re d .

th erefo re,

The c o m p o s i t i o n r o l l e r

h a s a t e n d e n c y t o scum t h e s t o n e a n d t h i c k e n t h e d e s i g n b u t t h i s c a n be c o u n t e r a c t e d by h a v i n g a l e a t h e r r o l l e r r o l l e d up i n b l a c k i n k t o c l e a n up o r b r i g h t e n up t h e c o l o r p r i n t ­ i n g when t h i s i s n e c e s s a r y .

T h i s i s a c c o m p l i s h e d by r o l l i n g

r a p i d l y o v e r t h e c o l o r t h e r e b y p i c k i n g up e x c e s s i n k d e p o s i t ­ ed m e c h a n i c a l l y on t h e s t o n e by t h e c o m p o s i t i o n r o l l e r . A pplying the design to th e sto n e or p l a t e . I n p r i n t i n g " D u s t B a t h " , t h e e n g r a v e d an d e t c h e d p l a t e was c o m p l e t e d , a p r o o f was p u l l e d , r e g i s t r a t i o n m ark s w ere a p ­ p lied ,

t h e p r o o f was t h e n d u s t e d w i t h r e d c h a l k a n d p l a c e d

f a c e down on a p r e p a r e d l i t h o g r a p h s t o n e . o f n e w sp rin t paper over the p r o o f , run through the l it h o g r a p h p r e s s ,

W ith a few s h e e t s

t h e s t o n e and p r o o f were thereby tr a n s fe r r in g a

20 r e d c h a l k d e s i g n t o s c a l e t h a t c o u l d be drawn upon w i t h a l i t h o g r a p h i c crayon and t u s c h e .

T h i s same k e y p r o o f was u s e d

to t r a n s f e r or o f f s e t th e r e d c h a lk d e sig n f o r the r e d , g re e n , an d v i o l e t s t o n e s u s e d i n t h e c o l o r p r i n t i n g . A n o t h e r m ethod u s e d was t o c o m p l e t e t h e c o l o r s k e t c h w ith th e b la c k l i n e s and to n es p lu s the r e g i s t r a t i o n m arks. A t r a c i n g o f o u t l i n e s o f c o l o r a r e a s o f e a c h hue was m ade, t h e t r a c i n g was r e v e r s e d , p l a c e d upon a p i e c e o f n e w s p r i n t p a p e r t h a t h ad b e e n d u s t e d w i t h r e d c h a l k a n d p l a c e d upon the p re p a re d s to n e .

T h i s was r e p e a t e d f o r t h e o t h e r c o l o r s .

C a r b o n p a p e r was u s e d b e t w e e n t h e t r a c i n g t o t r a n s f e r t h e d esig n to the zinc p l a t e . R e g i s t e r i n g th e c o lo r and b l a c k p l a t e .

The c o l o r

was r e g i s t e r e d by c u t t i n g o u t w i t h a s h a r p k n i f e a t r i a n g l e made by t h e i n t e r s e c t i o n o f t h e r e g i s t r a t i o n m a r k s on t h e p rin t after

t h e f i r s t c o l o r was p r i n t e d .

The f o l l o w i n g

c o l o r s c o u l d be a c c u r a t e l y r e g i s t e r e d by s i g h t i n g t h r o u g h t h e c u t o u t t r i a n g l e s when l a y i n g t h e p a p e r .

A n o t h e r m eth o d

i s t o u s e p i n h o l e s and p i n s a t t h e r e g i s t r a t i o n m ark s i n ­ s te a d o f the cu t out t r i a n g l e s . To r e g i s t e r t h e p l a t e w i t h t h e c o l o r , a t r a c i n g i s made o f t h e k e y c o l o r s k e t c h b o r d e r s o r o f t h e k e y p r o o f b o r d e r s , w i t h t h e r e g i s t r a t i o n m ark s an d t h e p l a t e i s p l a c e d on t h i s t r a c i n g e a c h t i m e when p r i n t i n g .

The p a p e r c a n be

r e g i s t e r e d t o t h e s e r e g i s t r a t i o n marks as i n p r i n t i n g th e co lo r.

ai P rin tin g .

Two g l a s s i n k i n g s l a b s were u s e d f o r p r i n t ­

i n g tiie c o l o r ; one f o r t h e b l a c k i n k , t h e o t h e r f o r t h e c o l o r used.

The l e a t h e r r o l l e r was k e p t k n o c k e d up w i t h b l a c k i n k

and r e a d y f o r r o l l i n g .

The p a p e r was dampened a s e v e n l y a s

p o s s i b l e w i t h a sp o n g e and a l l o w e d t o s e t b e t w e e n damp b l o t ­ t e r s a n d u n d e r a w e i g h t f o r two o r t h r e e h o u r s b e f o r e p r i n t ­ ing.

The d e s i g n i s r o l l e d up f u l l y i n b l a c k i n k t h e n washed

o u t and r o l l e d up u s i n g t h e c o l o r .

The i n k m u s t d r y t h o r o u g h ­

l y on t h e p r i n t b e f o r e t h e n e x t c o l o r i s a d d e d o r t h e f i r s t c o lo r w i l l o f f s e t to the s to n e .

A f te r the c o lo r s a re dry the

c o m p l e t e d p l a t e i s p r i n t e d o v e r t h e c o l o r p r i n t , F i g u r e £ , by p l a c i n g t h e t h o r o u g h l y dampened c o l o r p r i n t on t h e i n k e d p l a t e a nd r o l l i n g i t t h r o u g h t h e e t c h i n g p r e s s . P r e s s i n g and m a t t i n g .

By l i g h t l y d a m p e n in g t h e

f i n i s h e d d r y p r i n t s a n d p l a c i n g them b e t w e e n b l o t t e r s and under p r e s s u r e o v e r n i g h t , th e y w i l l l i ^ f l a t in th e m at. One m etho d t o m at a p r i n t i s t o p l a c e t h e p r i n t i n one c o r ­ n e r o f t h e s t a n d a r d s i z e m a t , h o l d t h e two up t o t h e l i g h t w i t h t h e m at f a c i n g t h e l i g h t .

P l a c e t h e tv/o p r i n t e d e d g e s

w i t h i n a n e i g h t h o f a n i n c h from t h e e dge o f t h e mat and t h e n l a y t h e p r i n t a n d t h e mat f l a t on a t a b l e .

M e as u r e t h e

d i s t a n c e fro m t h e p r i n t e d e d g e t o t h e e d g e o f t h e mat a f t e r s u b t r a c t i n g an e i g h t h o f an in c h .

T his d i s t a n c e h a lv e d w i l l

be t h e b o r d e r o f t h e mat on e a c h s i d e .

M easure from the

p r i n t e d edge down t o t h e edge o f t h e m a t , m in u s one q u a r t e r

28 o f an in c h .

T h i s d i m e n s i o n d i v i d e d so a s t o ha ve more s p a c e

a t t h e b o t t o m w i l l be t h e t o p a n d b o t t o m b o r d e r .

A piece of

c h i p b o a r d c u t one e i g h t h o f a n i n c h s m a l l e r e a c h way t h a n t h e mat i s h i n g e d t o t h e m at w i t h p a p e r t a p e .

The p r i n t i s l o ­

c a t e d i n t h e o p e n i n g o f t h e mat a n d h i n g e d t o t h e b a c k e r w i t h a h i n g e one q u a r t e r by one h a l f o f a n i n c h .

The t i t l e

o f the

p r i n t i s w r i t t e n i n medium s o f t p e n c i l i n t h e lov/er l e f t below th e p r i n t .

I f the e d i t i o n i s l i m i t e d ,

ju st

t h e number o f t h e

p r i n t i n th e o rd e r o f p r i n t i n g i s p l a c e d i n the c e n t e r j u s t below th e p r i n t .

The t o t a l number o f p r i n t s i n t h e e d i t i o n

is placed as q u o tie n t. r i g h t hand c o r n e r .

The a r t i s t ’ s s i g n a t u r e i s i n t h e l o w e r

CHAPTER 1 7

RESULTS W ithin th e tim e a l l o t t e d , o r a b o u t tw elve h o u rs a week f o r a b o u t e i g h t m o n t h s ,

th re e com bination p ro c e ss p r i n t s

were made i n c o l o r a n d b l a c k a n d w h i t e .

A lso t h r e e b l a c k

and w h ite l i t h o g r a p h s , and t h r e e s i n g l e c o l o r i n t a g l i o p r i n t s u s i n g c o m b i n a t i o n s o f i n t a g l i o p r o c e s s e s w ere m ade.

The r e ­

s u l t s n o t i c e d we re t h e i n c r e a s e d f a c i l i t y i n a p p l y i n g t h e v a rio u s techniques. I t was f e l t by t h e w r i t e r t h a t a c t u a l s t a g e s o f t h e p r i n t i n g s h o u l d be i n c l u d e d i n f u l l s c a l e p r i n t s a s t h e r e i s no known p r o c e s s f o r r e p r o d u c i n g hand p u l l e d p r i n t s w i t h o u t a very g re a t lo s s .

T e c h n i c a l n o t e s an d comments a r e p l a c e d

j u s t b e fo re each f i g u r e .

24 FIGURE 1 "DUST BATH" The i n t a g l i o p l a t e was made f i r s t .

On t h e z i n c p l a t e

a h a r d g r o u n d , made w i t h o n e - t h i r d b e e sw a x and t w o - t h i r d s a s p h a l t u m , was r o l l e d w i t h a r u b b e r r o l l e r .

The p l a t e was

c l e a n e d b e f o r e a p p l y i n g t h e g r o u n d w i t h powdered c h a l k a n d ammonia w a t e r t o remove a l l g r e a s e a n d f i n g e r m a r k s . The c o m p o s i t i o n was drawn i n d i r e c t l y on t h e p l a t e fro m a sm all s k e tc h .

The p l a t e , w i t h t h e b a c k c o a t e d w i t h a s p h a l t u m ,

was p l a c e d i n a t r a y c o n t a i n i n g a m i x t u r e o f one p a r t n i t r i c a c i d t o s i x p a r t s o f w a t e r and e t c h e d . to give a d i f f e r e n t q u a l i t y o f l i n e .

E n g r a v i n g was a d d e d The s o f t g r o u n d t e x t u r e s

o f f e a t h e r s a n d l e a v e s were a d d e d by p l a c i n g them on t h e p late,

g r o u n d e d w i t h t h e same h a r d g r o u n d a n d b u r n i s h i n g t h e

s id e up.

The t o n e d a r e a s were a c h i e v e d b o t h w i t h a q u a t i n t

a nd by e x p o s i n g t h e b a r e p l a t e s u r f a c e s t o t h e a c i d .

m

m

F.IGURL 1 DUST BATH

25 FIGURE 2 nDUST BATH” The t h r e e - c o l o r l i t i i o g r a p i i .

P r i n t e d f ro m t h r e e l i t h o ­

grap h s t o n e s , a r e d , g ree n and b l u e - v i o l e t .

T his c o l o r p r i n t

l o o k e d i n a d e q u a t e b e f o r e t h e f i n a l p l a t e was p r i n t e d o v e r i t . Some o f t h e r e d p r i n t s were p r i n t e d s t r o n g e r a nd some w i t h b la c k in k added to the re d in k f o r e x p e rim e n t.

The s t r o n g e r

r e d i n k o v e r p o w e r e d t h e o t h e r two an d i t was f e l t t h a t t h e n o r m a l i n k i n g o f t h e r e d a n d t h e t o n e d down r e d we re more s u i t a b l e in the f i n a l p r i n t . The c o l o r s k e t c h was m ade, u s i n g wax c r a y o n s on a p r i n t f ro m t h e i n t a g l i o p l a t e .

C o l o r s e p a r a t i o n s were made

d i r e c t l y t o t h e s t o n e s from t h e c o l o r s k e t c h .

24

; u ? :.

M M^y U

i

FIGURE

z

DUST B A T h

26 FIGURE 3 "DUST BATH" The f i n a l p r i n t o f t h e i n t a g l i o p l a t e p r i n t e d o v e r the t h r e e - c o l o r l it h o g r a p h .

The w r i t e r b e l i e v e s t h a t t h e

c o l o r s , r e d , g r e e n a n d v i o l e t a r e a d e q u a t e t o a c h i e v e a veryr ic h range.

T h e s e c o l o r s c o u l d h ave b e e n u s e d f u r t h e r i n

t h i s p r i n t f o r t h e i r t r a n s p a r e n t q u a l i t i e s a nd f o r t h e i r p r o c e s s in g or m ixing q u a l i t i e s . The f i r s t c o l o r work on " D u s t B a t h " t h e w r i t e r f e e l s t o be t i m i d a n d l i k e a c o l o r e d d r a w i n g . E n g r a v i n g was a d d e d t o t h e f o r e g r o u n d a r e a s f o r t e x ­ t u r a l e m p h a s i s b e f o r e t h e p r i n t was c o n s i d e r e d a s b e i n g a t le a s t p a rtly fin ish ed .

iass P f r ^ L -

V

- ~

r~:y¥ U' « *&: .m

SS!^

w m *.

FIGURE, 3

DUST

BATh

27 FIGURE 4 "PSYCHOLOGICAL DEBRIS" The i n t a g l i o p l a t e was c u t i n t o d i r e c t l y , u s i n g t h e engraving t o o ls .

W ork ing fro m t h e s e f r e e s c a t t e r e d f o r m s ,

t h e e f f o r t was made t o t i e

to g e t h e r and b r i n g the idea to

some u n i t y . A ru b b er "sq ueeg e", s i m i l a r to t h a t used in s i l k s c r e e n , was u s e d t o a p p l y t h e i n k g e n e r o u s l y , e s p e c i a l l y t o d e e p l i n e s , a n d a l s o t o remove e x c e s s i n k b e f o r e w i p i n g . The r u b b e r s c r a t c h e d t h e p l a t e l e s s t h a n t h e p i e c e s o f c a r d ­ board used p r e v i o u s l y f o r t h i s p u rp o s e .

A piece of ta r la ta n

o r s t a r c h e d m o s q u i t o n e t t i n g was u s e d f o r t h e f i r s t w i p e . P a p e r t o w e l s f o l d e d i n t o a two o r t h r e e i n c h p a d we re u s e d f o r the f i n a l w ipe.

Hand w i p i n g was n o t f e l t t o be n e c e s s a r y

a t th is p o in t. A r e a s o f t e x t u r e w ere a c h i e v e d by p r e s s i n g c l o t h i n t o the ground.

I n some o f t h e s e a r e a s t h e b u b b l e s were b r u s h e d

away w h i l e e t c h i n g was p r o c e e d i n g ; i n o t h e r s t h e b u b b l e s were a l l o w e d t o r e m a i n f o r a d i f f e r e n t t e x t u r e , a s was a c h i e v e d i n the c e n te r of th e p l a t e .

The a q u a t i n t t o n e was p l a c e d on t h e

p l a t e by s i f t i n g c o a r s e l y g r o u n d r o s i n on t h e p l a t e .

A fter

t h e p l a t e was h e a t e d t o m e l t t h e r o s i n p a r t i c l e s t h e p l a t e was c o o l e d a n d l i t h o g r a p h i c c r a y o n was drawn on t h e a r e a s t h a t w ere t o be l i g h t e n e d .

FIGURt

1

P S Y C H O L O G I C A L

DLBRIS

£8

FIGURE 5 "PSYCHOLOGICAL DEBRIS" The t h r e e - c o l o r l i t h o g r a p h . and y e llo w s t o n e s in t h a t o r d e r .

P r i n t e d fro m r e d , b l u e ,

An a t t e m p t was made t o u s e

t h e t r a n s p a r e n t q u a l i t y o f t h e p r i n t i n g ink: by p r i n t i n g one c o l o r o v e r a n o t h e r where t h i s was t h o u g h t t o be n e c e s s a r y . C o l o r was p l a c e d b e l o w t h e a r e a s t o w h i c h b l a c k t o n e s were t o be p r i n t e d f r o m t h e i n t a g l i o p l a t e . p l a t e was t r i e d o v e r t h e r e d an d b l u e

The b l a c k i n t a g l i o b u t i t was t h o u g h t t h e

p r i n t w o uld g a i n i n r i c h n e s s by a d d i n g t h e y e l l o w .

The c o l o r

p r i n t l o o k e d u n f i n i s h e d a n d e v en gau d y a t t h i s s t a t e .

FIGURl z

p s y c h o l o g i c a l

d e b r i s

£9

FIGURE 6 "PSYCHOLOGICAL DEBRIS" Tiie f i n i s h e d p r i n t .

In "Psychological D ebris", there

h a s b e e n a c h i e v e d a more f u n c t i o n a l a n d r e l a t e d u s e o f t h e c o lo r to the i n t a g l i o p l a t e in th e w r i t e r ' s

judgm ent.

The o p e n , f r e e f l o w i n g q u a l i t y o f t h e c o l o r i s h e l d w i t h i n b o un d s by t h e i n c i s i v e q u a l i t y o f t h e b l a c k .

The p r i n t

s t r i k e s t h e eye f r o m a d i s t a n c e a n d t h e r e i s s u f f i c i e n t t e x ­ t u r a l i n t e r e s t a n d m a t e r i a l f o r t h e eye o f t h e s p e c t a t o r t o w ander o v e r when c l o s e u p .

A more u n i f i e d e f f e c t m i g h t have

b e e n a c h i e v e d by u s i n g o v e r l a p p i n g f o r m s o r by c o m b i n i n g some o f th e s m a ll e r forms i n t o l a r g e r g r o u p s .

F I G U R E .

3

P S Y C H O L O G I C A L

D E B R I S

CHAPTER V SUMMARY AND CONCLUSIONS An a t t e m p t was made i n t i i i s w ork t o g i v e some i n f o r ­ m a t i o n a b o u t ways o f c o m b i n i n g t h e c o l o r l i t h o g r a p h a n d t h e black i n ta g l io p l a t e .

A l t e r n a t e m e t h o d s were s u g g e s t e d , a s

i t was f e l t

t h a t t h e r e was no one way

p rin t.

d e f i n i t i o n s o f th e term s and

The

t o make t h i s t y p e o f the l i m i t a t i o n s of

t h e p r o c e s s e s were o n l y t o g u i d e t h o s e s e e k i n g i n f o r m a t i o n about the p r o c e s s e s .

For th e a r t i s t w orking w ith the p r o ­

c e s s e s t h e r e a r e o n l y t e m p o r a r y m e c h a n i c a l l i m i t a t i o n s and p e r h a p s l i m i t a t i o n s o f t i m e and a p l a c e t o w o r k . Some m e t h o d s i n l i t h o g r a p h y , a s g a i n e d fro m t h e e x ­ perience of

th e w r i t e r and th o u g h t to

cated.

r e s u l t s were w r i t t e n down a s i m p r o v e m e n t s o f

The

be w o r k a b l e , were i n d i ­

tec h n iq u e s in the v a rio u s p r o c e s s e s . T echniques in l i t h o g r a p h y .

I n b la c k and w hite the

w r i t e r h a s u s e d t h e s t o n e a s a means t o b r i n g a n i d e a t o e i t h e r th e f i r s t s t a t e or to a p o i n t a t which a q u a l i t a t i v e ju d g m e n t c o u l d be made.

B e c a u s e i t was p o s s i b l e t o s k e t c h ,

or block o u t, w ith re d conte crayon,

t o a p p l y t u s c h e washes

or to in k in w ith a b ru sh , to th en s c ra p e o u t and r e - i n k , a f e e l i n g o f n o t t h i n k i n g a b o u t s p o i l i n g t h e d r a w i n g was achieved.

A t a n y p o i n t w h e re t h e d r a w i n g was c o n s i d e r e d i n ­

a d e q u a t e , t h e whole c o u l d be e i t h e r g r a i n e d o f f l i g h t l y ,

31 so a s t o k e e p tiie m a i n m o v e m e n ts, o r t h e w h o le d r a w i n g c o u l d be r e g r a i n e d f o r a f r e s h s t a r t .

An a t t e m p t was made i n t h e

l a s t p r i n t b y o v e r p r i n t i n g one c o l o r o v e r a n o t h e r

to include

some o f e a c h c o l o r o v e r t h e e n t i r e s t o n e ; a n d t o t a k e a d v a n t a g e o f the t r a n s p a r e n t q u a l i t y o f the inks u sed .

An e f f o r t was

made t o dampen t h e p a p e r w i t h t h e same amount o f w a t e r , b e f o r e p r i n t i n g e a c h c o l o r , a s t h e r e was a d i f f e r e n c e o f m e a s u r e m e n t o f one q u a r t e r o f a n i n c h on a f i f t e e n i n c h p i e c e o f p a p e r when w e t a n d when d r y . T ec h n iques i n i n t a g l i o and r e l i e f p r i n t i n g .

There

was a p e r i o d when e x c e s s i v e p r e s s u r e u s e d i n p r i n t i n g t h e p l a t e r e s u l t e d i n w r in k le d and s p o i l e d p r i n t s .

A fter n o tic ­

i n g t h e r e s u l t s o b t a i n e d b y my c o - w o r k e r s w i t h t h e minimum o f p r e s s u r e t h i s was c o r r e c t e d . fo r a w hile.

A n o t h e r f a c t o r gave t r o u b l e

The i n k when t h i n n e d w i t h p l a t e o i l a n d tfe a s y

wipe" p r e s s e d o u t o f th e d e e p ly eng rav ed l i n e s and s p r e a d during p r i n ti n g .

T h i s was c o r r e c t e d by u s i n g t h e i n k a l m o s t

a s i t came fro m t h e c a n .

The c o l o r l i t h o g r a p h p r i n t s w e re

s o a k e d i n a p a n o f w a t e r a n d p l a c e d b e t w e e n b l o t t e r s so a s t o remove t h e s u r f a c e w a t e r . The p l a t e was i n k e d , warmed, and p l a c e d on t h e bed o f t h e p r e s s , one b l o t t e r was p l a c e d o v e r t h e dampened p a p e r t h a t was p l a c e d on t h e p l a t e ,

t h e n two

f e l t b l a n k e t s a n d t h e whole was p a s s e d t h r o u g h t h e p r e s s . The p r i n t s we re h ung up t o d r y w i t h c l o t h e s p i n s on a w i r e a s t h e r e was d a n g e r o f o f f s e t t i n g o r o f s m e a r i n g o f t h e

52

in ta g lio p rin ts . T e c h n i q u e s i n t h e c o m b in ed p r o c e s s e s .

An a t t e m p t was

made i n t h i s p r i n t t o u s e more c o l o r o v e r t h e whole p r i n t . Some c o l o r comes t h r o u g h t h e d a r k t o n e d a r e a s o f t h e i n t a g l i o p r i n t , a s i t was f e l t t h a t more c o l o r r a t h e r t h a n l e s s was n e e d e d i n t h e c o m b in ed p r i n t s .

When two c o l o r s , r e d a n d b l u e ,

on t h e " P s y c h o l o g i c a l D e b r i s " p r i n t h a d b e e n r u n f r o m t h e stones,

t h e p l a t e was p r i n t e d o v e r t h e s e a n d t h e p r i n t p l a c e d

on t h e w a l l f o r j u d g m e n t .

W h ile t h e e f f e c t was a d e q u a t e , a n

a d d i t i o n a l y e l l o w s t o n e was a d d e d t o t h e r e d a n d b l u e a n d t h e r e s u l t was f e l t t o be r i c h e r t h a n w i t h t h e two c o l o r s . Other p o s s i b i l i t i e s f o r f u r t h e r e x p e rim e n t s u g g e s te d in the course o f t h i s s t u d y .

C o lo r from a s i l k s c r e e n s t e n ­

c i l was a p p l i e d i n f l a t a r e a s on t o t h e i n k e d p l a t e a n d t h i s was t h e n p r i n t e d on t h e e t c h i n g p r e s s .

The c o l o r a n d t h e

b l a c k h a d a t e n d e n c y t o r u n on t h e p r i n t ,

b u t i t was f e l t

t h a t t h i s c o u l d be c o n t r o l l e d by e x p e r i m e n t i n g w i t h t h e c o l o r used in the s i l k s c re e n .

By p r i n t i n g c o l o r s w i t h t h e s i l k

s c r e e n and a l l o w i n g th e p r i n t s to d r y , th e n p r i n t i n g the black p la te ,

t h e r e s u l t s were b e t t e r .

A p r i n t was made,

u s i n g c o l o r s o b t a i n e d fro m f o u r l i n o l e u m b l o c k s w i t h a b l a c k p la te p rin te d o v e r'th e c o lo r.

P a p e r s t e n c i l s c o u l d be u s e d

to ach iev e the c o lo r b efo re o v e r p r i n t i n g .

33 C o n c l u s i o n s w e re made a f t e r s e e i n g t h e f i n a l p r i n t s . Some j u d g m e n t s we re f o r m e d a s t o t h e r e l a t i v e i m p o r t a n c e o r e m p h a s i s t h a t c o u l d be g i v e n t o e a c h p r o c e s s .

A more v a l i d

p r e d i c t i o n c o u l d be made a b o u t f u t u r e p r i n t s t h r o u g h t h e experience g ained.

The r e s u l t s a r e a v a i l a b l e t o a n y o n e i n t e r ­

e s t e d in p r o c e s s e s and w i l l i n g to use th e s e and o t h e r su g g es­ t i o n s i n a p e r s i s t e n t e f f o r t t o make p r i n t s .

It

i s hoped t h a t

o t h e r p r i n t m a k e r s w i l l t r y t h e s e t e c h n i q u e s a n d i n v e n t new ones i n the f u t u r e .

34 BIBLIOGRAPHY Arms, Jo h n T a y l o r , Handbook o f F r i n t m a k i n g a n d P r i n t m a k e r s . New Y o r k : The M a c m i l l a n Company, 1 9 3 4 . A r n o l d , G r a n t , C r e a t i v e L i t h o g r a p h y . New York : H a r p e r and B r o t h e r s , 1941. Binyori, L a u r e n c e , The E n g r a v e d D e s i g n s o f W i l l i a m B l a k e . New Y o r k : C h a r l e s S c r i b n e r s S o n s , 1 9 8 6 . B l a n c , C h a r l e s , The Grammar o f P r i n t i n g a n d E n g r a v i n g . New Y o r k : Hurd a n d H o u g h t o n , 1 8 7 4 . Brown, B o l t o n , L i t h o g r a p h y f o r A r t i s t s . U n i v e r s i t y o f Chicago P r e s s , 1930.

C h i c a g o : The

C a r r i n g t o n , " F i t z r o y , P r i n t s a n d T h e i r M a k e r s , ” Bookman, November, 1 9 1 2 . Cumming, D a v i d , Handbook o f L i t h o g r a p h y . C h a rle s B lack , L t d . , 1919.

London: Adam a n d

Dobson, M a r g a r e t S t i r l i n g , B l o c k - C u t t i n g a n d P r i n t M aki ng by H a n d . New Yo rk: S i r I . P i t m a n a n d S o n s , L t d . , 1 9 3 0 . D rep p erd , C a r l W illia m , E a r l y Am erican P r i n t s . The C e n t u r y Company, 1 9 3 0 .

New Yo rk :

E l l i s , C a r l e t o n , P r i n t i n g I n k s , T h e ir C h e m istry and T e c h n o l o g y . New York: R e i n h i l d , 1 9 4 0 . E m a n u e l, F r a n k L . , E t c h i n g a nd E t c h i n g s . P itm an , 1930.

New Y o rk :

H a c k le m a n , C h a r l e s W i l l i a m , C o m m e rcia l E n g r a v i n g s an d P r i n t in g . In d ia n a p o lis, Indiana: C o m m e rcia l E n g r a v i n g a n d P u b l i s h i n g Company, 1 9 2 4 . Hammerton, P h i l i p G i l b e r t , E t c h i n g a n d E t c h e r s . R o b e rts B r o t h e r s , 1878. H a r t r i c k , A. S . , L i t h o g r a p h y a s a F i n e A r t . U n i v e r s i t y P r e s s , 1932. H a y t e r , S t a n l e y W i l l i a m , New Ways o f G r a v u r e . P a n th e o n , 1949.

Boston:

London: O x ford New York:

35 BIBLIOGRAPHY Holman, L. A . , The G r a p h i c P r o c e s s e s : I n t a g l i o , R e l i e f and P la n o g r a p h ic . Boston: Goodspeed, 1929. Hubbard, H esketh, C olor Block P r i n t i n g . B oston: P h o t o g r a p h i c P u b l i s h i n g Company, 1 9 2 7 .

American

Karch, R o b e rt Randolph, G raphic A r t s P r o c e d u r e s . A m e ri c a n T e c h n i c a l S o c i e t y , 194 8 .

Chicago:

K a u ffm a n n, D e s i r e , G r a p h i c A r t s C r a f t s . New Y o rk: D. Van N o s t r a n d Company, I n c . , 1 9 4 8 . K o e h l e r , S y l v e s t e r R o s a , W h ite L in e E n g r a v i n g s f o r R e l i e f P r i n t i n g i n th e F i f t e e n t h and S i x t e e n t h C e n t u r i e s . W a s h i n g t o n , D. C . : U n i t e d S t a t e s N a t i o n a l Museum, Annual R e p o rt, 1891. L a f f a n , W i l l i a m Mackay, E n g r a v i n g s on Wood. Harper and B r o t h e r s , 1887. L a n k e e , I . I . , A Woodcut M a n u a l . Company, 1 9 3 2 . L a s c e l l e s , T. W . , E n g r a v i n g . S ons, 1920.

New York :

New Y ork : H e n r y H o l t and

New Y ork : S i r I . P i t m a n and

Lumsden, 1 . S . , The A r t o f E t c h i n g . a n d Company, 1 9 2 9 .

London: S e e l e y , S e r v i c e

M a r t i n d a l e , P e r c y H e n r y , E n g r a v i n g s Old a n d M o d e r n . H eath C ranton, L t d . , 1928.

London:

M u e l l e r , Hans A l e x a n d e r , Wood E n g r a v i n g s , How I Make Them. New Y o rk: The P y n s o n P r i n t e r s , 1 9 3 9 . P e n n e l l , J o s e p h , The G r a p h i c A r t s . Chicago P r e s s , 1921.

Chicago: U n i v e r s i ty o f

P h i l l i p s , W a l t e r J . , The T e c h n i q u e o f t h e C o l o r W o o d c u t . New Y ork : Brown, R o b e r t s o n Company, 1 9 2 6 . P l a t t , Jo h n , C olor W oodcut. Company, 1 9 3 8 .

New Yo rk: P i t m a n P u b l i s h i n g

Plowman, George T a y l o r , E t c h i n g an d O t h e r G r a p h i c A r t s . New Yo rk : Dodd Mead a n d Company, 1 9 2 2 .

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New York :

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R i c e , W i l l i a m S . , B l o c k p r i n t s , How t o Make Them. W i s c o n s i n : B ru c e P u b l i s h i n g Company, 1 9 4 1 . Richm ond, W. D . , The Grammar o f L i t h o g r a p h y . a nd S o n s , 1 8 8 6 .

Milwaukee*

Lon d on : Weyman

S e n e f e l d e r , A l o i s , The I n v e n t i o n o f L i t h o g r a p h y , t r a n s l a t e d b y I . W. M u l l e r . F u c h s a nd L ang Company, 1 9 1 1 . S o d e r s t r o m , W. 1 . , L i t h o g r a p h e r s M a n u a l . 1940.

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S t e r n b e r g , H a r r y , Modern M e t h o d s an d M a t e r i a l s o f I t c h i n g . New Y ork : McGraw H i l l Book Company, 1 9 4 9 . S t r a n g , D a v i d , The P r i n t i n g o f E t c h i n g s a nd E n g r a v i n g s . New York : Dodd, 1 9 30 . W a tso n , E r n e s t W., L i n o l e u m B l o c k P r i n t i n g . S p r i n g f i e l d , M a s s . : M i l t o n B r a d l e y Company, 1 9 2 9 . W eiten k am p f, F ra n k , American G raphic A r t . M a c m i l l a n Company, 1 9 2 4 .

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? / e i t e n k a m p f , F r a n k , How t o A p p r e c i a t e P r i n t s . C h a rle s S c r i b n e r s Sons, 1927. W e n g e n r o t h , S to w , Making a_ L i t h o g r a p h . L t d . , 1936. W e s t , L e v o n , M akin g a n E t c h i n g . P u b l i s h e r s , I n c . , 1932.

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New Y o rk :

University ©f Southern California

New Y o r k :

The S t u d i o