Transcriber's Note: Italic text is denoted by _underscores_.
PRACTICAL LITHOGRAPHY
[Illustration: ALOIS SENEFELDER.
The Inventor of Lithography. Born 1781--Died 1834.]
PRACTICAL
LITHOGRAPHY
BY
ALFRED SEYMOUR
AUTHOR OF "MODERN PRINTING INKS AND COLOUR PRINTING" "RULE OF THUMB
IN THE WORKSHOP" "SOME WORK-A-DAY NOTIONS" ETC., ETC.
WITH FRONTISPIECE AND THIRTY-THREE ILLUSTRATIONS
LONDON
SCOTT, GREENWOOD & CO.
19 LUDGATE HILL, E.C.
NEW YORK
D. VAN NOSTRAND COMPANY
23 MURRAY STREET
1903
[_All Rights remain with Scott, Greenwood & Co._]
INTRODUCTION
"Alois Senefelder never benefited much by his discovery of the
elementary principles of lithography, but none of those to whom it has
given profitable occupation will remember without some feeling the
patient and persistent efforts of the struggling actor and dramatist
who, only after the greatest sacrifices and hardships, laid the germ of
this splendid development, and watched and guarded its growth." There is
one characteristic feature of the discovery of lithography for which
Senefelder ought to receive the fullest credit. Unlike other discoveries
of industrial and scientific value, there can be no doubt whatever as to
its origin. Senefelder's claim has never been disputed, yet "the payment
of a debt of gratitude to the fact is easily overlooked when the wheel
of history has made another turn."
It has been again and again suggested that the blighting influences of
Commercialism have robbed lithography of many of its traditional
features and a few, at least, of its best and most artistic qualities as
a reproductive art. This same commercial spirit, however, has inspired
and encouraged a charming variety of effect both in colour and design,
and lithography of to-day, in almost every form of its manifestation, is
infinitely more attractive and capable of considerably more expressive
power than could ever have been hoped for before commercial utility and
value demanded a full recognition. Pleasing and harmonious effects,
which are almost invariably sought after in lithography, need not be
inartistic; and it is quite possible for the technique of the
lithographic draughtsman to translate original work without a serious
depreciation of its pictorial and artistic value.
While expressing a sincere hope that this volume may be of considerable
assistance to his fellow-craftsmen, the writer wishes to emphasise the
fact that resourcefulness and intelligent application are faculties
which may be encouraged and amplified but cannot be imparted even by
volumes of text.
A mere formal acknowledgment of assistance cordially rendered by the
editors of the _British Printer_ and _The Caxton Magazine_ and _Press_,
Messrs. Penrose & Co., and other firms whose blocks are _primâ facie_
evidences of their interest, does not adequately express the
appreciation with which it has been accepted and made use of.
A. S.
LONDON, _December 1903_.
CONTENTS
PAGE
INTRODUCTION v
LIST OF ILLUSTRATIONS xi
CHAPTER I
ELEMENTARY DETAILS
Concerning Stones--Character and Texture--Some Simple
Elements--Preparation of Stones--Planing and Levelling--
Grinding Grained Stones--Descriptive Treatment--
American Method 1-7
CHAPTER II
LITHOGRAPHIC TRANSFER INKS
Various Forms--Distinguishing Features--Formulæ--Writing
Transfer Ink--Stone-to-stone Transfer Ink--Copperplate
Transfer Ink--A Modification 8-11
CHAPTER III
LITHOGRAPHIC TRANSFER PAPERS
Essential Features--Varnish Transfer Paper--Damp-stone
Transfer Paper--French Transparent Transfer Paper--
Copperplate Transfer Paper--An Alternative Recipe--
Granulated Papers--Photo-litho Transfer Paper 12-16
CHAPTER IV
COPPERPLATE TRANSFER PRINTING
The Copperplate Press--The Operation--Charging the
Engraved Plate--Cleaning-off and Polishing--Making the
Impression--Useful Notions 17-19
CHAPTER V
THE LITHOGRAPHIC PRESS
Mechanical Principles--Constructive Details--Scraper--
Tympan--Practical Suggestions--Elastic Bedding 20-23
CHAPTER VI
LITHOGRAPHIC PRESS WORK
Preparing the Design--Treatment of an Ink Drawing--Chalk
Drawings--Alterations--Value of Impressions--Offsets--The
Lithographic Hand-roller--Proving--Registration--General
Features--Transferring--A Commercial Necessity--
Arrangement--Choice of Paper--Transference to Stone--
Preparing the Forme 24-33
CHAPTER VII
MACHINE PRINTING
The Printing Machine--The Halligan--Some Mechanical
Phases--Speed--Pressure--Levelling the Stones--Cylinder
Brake--Inking Rollers--Damping 34-40
CHAPTER VIII
MACHINE PRINTING--_continued_
Register--Atmospheric Conditions--The Key--The Gripper--
Starting the Machine--Fixing the Stone--Strength of
Colour--Grit--Making Ready--Regulation of Speed 41-46
CHAPTER IX
LITHOGRAPHIC COLOUR PRINTING
A Commercial Value--Peculiar Features--Colour Sequence--
Controlling Elements--A Question of Register--Suitable
Paper 47-51
CHAPTER X
LITHOGRAPHIC COLOUR PRINTING--_continued_
Printing Inks--Varnish--Reducing Medium--Relative
Values--Some Useful Hints--Bronze Blue--Vermilion--Ink
Mixing--Ceramic Transfers--Colour Transparencies 52-56
CHAPTER XI
SUBSTITUTES FOR LITHOGRAPHIC STONES
Metal Plates--Preparation--Manipulation--Descriptive
Details--Machine Printing--The Printing Bed--Rotary
Printing Machine 57-66
CHAPTER XII
TIN-PLATE PRINTING
Its Evolution--Transfer and Direct Transfer Printing--
The Coated Paper--Reversed Designs--Sequence of
Printing--Printing Inks--Purity of Tone--Drying 67-71
CHAPTER XIII
TIN-PLATE PRINTING--_continued_
Direct Tin Printing--The Machine--Peculiarities of
Impression--Cylinder Covering--Colour Sequence--Printing
Inks--Drying Racks--Air-drying _versus_ Stoving 72-79
CHAPTER XIV
TIN-PLATE DECORATION
Suitable Designs--A Variety of Effects--Gold Lacquer--
Super-position of Colours--Embossed Effects--Embossing
Plates--Lacquers 80-83
CHAPTER XV
PHOTO-LITHOGRAPHY
Early Experiments--An Analysis--The Direct Process--
Transfer Process--Line and Half-tone--Some Difficulties--
A Natural Grain--Ink Photo-screen Effects--Essential
Features 84-88
CHAPTER XVI
PHOTO-LITHOGRAPHY--_continued_
The Copy--Gradations of Tone--"Scraper Boards"--Description
and Effect--Shading Mediums--Crayon Drawings--Half-tone
Copy 89-95
CHAPTER XVII
PHOTO-LITHOGRAPHY--_continued_
A Copying Table--Exposure--Illumination--Photo-litho
Transfers--The Paper--Printing--Developing--A Direct
Process 96-101
INDEX 102-104
ILLUSTRATIONS
PAGE
ALOIS SENEFELDER _Frontispiece_
STONE-PLANING MACHINE 4
STONE-POLISHING MACHINE 5
COPPERPLATE PRESS 17
HOT PLATE 18
LITHOGRAPHIC PRESS 21
DETAILS OF LITHOGRAPHIC PRESS 22
LITHOGRAPHIC HAND PRESS 23
LITHOGRAPHIC HAND ROLLER 28
REGISTER LINES 30
ARRANGEMENT OF TRANSFERS 32
TRANSFERRING BOARD 32
LITHOGRAPHIC PRINTING MACHINE 35
HALLIGAN MACHINE 36
PRESSURE MECHANISM 38
INKING ROLLERS 39
DAMPING ROLLERS 40
GRIPPER 42
TRIMMED EDGES 43
COUNTER SHAFTING 44
MOTOR DRIVING 45
PLATE-GRAINING MACHINE 59, 60
PLATE BED 62
ALUMINIUM ROTARY MACHINE 63
ALUMINIUM ROTARY SECTION 66
TIN-PLATE PRINTING MACHINE 73
TIN-PLATE RACKS 78, 79
METHOD OF STACKING PLATES 79
SCRAPER BOARD WORK 91
SCRAPER BOARD TEXTURES 93
PHOTOGRAPHIC COPYING BOARD 97
PRACTICAL LITHOGRAPHY
CHAPTER I
ELEMENTARY DETAILS
Concerning Stones--Character and Texture--Some Simple
Elements--Preparation of Stones--Planing and Levelling--
Grinding Grained Stones--Descriptive Treatment--American
Method.
There are a vast number of details in connection with lithography and
lithographic printing which are indisputably elementary in their
character. It would be impossible, however, to regard them as
non-essential, and a just appreciation of their value and influence must
of necessity enter into any comprehensive exposition of the craft.
_Stone as a printing medium._--The value of the Bavarian limestone was
one of those fortunate discoveries which tended to materialise
lithography as a graphic art, and may even be regarded as a fundamental
principle, the practical value of which is only equalled by its
far-reaching effects.
Other printing surfaces have been discovered and developed, with more or
less substantial results, yet without depreciating their merits, it will
be but a fair recognition to concede the premier position to the
Solenhofen and other limestones of a like nature.
The homogeneity and porosity of these stones render them peculiarly
suitable for lithographic purposes, and it undoubtedly reflects a vast
amount of credit upon Senefelder that even at the outset he should
select a medium so well adapted and in every way so eminently suitable
for graphic reproduction.
I have already, and almost inadvertently, indicated the peculiar value
of the Bavarian stone, for homogeneity and porosity of texture are
absolutely essential properties, and upon these is based almost every
theory which has assisted in the development of this craft. These
properties, in conjunction with a suitable greasy pigment, provide the
requisite materials for that cause and effect which require and compel
consideration.
The simple elements of lithography may be very briefly described, and in
this direction at least we must follow certain well-defined lines which
may be regarded as well-worn ruts, the consideration of which offers
little that is new.
A brief review of the theories of chemical and mechanical affinities is
best calculated to impress upon the mind the elementary principles of
the lithographer's art.
The penetrative power of a greasy pigment, together with the porous
nature of the litho-stone, may be regarded as the cause by which the
lithographer produces as an effect a design or impression which, to some
extent, enters into the texture of the stone--the homogeneity of which
checks any tendency to _spread_. This fatty matter may be applied in one
or two ways, either as a transfer from some other printing surface, or
as a direct drawing with pen, brush, or crayon.
The first question for consideration will be the initial preparation of
the litho-stones. These preparatory operations--which have for their
object the levelling, polishing, and cleaning of the stones--were at one
time entirely performed by hand labour, but are now accomplished with
much greater facility and in a more effective manner by machinery. The
importance of each individual operation will be more readily appreciated
when once its purpose is clearly understood. A litho-stone having a
_perfectly level_ surface is necessary in order to enable the printer to
secure a firm and uniform pressure over the whole design when printing
therefrom. A _smooth_, _polished_ surface will readily receive the
finest designs, and retain all their original characteristics. A _clean_
surface is an absolute necessity, _i.e._ a chemically clean surface free
from grease or any foreign matter which would be likely to enter into
the texture of the stone and by so doing injure any greasy drawing or
transfer which might be made thereon.
These are simple, elementary principles, and as such are probably
familiar to every reader, but the frequent result of familiarity is a
dangerous tendency to under-estimate the importance of everyday causes
and effects. If, therefore, such a reference as the above to common
details serves to convey some intelligent idea of their place and true
value, then no apology whatever will be necessary for their insertion in
this volume. It has already been stated that, in the preparation of
litho-stones, the superseding of hand labour by machinery has effected
considerable and important changes.
Several machines, all of more or less practical value, have been
introduced to the trade. One of the more recent developments, a
stone-planing machine, possesses many features of real merit (Fig. 1).
The stone is securely fixed on a perfectly true bed and passes slowly to
and fro beneath the blades of powerful cutting knives. These blades are
arranged in an inverted V-shape and locked in an oscillating framework.
By an automatic action they are almost imperceptibly lowered at each
traverse of the machine, when they lightly cut away the surface of the
stone until the old work is completely removed and a smooth level face
is assured. The chief objection to this type of machine is that in
course of time the knives become worn and slightly irregular, and it is
but reasonable to suppose that when a number of small stones have been
operated upon and immediately afterwards a full-sized stone is planed,
such irregularities will be very pronounced and detrimental.
[Illustration: FIG. 1.]
Many machines have been designed on the simple grinding principle, but
one type differs from its contemporaries and offers several distinct
advantages over them (Fig. 2).
This machine is constructed on hand-polishing lines, _i.e._ the
movements are to some extent mechanical arrangements of hand-polishing
principles. The size of stone makes no difference whatever, and the
results are in the main uniform and satisfactory. The inconveniently
sharp edges, such as are produced by the planing machine, are
unknown,--the wear and tear on the stone is perceptibly lessened, and
the power required to drive such a machine is not by any means a serious
matter.
When a planing machine does not enter into the operation, and grinding
by hand is therefore necessary, sharp, clean sand should be used as a
grinding medium. To secure some degree of uniformity in the grain, and
at the same time remove all the larger particles of grit, pass the sand
first through a fine sieve. The harder qualities of sand have, of
course, the greatest cutting power, and therefore are the most suitable
for this purpose.
[Illustration: FIG. 2.]
When hand-grinding is resorted to, a continuous elliptical motion of one
stone over the other with a slight twist from the wrist will prove most
effective.
To finish the grinding, and as far as possible remove the deeper sand
scratches, work off the sand in the form of a _sludge_. Unless this
operation is carefully and patiently performed, scratches of
considerable depth may appear on various parts of the stone's surface.
These, in the subsequent polishing, may offer a strong temptation to the
operator to work over one part of the stone more than another, so as to
effect the removal of such scratches with greater rapidity. The almost
certain result of this would be an uneven surface, which would in many
ways prove troublesome to the printer.
_The graining of stones._--This is a matter concerning the preparation
of stones which must not be overlooked. The introduction of shading
mediums and other contrivances of a similar character has considerably
minimised the importance of the grained stone, inasmuch as it cannot now
be regarded as an indispensable feature of lithography. It is, however,
still of inestimable value, and will probably always find a place and
purpose in the practice of lithography, despite its depreciation owing
to present-day limitations.
Recognising, then, the possibility of its retention, at least for some
time to come, as a suitable printing surface upon which the lithographic
draughtsman can work with undoubted facility of execution and effect, we
must perforce include a brief description of its preparation in this
chapter.
First of all, level the stone and to some extent polish it, after which
the graining may be proceeded with. A glass muller about 6 or 7 inches
in diameter makes an excellent "grainer." Failing this, a handy
substitute will be found in the form of a small litho-stone, hard in
texture, and with a smooth, level surface. Use as a graining medium
sharp, clean silver sand only, passing it carefully through a sieve
according to the size or depth of the grain required. Sprinkle a little
of this sand uniformly over the stone under treatment, together with a
few drops of clean water. With a continuous circular movement pass the
graining muller from end to end of the stone, exerting a firm and
uniform pressure. Repeat this operation again and again, adding sand
and water as required. Considerable time coupled with intelligent
application will be necessary to carry out this work successfully.
Should the sand become too much worn before its renewal the grain will
in proportion lose its "tooth" or sharpness. On the other hand lies the
danger of producing a grain which is too harsh or pronounced. Therefore
much depends upon the skill and judgment of the operator. A safe plan is
to ascertain the progress at any time when a satisfactory result might
be reasonably expected. The best way to accomplish this is by washing
from the face of the stone any accumulation of sand, and drying it, so
that a test can be made with the actual grade of crayon to be used in
the subsequent drawing. A powerful current of clean, cold water affords
the best means for removing every trace of sand from the finished stone,
and will leave it in a condition of almost complete readiness for the
draughtsman; a good drying is then all that is necessary. Good results
have been claimed for a method of graining which was introduced by the
Americans a few years ago. In this process the grain is produced by
sprinkling the surface of the stone with sand and rolling it with small
glass balls. These balls having a limited area in which to work exert a
continuous cutting power without any tendency to produce scratches. Some
mechanical arrangement is necessary to impart this continuous rolling
movement to the glass balls and to maintain a uniform speed. It is quite
easy to understand that with such a process, carried out under
favourable conditions, very fine results might be produced with great
rapidity.