The Invention of Lithography

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Alois Senefelder. The Invention of Lithography

The Invention of Lithography

Table of Contents

THE INVENTION OF. LITHOGRAPHY

TRANSLATOR'S PREFACE

PREFACE

SECTION I. HISTORY OF STONE-PRINTING

PART I. FROM 1796 TO 1800

PART II. FROM 1800 TO 1806

PART III. FROM 1806 TO 1817

SECTION II. TEXT-BOOK OF PRINTING FROM THE STONE

INTRODUCTION

PART I. GENERAL PROVISIONS

CHAPTER I. OF THE STONES

I

II. POLISHING

III. SORTING AND STORING

CHAPTER II. OF INK, CRAYON, ETCHING, AND COLOR

I. CHEMICAL INK

MAKING THE CHEMICAL INK

II. HARD BORAX INK

III. FLUID INK

IV. TRANSFER INK

V. HARD ETCHING GROUND

VI. SOFT ETCHING GROUND

VII. ACID PROOF INK

VIII. CRAYON

IX. CONCERNING COLOR FOR PRINTING

X. RUBBING-UP INK

CHAPTER III. CONCERNING ACIDS AND OTHER MATERIALS

I. GENERAL PROPERTIES OF ACIDS

II. THE ACIDS SPECIFICALLY

III. GUM AS THE REAL PREPARATION

IV. CONCERNING PARTIAL PREPARATION

V. SHORT REVIEW OF THE PRECEDING

CHAPTER IV. THE NECESSARY TOOLS AND APPLIANCES

I. CONCERNING STEEL PENS

II. CONCERNING BRUSHES

III. CONCERNING ENGRAVING NEEDLES

IV. CONCERNING THE DRAWING-MACHINE

V. CONCERNING OTHER APPLIANCES

CHAPTER V. CONCERNING PAPER

I. TRANSPARENT PAPER, AND THE TRANSFER OF OUTLINES TO THE STONE

II. WASTE PAPER

III. PRINTING-PAPER

IV. DAMPENING THE PAPER

CHAPTER VI. PRESSES

I. PROPERTIES OF A GOOD PRESS

II. APPLICATION OF BOOK- AND COPPER-PLATE PRESSES TO LITHOGRAPHY

III. LITHOGRAPHIC PRESSES USED HITHERTO

IV. THE LEVER PRESS

V. THE CYLINDER PRESSES

VI. GYRATING SCRAPER AND DOUBLE LEVER PRESSES

VII. THE OTHER STONE PRINTING-PRESSES

PART II. CONCERNING THE VARIOUS METHODS

CHAPTER I. RELIEF METHOD

I. BRUSH AND PEN WORK

II. THE CRAYON METHOD

III. TRANSFER AND TRACING

IV. CONCERNING THE WOOD-CUT STYLE

V. TWO KINDS OF TOUCHE DRAWING

VI. THE SPATTER METHOD

VII. TOUCHE WITH SEVERAL PLATES

VIII. COLOR-PRINTING WITH MANY PLATES

IX. GOLD AND SILVER PRINTING

CHAPTER II. INTAGLIO METHOD

I. THE LINE ENGRAVED STYLE

II. THE ETCHED METHOD

III. DESIGN WITH PREPARING INK, COMBINED WITH SPATTERED AQUATINT

IV. AQUATINT IN COPPER-PLATE STYLES AND WITH ETCHING-GROUND

V. AQUATINT THROUGH CRAYON GROUND

VI. INTAGLIO CRAYON AND TRACED DESIGNS

VII. TOUCHE DRAWING WITH ETCHING INK

CHAPTER III. MIXED METHODS

I. PEN DESIGN COMBINED WITH ENGRAVING

II. INTAGLIO DESIGN WITH RELIEF TINT

III. INTAGLIO AND RELIEF WITH SEVERAL PLATES

IV. TRANSFORMING RELIEF INTO INTAGLIO AND VICE VERSA

EXAMPLE I. To etch a transfer into intaglio

EXAMPLE II. To etch into intaglio a design made with chemical fatty ink or crayon

EXAMPLE III. To etch into intaglio any design etched into relief

EXAMPLE IV. To change an intaglio design into relief for easier printing

APPENDIX

I. PRINTING WITH WATER AND OIL COLORS SIMULTANEOUSLY

II. SIMULTANEOUS CHEMICAL AND MECHANICAL PRINTING

EXAMPLE

III. USE OF THE STONE FOR COTTON-PRINTING THROUGH WIPING. A UNIQUE PRINTING PROCESS

IV. COLOR PRINT WITH WIPING

V. OIL-PAINTING PRINT THROUGH TRANSFER

VI. STONE-PAPER

VII. CHEMICAL PRINT ON METAL PLATES

Отрывок из книги

Alois Senefelder

Published by Good Press, 2019

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VI INTAGLIO CRAYON AND TRACED DESIGNS

VII TOUCHE DRAWING WITH ETCHING INK

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