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Wow, the registration was a pain in the ass! I used tape to try to line them up from print to print and I was on for about half of them, but the others are kinda off. It was very ambitious to have to screens that really needed to match up to be our first multi-screen print. The black in the second screen outlined the red text in the first. What a headache. What FUN!
Will did the illustration and it looks great.
"Workers in the Printing House work in pairs to produce traditional Tibetan texts.
This is the height of the Dege Printing House's technology, which hasn't changed much since 1729, when construction of the press began. There are 100 workers, over 210,000 stored wood blocks, and no mechanization. Even electricity has been avoided, for fear of fire. But the pairs of printers move like well-oiled cogs in a machine, their work in perfect harmony. The printed text appears quickly about one page every four seconds."
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Stiftung Deutsches Technikmuseum Berlin (Außendepot). Cabinet of steel typographic punches from the Bundesdruckerei, Berlin. Most of the punches were cut at the Reichsdruckerei (Imperial Printing House), or its predecessor company, the Decker Court Printing House.
My second print on paper, the circles were either gouged out of the printing plate (we used Dahler board) or cut out and stuck on the surface. For the raised circles I chose to use textured wall paper and some thin artificial lace. Can you work out which is the lace and which the wallpaper?
The original Bureau of Engraving and Printing Building was constructed in 1880 and stands at the corner of 14th Street and Independence Avenue, SW in Washington, D.C. More about the early days of the bureau is at streetsofwashington.blogspot.com/2010/04/sweatshop-bureau...
Exportprobe Wilhelm Woellmer’s Schriftgiesserei und Messinglinienfabrik, Berlin SW.
310 pages. 15x21 cm.
a new technique for me, first seen on the www, which promises so many possibilities. I'm sure i'll try again.
This summer, we have ten college students join our group as the intern.Three of them were under the guidance of my colledge –Atai(tiger)who was trained as a designer in colledge and now serves as the restorer in our museum.Atai is especially interested in printing machines and want to make them workable.Today’s task is to make name cards of their own by operating the proofing press.Fankly speaking, I never see this machine before and also excited about the process and outcome….
This most recent calotype has only just survived processing where it lost a lot of reduced silver into the developer solution. The result is blotchy and weaker than what I would expect. Therefore the print needs more contrast, especially to save the important shadows. Having set the frame to face just blue skies for two hrs I am now ready to give it more light but still diffused. Therefore,the shower curtain has been dismounted and used here to weil the harsh sunlight at 5 30 pm in the mid summer. I need to watch the sky all the time and check the progress of printing slowly. The negative has pretty good density but rather weak contrast. The sun may get covered by clouds so I am running a risk of not getting a good blast of direct sunlight in the end of exposure.
Salted with 0,8 % KCl in 0,5% warm gelatin by floating 30 sec
Sensitized in 14% Silver Nitrate mixed with 6% Citric Acid
Donated by Steve Varvaro for the benefit auction / holiday party to raise money for the Hamilton Wood Type & Printing Museum.
These printing plates were made by the stereotype process from paper molds, called flongs, in which the flong was placed into a casting form and filled with liquid type metal. They appear to have been created for stamps and coin advertisements. These flat stereotypes would not have gone on a newspaper press. Instead, they would be mounted to the right height and locked down with a full page of a newspaper in flat form, from which yet another flong was made, and that flong was then cast as a curved stereotyped for the high-speed rotary presses used in newspaper printing. These all look to be from the early 1970s, just before letterpress/relief printing was in its dying days, used increasingly only by newspapers before they switched to modern offset, a massive expense.
Cut on German type height (23,56mm) on an 8-line pica body? The type is properly made in the UK, but there are no marks on the types.
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