Monoprinting

Monoprinting (not to be confused with monotyping) is a print that has images or lines that can be reproduced exactly again and again. Monoprinting are embellished primarily by altering the type, color, and pressure of the ink used to create different prints. Examples of monoprints include lithography, woodblock printing, and etching.

steph smells

not as badly as sarah [

[[Media:[[Media:i smell of flowers thanks]]

]]]--195.195.244.67 14:51, 13 December 2005 (UTC) Category:Printing

Monotyping

Monotyping (not to be confused with monoprinting) is made by drawing or painting on a smooth, non-absorbant surface, often spontaneously and with no previous sketch, and then transferring this image onto a sheet of paper. The paper may be dry, in which case the artist must complete his work before the ink dries, or the paper can be soaked in water, and the ink allowed to dry. In this second method, the artist has more time to create a negative. Monotypes can also be created by inking an entire surface and then, using brushes or rags, removing ink to create a sort of inverted image. A great many renaissance artists used this technique to create beautiful images. A monotype print is often unique and difficult to reproduce, although the plate may be run through the press a second time creating what is known as a "ghost print". Stencils, watercolor, solvents, brushes, and other tools are often used to embellish a monotype print. Category:Printing

Woodblock printing

Woodblock printing is a technique for printing text or images used widely throughout East Asia and originating in China sometime between the mid-6th and late 9th centuries. Japanese woodblock prints are known as ukiyo-e.

The technology

The three necessary components for woodblock printing are the printing block, or woodcut, which carries the design; ink, which had been widely used even in early China; and paper, itself also first developed in China, around the 3rd or 2nd century BC. The art of carving the woodcut is called xylography. It has been noted by many that woodblock printing is a particularly appropriate technique for a writing system like Chinese, because of the strong incentive to avoid hand-copying every character in a given text. Although the Chinese also invented a form of movable type with woodblocks around the 11th century, woodblock was usually done with a single block carved for each page of a given text. When there was a need for the reproduction of a text, the original block could simply be brought out again, while moveable type necessitated the composition of distinct "editions". This difference between East Asian woodblock printing and the Western printing press had major implications for the development of book culture and book markets in East Asia and Europe.

The world's first printed book

The world's earliest dated printed book, a Chinese Diamond Sutra text of 868 A.D., was created with woodblocks and displays such a maturity of design and layout that it is probable woodblock printing had already matured a great deal by that time. Indeed, the development of woodblock printing around this time may have had more to do with the availability of paper and the missionary zeal of Buddhism (the spread of charms and sutras was strongly encouraged) than with any "invention" of woodblock printing, which already had ample precedents in Chinese rubbings and seals.

Spread and decline of woodblock printing

The spread of woodblock printing beyond China is illustrative of this technology's appeal. First, the technique spread through East and Central Asia, and by 1000 A.D. examples of woodblock printing appear in Islamic Egypt, and by the late Middle Ages woodblock printing has become an important force in Europe. While in Europe moveable metal type would soon replace woodblock printing for the reproduction of text, woodblock printing remained a major way to reproduce images in illustrated works of early modern European printing. In East Asia, woodblock printing proved to be more enduring, continuing well into the 19th century as the major form of printing, especially in China, even after the introduction of the Gutenberg printing press. Jesuits stationed in China in the 16th and 17th centuries indeed preferred to use woodblocks for their own publishing projects, noting how inexpensive and convenient it was. Only with the introduction of more mechanized printing methods from the West in the 19th century did printing in East Asia move towards metal moveable type and the printing press.

External sources

- Jonathan Bloom, Paper Before Print. New Haven: Yale University Press, 2001.
- Tsuen-Hsuin, Tsien. Science and Civilisation in China. Volume 5, Part 1: Paper and Printing. Cambridge University Press, 1993.

External links

- [http://www.honco.net/japanese/01/page4.html The Days of Woodblock Culture] (includes QuickTime video of Japanese woodblock printing process). Category:Printing Category:Printmaking

Etching

Etching is an intaglio method of printmaking in which the image is incised into the surface of a metal plate using an acid. The acid eats the metal, leaving behind roughened areas, or if the surface exposed to the acid is very narrow, burning a line into the plate. The process is believed to have been invented by Daniel Hopfer (circa 1470-1536) of Augsburg, Germany, who decorated armour in this way, and applied the method to printmaking. Etching is also used in the manufacturing of printed circuit boards and semiconductor devices. There are many ways for the printmaker to control the acid's effects. Most typically, the surface of the plate is covered in a hard, waxy ground that resists acid. The printmaker then scratches through the ground with a sharp point, exposing lines of metal that are attacked by the acid. Once the drawing in the ground is finished, the plate is submerged in acid for a period of time; longer submersion means that deeper lines are etched. The ground may be removed, or the artist may continue drawing in it, etching it again in acid to deepen existing lines while adding new lines. The ground may also be reapplied to protect existing lines while adding new ones. The ground may be removed and the plate printed to see its current printing state, to be followed by more work (or other techniques, such as aquatint, drypoint, or engraving); thus, many of Rembrandt's etchings exist in several distinct forms, with the final, "accepted" version apparently preceded by many artist's proofs. A "soft" ground may also be used--a ground that is sensitive to pressure. The soft ground is applied to the plate, and the artist removes it by putting paper on top and drawing on the paper. The varying pressure of the pencil on the paper lifts the soft ground in a likewise varying amount, in a particulate way--rather than removing the ground, its density is decreased, allowing more or less acid through. The effect is much like that of particulate media like chalk, charcoal, or pencil: the image burned into the plate is composed of greater and lesser densities of minuscule pitting, rather than sharp, continuous lines. Minor variations involve putting a soft ground on a plate along with some textured surface (such as fabric or crumpled plastic wrap or paper), and then running the combination through a press, transferring the texture to the plate. Aquatint is a variation in which particulate resin is evenly distributed on the plate, then heated to form a screen ground of uniform but less than perfect density. After etching, the result is a uniformly roughened (i.e., darkened) plate that may then be drawn on by smoothing it, creating the image from dark-to-light rather than the reverse. Printing the plate is done by covering the surface with ink, then rubbing the ink off the surface with tarlatan cloth or newsprint, leaving ink in the roughened areas and lines. Damp paper is placed on the plate, and both are run through a printing press; the pressure forces the paper into contact with the ink, transferring the image (c.f., chine-collé). Unfortunately, the pressure also subtly degrades the image in the plate, smoothing the roughened areas and closing the lines; a copper plate is good for, at most, a few hundred printings of a strongly etched imaged before the degradation is considered too great by the artist. At that point, the artist can manually restore the plate by re-etching it, essentially putting ground back on and retracing her lines; alternately, plates can be electro-plated before printing with a harder metal to preserve the surface. Zinc is also used, because as a softer metal, etching times are shorter; however, that softness also leads to faster degradation of the image in the press. Faux-bite is common in etching, and is the effect of minuscule amounts of acid leaking through the ground to create minor pitting and burning on the surface. This incidental roughening may be removed by smoothing and polishing the surface, but artists often leave faux-bite, or deliberately court it by handling the plate roughly, because it's viewed as a desirable mark of the process. The phrase "Want to come up and see my etchings?" is a romantic cliché in which a man entices a woman to come back to his place with an offer to look at something artistic. The erotic etchings of Félicien Rops were some of the first to inspire this phrase. The connotation is that the person inviting is a suave aesthete with class and charm, unconcerned with petty matters like mere fornication; an evening with this man will be a banquet of lovemaking, if one is so inclined. A mandolin player may also be in attendance.

External links

- [http://www.moma.org/exhibitions/2001/whatisaprint/flash.html Museum of Modern Art information on printing techniques and examples of prints] Category:Printmaking ja:エッチング

Category:Printing

Articles in this category relate to industrial processes and technology for reproducing text and images, not to computer printers. For an overview of techniques like woodcut, etching, lithography, and screen-printing see Printmaking. Category:Publishing Category: Technology Category:Graphic design ja:Category:印刷

Hvidbalance

Hvidbalance er et begreb indenfor fotoverdenen som beskriver farvetemperaturen under forskellige fotografiske forhold for analoge- og digitalkameraer. Det menneskelige øje opfatter hvidt som hvidt i sollys, lys fra en glødelampe og lysstofrør, i lys fra et stearinlys etc. medens apparatet opfatter hvidt anderledes under de forskellige konditioner. Nogle apparater kan selv beregne hvidbalancen medens andre har indstillingsmuligheder for samme. Hvidbalancen kan korrigeres i et fotoredigerings program. Kategori:Fotografi ja:色温度

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