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<p>[QUOTE="TT Antique, post: 9737927, member: 2653"]Thanks moreotherstuff. Your explanation is quite a logical and reasonable one and it could explain the first Lisbon print. But it may not explain the second Lisbon print which does not display the dot patterns as well (I had also this print before) and it has a number of broad areas of color unlike the first one... But what I gathered when I read more about mid century early offset lithos is that, the craftsmen not only highlighted the images meticulously on the intermediate plates, but also actually fine tuned tonalities and even used to add textures as well.</p><p><br /></p><p>Here is a response I got from the bing AI to the question to what extent the role of craftsmen were in early offset lithos. I have tried to copy paste it here. Ofcourse we are not obliged to take all AI generated responses as the final truth. In most cases it gives references at the end, but in this case it did not. By the way it is quite educational for me this discourse with you as it helps me investigate more deeply.</p><p><br /></p><p>TTA</p><p><br /></p><p><br /></p><p><b>Copilot</b></p><p><br /></p><p>During the early years of offset lithography, craftsmen indeed employed various techniques to enhance the visual appeal of printed images. Let’s delve into some of these practices:</p><p><br /></p><p><b>1.Fine-Tuning Tonalities:</b></p><p><b><br /></b></p><p><b>Color Separation</b>: To achieve accurate color reproduction, craftsmen separated the original image into individual color channels (cyan, magenta, yellow, and black) using photographic or mechanical methods. Each channel represented a specific tonality.</p><p><br /></p><p><b>Dot Gain Control</b>: </p><p>Adjusting the size and density of halftone dots on the printing plate helped control tonal variations. This process ensured that the printed image closely matched the original.</p><p><br /></p><p><b>2. Adding Textures:</b></p><p><b><br /></b></p><p><b>Halftone Screens</b>: By varying the dot size and spacing in halftone screens, craftsmen could introduce subtle textures. Finer screens produced smoother gradients, while coarser screens created a more textured appearance.</p><p><br /></p><p><b>Embossing and Debossing</b>: Craftsmen used relief plates to create raised (embossed) or recessed (debossed) textures on paper. These techniques added tactile interest to printed materials.</p><p><br /></p><p><b>Simulating Textures</b>: Craftsmen sometimes mimicked textures (such as wood grain, fabric, or stone) by manipulating halftone screens or using specialized plates. This added depth and visual interest to images.</p><p><br /></p><p><b>3. Highlighting Techniques:</b></p><p><b><br /></b></p><p><b>Spot Varnishes: </b>Applying varnish selectively to specific areas of the image (e.g., highlights or focal points) enhanced contrast and emphasized certain elements.</p><p><br /></p><p><b>Hand-Coloring</b>: Skilled artisans manually added color to black-and-white prints using brushes or stencils. This technique allowed for precise highlighting and shading.</p><p><br /></p><p><b>Burnishing</b>: Craftsmen gently rubbed specific areas of the printed image with a smooth tool (such as a bone folder) to create highlights. This technique was especially common in fine art prints.</p><p><br /></p><p>In summary, craftsmen during the early years of offset lithography combined technical expertise with artistic sensibility to fine-tune tonalities, add textures, and highlight specific elements in printed images. Their craftsmanship contributed to the rich visual history of lithographic prints.[/QUOTE]</p><p><br /></p>
[QUOTE="TT Antique, post: 9737927, member: 2653"]Thanks moreotherstuff. Your explanation is quite a logical and reasonable one and it could explain the first Lisbon print. But it may not explain the second Lisbon print which does not display the dot patterns as well (I had also this print before) and it has a number of broad areas of color unlike the first one... But what I gathered when I read more about mid century early offset lithos is that, the craftsmen not only highlighted the images meticulously on the intermediate plates, but also actually fine tuned tonalities and even used to add textures as well. Here is a response I got from the bing AI to the question to what extent the role of craftsmen were in early offset lithos. I have tried to copy paste it here. Ofcourse we are not obliged to take all AI generated responses as the final truth. In most cases it gives references at the end, but in this case it did not. By the way it is quite educational for me this discourse with you as it helps me investigate more deeply. TTA [B]Copilot[/B] During the early years of offset lithography, craftsmen indeed employed various techniques to enhance the visual appeal of printed images. Let’s delve into some of these practices: [B]1.Fine-Tuning Tonalities: Color Separation[/B]: To achieve accurate color reproduction, craftsmen separated the original image into individual color channels (cyan, magenta, yellow, and black) using photographic or mechanical methods. Each channel represented a specific tonality. [B]Dot Gain Control[/B]: Adjusting the size and density of halftone dots on the printing plate helped control tonal variations. This process ensured that the printed image closely matched the original. [B]2. Adding Textures: Halftone Screens[/B]: By varying the dot size and spacing in halftone screens, craftsmen could introduce subtle textures. Finer screens produced smoother gradients, while coarser screens created a more textured appearance. [B]Embossing and Debossing[/B]: Craftsmen used relief plates to create raised (embossed) or recessed (debossed) textures on paper. These techniques added tactile interest to printed materials. [B]Simulating Textures[/B]: Craftsmen sometimes mimicked textures (such as wood grain, fabric, or stone) by manipulating halftone screens or using specialized plates. This added depth and visual interest to images. [B]3. Highlighting Techniques: Spot Varnishes: [/B]Applying varnish selectively to specific areas of the image (e.g., highlights or focal points) enhanced contrast and emphasized certain elements. [B]Hand-Coloring[/B]: Skilled artisans manually added color to black-and-white prints using brushes or stencils. This technique allowed for precise highlighting and shading. [B]Burnishing[/B]: Craftsmen gently rubbed specific areas of the printed image with a smooth tool (such as a bone folder) to create highlights. This technique was especially common in fine art prints. In summary, craftsmen during the early years of offset lithography combined technical expertise with artistic sensibility to fine-tune tonalities, add textures, and highlight specific elements in printed images. Their craftsmanship contributed to the rich visual history of lithographic prints.[/QUOTE]
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