The Invention of Lithography

About this eBook

Author

Senefelder, Alois, 1771-1834

Credits

Produced by Chris Curnow, Charlie Howard and the Online Distributed Proofreading Team at www.pgdp.net (This file was produced from images generously made available by The Internet Archive)

Language

English

LoC Class

NE: Fine Arts: Print media

Subject

Lithography

Category

Text

eBook-No.

40924

Project Gutenberg

https://www.gutenberg.org/ebooks/40924

Release Date

October 3, 2012

Copyright

Public domain in the USA.

Contents

1. 1.THE INVENTION OF LITHOGRAPHY
2. 2.TRANSLATOR'S PREFACE
3. 3.PREFACE
4. 4.SECTION I HISTORY OF STONE-PRINTING
5. 5.PART I FROM 1796 TO 1800
6. 6.PART II FROM 1800 TO 1806
7. 7.PART III FROM 1806 TO 1817
8. 8.SECTION II TEXT-BOOK OF PRINTING FROM THE STONE
9. 9.INTRODUCTION
10. 10.CHAPTER I OF THE STONES — I — II POLISHING — III SORTING AND STORING
11. 11.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
12. 12.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
13. 13.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
14. 14.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
15. 15.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
16. 16.PART II CONCERNING THE VARIOUS METHODS
17. 17.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
18. 18.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
19. 19.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
20. 20.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

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