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Re: Color Management and photopolymer

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  • nagraph1
    Just for grins, I scanned my 4-color letterpress work and it is at: http://farm2.static.flickr.com/1340/1156824476_395d9af33f_b.jpg This was from wood mounted
    Message 1 of 23 , Aug 17, 2007
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      Just for grins, I scanned my 4-color letterpress work and it is at:

      http://farm2.static.flickr.com/1340/1156824476_395d9af33f_b.jpg

      This was from wood mounted zinc cuts, 4-color process inks, no
      makeready, coated stock, Miehle V-50, had to run 500 in register to
      get a passing grade, and my press partner and I got an A from our
      instructor, George Mills, at Carnegie Tech. I've often thought that
      negatives and separations made for offset would work just fine in
      letterpress and this sort of demonstrates that idea. Traditional
      photoengraving was too bound by tradition by the 1960s when I
      printed this (1962). The splash of yellow in this cut has no other
      ink colors, and I didn't have problems with hard edges that the
      letterpress folks would say that we had to have a minimum dot appear
      on all the image.

      Ansel Adams insisted on letterpress for his work because at the time
      offset inks and paper coatings plus fountain solutions couldn't cope
      with as dense a black that letterpress could print. Things changed
      however, but the photoengraver, stuck with tradition, watched the
      letterpress ship sink.

      --- In PPLetterpress@yahoogroups.com, "parallel_imp" <Megalonyx@...>
      wrote:
      >
      > When letterpress halftones were still a common thing, even process
      > color halftones (three-color process in those days), you had many
      > steps in platemaking, with artisans making corrections all along
      the
      > way. Computers give many controls equivalent to the old arts of
      > dot-etching and color-correction; unfortunately, with photopolymer
      > plates, you lose the ability to do dot-correcting. Take a halftone
      > rake or a multi-line tool to a photopolymer plate and you will just
      > chip the dots off.
      > Those old halftones then were printed on calendered or coated
      stock
      > ("art paper") and it was the ability to print high-quality
      halftones
      > that lead them to market platens like the Victoria or Phoenix as
      > "heavy art platens". But it took more than good plates and good
      > presses to do the work, and it was the pressman's ability to make
      > overlays that gave extra impression to the shadow areas, and less
      to
      > the highlights that was the critical factor. The highlights in the
      > final print would be lighter than what was seen in the engraver's
      > proof. That's what makeready is all about.
      > It was not done with heavy impression. And I rather doubt that
      you
      > can get the smooth tones you get from lithography, by letterpress,
      > with heavy impression.
      > However, if photopolymer halftones are necessary, start with the
      > thinnest plates, and you will have less difficulty with dropping
      > highlight dots and filling shadow areas. And you could try making
      > masks for the shadow and highlight areas, pin-registered, then
      dodge
      > and burn. If you determine three proper exposures for highlight,
      > mid-tones and shadows, you may not need to compress the tonal
      range as
      > much, just so dots will survive processing. I've done this using
      > hand-cut masks, but the computer would make such a task easier and
      > more accurate.
      > --Eric Holub, SF
      >
    • Peter Fraterdeus
      Fritz Thats a pretty high tech circuit board for the early 60s Classy design! ... P ... -- AzByCx DwEvFu GtHsIr JqKpLo MnNmOl PkQjRi ShTgUf VeWdXc YbZa&@ ...
      Message 2 of 23 , Aug 18, 2007
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        Fritz

        Thats a pretty high tech circuit board for the early 60s
        Classy design!

        :-)
        P

        At 6:54 AM +0000 18 08 07, nagraph1 wrote:
        >Just for grins, I scanned my 4-color letterpress work and it is at:
        >
        >http://farm2.static.flickr.com/1340/1156824476_395d9af33f_b.jpg
        >
        >This was from wood mounted zinc cuts, 4-color process inks, no
        >makeready, coated stock, Miehle V-50, had to run 500 in register to
        >get a passing grade, and my press partner and I got an A from our
        >instructor, George Mills, at Carnegie Tech. I've often thought that
        >negatives and separations made for offset would work just fine in
        >letterpress and this sort of demonstrates that idea. Traditional
        >photoengraving was too bound by tradition by the 1960s when I
        >printed this (1962). The splash of yellow in this cut has no other
        >ink colors, and I didn't have problems with hard edges that the
        >letterpress folks would say that we had to have a minimum dot appear
        >on all the image.

        --
        AzByCx DwEvFu GtHsIr JqKpLo MnNmOl PkQjRi ShTgUf VeWdXc YbZa&@
        >ARTQ: Help stop in-box bloat! Always Remember to Trim the Quote!<

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        Galena, Illinois Design Philosophy Fonts Lettering Letterpress Wood Type
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      • parallel_imp
        ... That s really nice work, Fritz. And the artwork is well-suited to the process, probably done by a graphic artist specifically for reproduction, with
        Message 3 of 23 , Aug 18, 2007
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          --- In PPLetterpress@yahoogroups.com, "nagraph1" <nagraph@...> wrote:
          >
          > Just for grins, I scanned my 4-color letterpress work and it is at:
          >
          > http://farm2.static.flickr.com/1340/1156824476_395d9af33f_b.jpg
          >
          > This was from wood mounted zinc cuts, 4-color process inks, no
          > makeready, coated stock, Miehle V-50, had to run 500 in register to
          > get a passing grade, and my press partner and I got an A from our
          > instructor, George Mills, at Carnegie Tech. I've often thought that
          > negatives and separations made for offset would work just fine in
          > letterpress and this sort of demonstrates that idea. Traditional
          > photoengraving was too bound by tradition by the 1960s when I
          > printed this (1962). The splash of yellow in this cut has no other
          > ink colors, and I didn't have problems with hard edges that the
          > letterpress folks would say that we had to have a minimum dot appear
          > on all the image.
          >
          > Ansel Adams insisted on letterpress for his work because at the time
          > offset inks and paper coatings plus fountain solutions couldn't cope
          > with as dense a black that letterpress could print. Things changed
          > however, but the photoengraver, stuck with tradition, watched the
          > letterpress ship sink.
          >
          That's really nice work, Fritz. And the artwork is well-suited to the
          process, probably done by a graphic artist specifically for
          reproduction, with limited highlights and shadows, no overlays
          necessary. On the other hand, something like an Ansel Adams photo
          with bright highlights and dark shadows far exceeds the tonal range of
          printing, letterpress or offset, and needs at least a duotone to even
          approach the original.
          When my teacher Inky Ryan was an apprentice, he was press
          assistant on an Ansel Adams book (copper halftones, coated stock).
          Ansel was hovering at the delivery and trying to critique each sheet.
          The foreman had to remove him from the pressroom and bring out
          press-sheets to the office for inspection. Once approved, they'd have
          to stop and scrub the plates every two or three sheets to hold the
          image. $$$!
          It is fun to play with old halftones, but for new work, do you
          know of any photoengravers doing fine-screen halftones today? How
          about Metal Magic?

          As for the photoengravers watching the letterpress ship sink, that
          isn't quite right. They merged with a lithographic union mid-60s to
          form the LPEU. So it's more like jumping ship.
          --Eric Holub, SF
        • nagraph1
          The negs were from Hughes Aircraft in California and this originally appeared on the cover of the Carnegie Tech technical magazine that was printed letterpress
          Message 4 of 23 , Aug 19, 2007
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            The negs were from Hughes Aircraft in California and this originally
            appeared on the cover of the Carnegie Tech technical magazine that
            was printed letterpress at the time. I watched in both horror and
            amusement as the cover was printed on a hand fed Miehle flatbed--the
            poor pressman kept muttering something about "what's wrong with
            black ink covers" and it turned out so-so in his hands. They had a
            Miehle 29 that it should have been printed on.

            A year after this was printed, I was working for Lockheed Missiles
            and Space and we were using technology far advanced from what was
            depicted in that artwork--we had successfully launched missiles from
            submarines that were guided by internal guidance systems that were
            pretty sophisticated, and the warhead could be delivered into a ten
            meter square on the ground. But,we were setting the manuals on how
            to operate this weapons system at Holmes Typography in San Jose on
            hot metal Monotypes. I always found that somewhat ironic. I need to
            get a better scan without some of the annoying moire that showed up
            on the flick site.

            Fritz

            --- In PPLetterpress@yahoogroups.com, Peter Fraterdeus <peterf@...>
            wrote:
            >
            > Fritz
            >
            > Thats a pretty high tech circuit board for the early 60s
            > Classy design!
            >
            > :-)
            > P
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