La avisadora 002
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Taller de Serigrafía / Gráfica Contemporánea - Edificio de Gráfica Ño Año I Número 002 - Agosto 13 de 2013 - Bogotá, D.C. - 500 ejemplares impresos
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La avisadora 002 Fanzine cultural del Taller de Serigrafía / Gráfica Contemporánea, maestro Enrique Hernández R. en la Universidad de Los Andes, Bogota Obra Gráfica Seriada, Arte Diseño & Comunicación Visual, Laboratorio de Producción Gráfica - GRAPHIGRUPO - http://enriquehernandez-r.wix.com/graphigrupo [email protected] Fe de erratas; mil disculpas por el gazapo en el texto "Un sinnúmero de imágenes y la cotejación del trabajo desarrollado por cada uno de ellos, hacen que estas visitas e intercambios enriquezcan el entorno académico y los procesos experimentales que se realizan en cada uno de los laboratorios y talleres de gráfica del Departamento de artes de la Universidad.", el cual se corrigió en la versión impresa. enriquehernandez_r
Transcript of La avisadora 002
Taller de Serigrafía / Gráfica Contemporánea - Edificio de Gráfica Ño
Año I Número 002 - Agosto 13 de 2013 - Bogotá, D.C. - 500 ejemplares impresos
Recomendado *
The Museum of Printing
Prensa ADAMS PRESS Nº 264 - Manufactured by I&S. Adams & Co.
El Museo de la Imprenta alberga una ex-tensa colección de materiales de impre-sión y equipos en los Estados Unidos. Su misión, explorar y ver qué impresión ha moldeado su vida desde el arte y la fo-tografía, a los periódicos y los libros, y a prácticamente todo lo que se lee.El Museo se dedica a preservar la historia de las artes gráficas, equipos de impresión y la impresión artesanal.Además de numerosas colecciones par-ticulares y pequeñas exposiciones, el museo contiene cientos de impresos an-tiguos, composición y máquinas de en-cuadernación, así como una biblioteca de libros y documentos relacionados con las diferenres procesos y técnicas de impre-sión desde sus inicios.
http://museumofprinting.org/
800 Massachusetts Avenue North Andover 01845
The Museum of Printing, North Andover, MA and the Image Carrierwww.museumofprinting.org
Foundry type began with Gutenberg and evolved through Jenson, Garamond,Caslon and many others. Garamond was the first printer to cast type that was soldto other printers. By the 1880s there were almost 80 foundries in the U.S. Onenewspaper could keep one foundry in business. Machine typesetting changed thestatus quo and the Linotype had an almost immediate effect on type foundries.Twenty-three foundries formed American Type Founders in 1890.
For large point sizes needed for posters, wood type evolved. The Hamilton Wood TypeCompany in Two Rivers, WI continued its manufacture was discontinued in the 1980s.
The Multigraph was an office printer for form letters that used metal type that wasinserted in slots on a grooved cylinder. A crank turned the cylinder which pickedup ink and printed sheets, each with the same copy. The Addressograph-Multi-graph company of Cleveland, OH was one of the first suppliers of office equipmentfor mailing and reproduction.
The Graphotype uses a set of dies and punches to either emboss or debossmetal plates or tags for selected applications. The quality was not good enoughfor commercial print but did find applications in list maintenance, addressing,and military dog tags.
Wood cuts and wood engravings pre-dated moveable type. Called “xylographicprinting,” it was used before Gutenberg for illustrations, playing cards, and smalldocuments. Moveable type allowed corrections and editing. A wood engraving usesthe end grain, where a wood cut uses the plank grain.
Polymer plates are made from digital files which drive special engraving machinesto produce relief plates. These plates are popular with many of today’s letterpressprinters who produce invitations, and collectible prints.
Metal relief cylinders were used to print repetitive designs, such as those on wrap-ping paper and wall paper.
In the 1930s, the invention of cellophane led to the development of the anilox rollerand flexographic printing. Today, flexography prints most of the flexible packagingfilm which accounts for about half of all packaged products.
Hobbyists, artists, and printmakers cut away non-printing areas on sheets oflinoleum to create relief surfaces.
Machine typesetting
Intaglio/Gravure
Other
Wood cut Wood engraving and Metal plate Relief cylinder Flexographic plate Linoleum cut
Foundry type Wood type Multigraph Graphotype plate
Linotype Ludlow Monotype Metal cuts
Litho stone Chromolithography Aluminum plate Direct Imaging plate
Copperplate engraving Music engraving Gravure cylinders
Thomas Edison’s “Electric Pencil” was the basis for the mimeograph stencil dupli-cating system. The Museum has the Model 0 (shown at left) which was marketed byEdison and Albert Blake Dick. Later, the Gestetner would be a competing stencil du-plicator. Today, certain Riso printers use lasers to produce the page stencils.
Lord Stanhope invented the stereotyping process just after 1800. The stereotype ma-terial was pressed against the type form to make a mold into which molten metalwas poured. This reduced the wear on metal type through the production of duplicatemetal printing plates. After 1870 most books were printed with such plates, calledelectrotypes. Most daily newspapers had multiple presses and used the stereotypemold (or flong) to cast multiple letterpress cylinders, which permitted the use of paperrolls instead of sheets.
In the 1890s, Frederick Ives developed the halftone process which allowed the produc-tion of plates for reproducing pictures. The metal plates were coated with a photographicemulsion and after exposure, they were immersed in acid baths to create a relief surface.
The modern screen printing process was patented by Samuel Simon, and is alsoknown as serigraphy. The screens were originally made of silk but were later madefrom plastic and other materials.
The quest for mechanized typesetting began in the 1860s and became a realitywith the Mergenthaler Linotype in 1886. The Linograph and Intertype machineswere competitive linecasters. In 1890 the Monotype separated the input and outputfunctions and, after 1900. the Ludlow improved the setting of display type.
All three mechanical typesetters used matrices to cast the lines (Linotype and Lud-low) and characters (Monotype). Ottmar Mergenthaler required two attempts be-fore the Linotype was introduced. Tolbert Lanston got the idea for the Monotypekeyboard and its roll of punched tape from fellow Federal worker Herman Hol-lerith, who invented the punch card. Hollerith’s company, Computing and Tabu-lating, became IBM in 1934.
Washington Ludlow developed a type caster for lines of display type and met withcompetition from the Linotype A-P-L, which was discontinued.
Engravings and castings of logos, nameplates, signatures, dingbats, and other“cuts” were integrated with metal type for page composition. Many were mountedon wood blocks.
Bavarian composer Alois Senefelder discovered stone lithography around 1798 (from theGreek: litho = stone, graphy = writing). Anything that could be drawn or written with a greasysubstance on the porous limestone could be reproduced. He called it “chemical printing.”
Currier & Ives and others used partial images on a number of stones to print multi-color “pictorial” imagery. Chromolithography progressed in the 1800s and led to col-orful posters, art, collectible prints for albums, and holiday cards.
Around 1900 Ira Rubel developed “offset lithography” and applied the use of the rubberblanket. Glass sheets became the first negatives and aluminum replaced the stone plates.
In 1993, Presstek of Hudson, NH invented the Direct Imaging (DI) technology thatimages plates on press and reduces makeready time for multi-color printing.
Called albertype, after its inventor, this process consists in pouring a layer of gelatineover the surface of a zinc or glass plate which is exposed to light to receive the image.The gelatine hardens in proportion to the amount of light received, the unexposedparts remaining soft and capable of retaining moisture, and then printed lithograph-ically. Ink adheres to the surface in inverse proportion to the amount of moisture re-tained, the hard areas of gelatine printing the darkest.
Moveable type
Lithography
Intaglio printing is based on an image recessed into the carrier. The paper receivesthe ink from the incised marks, although thin films of ink may be left on the surfaceto produce tonal effects. The paper is dampened so that under printing pressure itwill be squeezed into all the inked recesses of the plate.Artists who used intaglio in-clude Rembrandt and Pablo Picasso.
Copperplate engraving was used for illustrations, art, and official documents. PaulRevere illustrated the Boston Massacre into a metal plate.
Music typesetting used sheets of tin or zinc or other metal alloys. Staff lines werescribed and notes and letters were created with punches. These plates were latermelted down to create new plates. Their tin ingredient led to the term “Tin Pan Alley”as the location for music publishers.
Gravure cylinders are used for million-plus runs of publications, catalogs, packaging,and products. The cylinders are etched with diamond stylii to create wells of differentdepths, which controls the amount of ink delivered to the substrate. Gravure is ex-cellent for the reproduction of color imagery and was invented to complement earlyphotographic developments. Paper currency is printed from intaglio plates.
Mimeograph (stencil) Stereotype mold/plate Photo engraving Screen stencil
Relief printing
55899-11_MOP_nwsltr_poster_Winter11_v2_Layout 1 2/11/11 2:25 PM Page 1
Wood cuts and wood engravings pre-dated moveable type. Called “xylographic printing,” it was used before Gutenberg for illustrations, playing cards, and small documents. Moveable type allowed corrections and editing.Awood engravinguses the end grain, where a wood cut uses the plank grain.Polymer plates are made from digital fileswhich drive special engraving machines to produce relief plates. These plates are popular with many of today’s letterpress printers who produce invitations, and collectible prints.Metal relief cylinders were used to print repetitive designs, such as those on wrapping paper and wall paper.In the 1930s,the invention of cellophane led to the development ofthe anilox roller and flexographic printing.Today, flexography prints most ofthe flexible packaging film which accounts for about half of all packaged products.Hobbyists, artists, and printmakers cut away non-printing areas on sheets of linoleum to create relief surfaces.
The Museum of Printing, North Andover, MA and the Image Carrierwww.museumofprinting.org
Foundry type began with Gutenberg and evolved through Jenson, Garamond,Caslon and many others. Garamond was the first printer to cast type that was soldto other printers. By the 1880s there were almost 80 foundries in the U.S. Onenewspaper could keep one foundry in business. Machine typesetting changed thestatus quo and the Linotype had an almost immediate effect on type foundries.Twenty-three foundries formed American Type Founders in 1890.
For large point sizes needed for posters, wood type evolved. The Hamilton Wood TypeCompany in Two Rivers, WI continued its manufacture was discontinued in the 1980s.
The Multigraph was an office printer for form letters that used metal type that wasinserted in slots on a grooved cylinder. A crank turned the cylinder which pickedup ink and printed sheets, each with the same copy. The Addressograph-Multi-graph company of Cleveland, OH was one of the first suppliers of office equipmentfor mailing and reproduction.
The Graphotype uses a set of dies and punches to either emboss or debossmetal plates or tags for selected applications. The quality was not good enoughfor commercial print but did find applications in list maintenance, addressing,and military dog tags.
Wood cuts and wood engravings pre-dated moveable type. Called “xylographicprinting,” it was used before Gutenberg for illustrations, playing cards, and smalldocuments. Moveable type allowed corrections and editing. A wood engraving usesthe end grain, where a wood cut uses the plank grain.
Polymer plates are made from digital files which drive special engraving machinesto produce relief plates. These plates are popular with many of today’s letterpressprinters who produce invitations, and collectible prints.
Metal relief cylinders were used to print repetitive designs, such as those on wrap-ping paper and wall paper.
In the 1930s, the invention of cellophane led to the development of the anilox rollerand flexographic printing. Today, flexography prints most of the flexible packagingfilm which accounts for about half of all packaged products.
Hobbyists, artists, and printmakers cut away non-printing areas on sheets oflinoleum to create relief surfaces.
Machine typesetting
Intaglio/Gravure
Other
Wood cut Wood engraving and Metal plate Relief cylinder Flexographic plate Linoleum cut
Foundry type Wood type Multigraph Graphotype plate
Linotype Ludlow Monotype Metal cuts
Litho stone Chromolithography Aluminum plate Direct Imaging plate
Copperplate engraving Music engraving Gravure cylinders
Thomas Edison’s “Electric Pencil” was the basis for the mimeograph stencil dupli-cating system. The Museum has the Model 0 (shown at left) which was marketed byEdison and Albert Blake Dick. Later, the Gestetner would be a competing stencil du-plicator. Today, certain Riso printers use lasers to produce the page stencils.
Lord Stanhope invented the stereotyping process just after 1800. The stereotype ma-terial was pressed against the type form to make a mold into which molten metalwas poured. This reduced the wear on metal type through the production of duplicatemetal printing plates. After 1870 most books were printed with such plates, calledelectrotypes. Most daily newspapers had multiple presses and used the stereotypemold (or flong) to cast multiple letterpress cylinders, which permitted the use of paperrolls instead of sheets.
In the 1890s, Frederick Ives developed the halftone process which allowed the produc-tion of plates for reproducing pictures. The metal plates were coated with a photographicemulsion and after exposure, they were immersed in acid baths to create a relief surface.
The modern screen printing process was patented by Samuel Simon, and is alsoknown as serigraphy. The screens were originally made of silk but were later madefrom plastic and other materials.
The quest for mechanized typesetting began in the 1860s and became a realitywith the Mergenthaler Linotype in 1886. The Linograph and Intertype machineswere competitive linecasters. In 1890 the Monotype separated the input and outputfunctions and, after 1900. the Ludlow improved the setting of display type.
All three mechanical typesetters used matrices to cast the lines (Linotype and Lud-low) and characters (Monotype). Ottmar Mergenthaler required two attempts be-fore the Linotype was introduced. Tolbert Lanston got the idea for the Monotypekeyboard and its roll of punched tape from fellow Federal worker Herman Hol-lerith, who invented the punch card. Hollerith’s company, Computing and Tabu-lating, became IBM in 1934.
Washington Ludlow developed a type caster for lines of display type and met withcompetition from the Linotype A-P-L, which was discontinued.
Engravings and castings of logos, nameplates, signatures, dingbats, and other“cuts” were integrated with metal type for page composition. Many were mountedon wood blocks.
Bavarian composer Alois Senefelder discovered stone lithography around 1798 (from theGreek: litho = stone, graphy = writing). Anything that could be drawn or written with a greasysubstance on the porous limestone could be reproduced. He called it “chemical printing.”
Currier & Ives and others used partial images on a number of stones to print multi-color “pictorial” imagery. Chromolithography progressed in the 1800s and led to col-orful posters, art, collectible prints for albums, and holiday cards.
Around 1900 Ira Rubel developed “offset lithography” and applied the use of the rubberblanket. Glass sheets became the first negatives and aluminum replaced the stone plates.
In 1993, Presstek of Hudson, NH invented the Direct Imaging (DI) technology thatimages plates on press and reduces makeready time for multi-color printing.
Called albertype, after its inventor, this process consists in pouring a layer of gelatineover the surface of a zinc or glass plate which is exposed to light to receive the image.The gelatine hardens in proportion to the amount of light received, the unexposedparts remaining soft and capable of retaining moisture, and then printed lithograph-ically. Ink adheres to the surface in inverse proportion to the amount of moisture re-tained, the hard areas of gelatine printing the darkest.
Moveable type
Lithography
Intaglio printing is based on an image recessed into the carrier. The paper receivesthe ink from the incised marks, although thin films of ink may be left on the surfaceto produce tonal effects. The paper is dampened so that under printing pressure itwill be squeezed into all the inked recesses of the plate.Artists who used intaglio in-clude Rembrandt and Pablo Picasso.
Copperplate engraving was used for illustrations, art, and official documents. PaulRevere illustrated the Boston Massacre into a metal plate.
Music typesetting used sheets of tin or zinc or other metal alloys. Staff lines werescribed and notes and letters were created with punches. These plates were latermelted down to create new plates. Their tin ingredient led to the term “Tin Pan Alley”as the location for music publishers.
Gravure cylinders are used for million-plus runs of publications, catalogs, packaging,and products. The cylinders are etched with diamond stylii to create wells of differentdepths, which controls the amount of ink delivered to the substrate. Gravure is ex-cellent for the reproduction of color imagery and was invented to complement earlyphotographic developments. Paper currency is printed from intaglio plates.
Mimeograph (stencil) Stereotype mold/plate Photo engraving Screen stencil
Relief printing
55899-11_MOP_nwsltr_poster_Winter11_v2_Layout 1 2/11/11 2:25 PM Page 1
Director Fundador Maestro Enrique Hernández R.http://issuu.co/enriquehernandez_r
Concepto Gráfico y Diseño EditorialEnrique Hernández Romero
DiagramaciónLab.Producciongrafica
http://enriquehernandez-r.wix.com/labproducciongraficaFotografía y Retoque Digital
GRAPHIGRUPO http://enriquehernandez-r.wix.com/graphigrupo
circulación quincenalDistribución GRATUITA
Edición Grupo Taller de Serigrafía 2013-2
http://serigrafia20132.wikispaces.com/homeAngélica Alarcón ArévaloMaria P. Bastidas Escobar
Jully Bueno GómezLuisa D. Cruz Narvaez
Diego A. Forero CamachoValeria Giraldo Restrepo Alejandra Lopez Lozano
Marti Silva JulianRenato A. Miani Fernandez Maria C. Otero De Vargas
Sergio A. Pelaez LagunaLuisa F. Rodriguez Sanchez
Sonia P. Rojas LopezCarlos R. Salazar Wagner
Daniel Senior DuranCristina Umaña Duran
Laura X. Vargas EscobarCamilo E. Villoria Rojas
LABORATORIO DE PRODUCCIÓN GRÁ[email protected]
La Avisadora, es una publicación periódica del Laborato-rio de Producción Gráfica, creada para la divulgación de las actividades académicas y culturales generadas desde el Taller de Serigrafía en Uniandes, de interés general para los estudiantes de Gráfica y Artes Visuales y de la comunidad inter-universitaria en general.Los artículos y textos, son exclusiva responsabilidad de sus autores y/o de quienes nos autorizan a crear enlaces o vín-culos a sus sitios. La reproducción total o parcial de esta publicación, gracias a ser producto de contribuciones sin ánimo de lucro está permitida por cualquier medio siempre y cuando se cite los autores.
BOGOTÁ - COLOMBIA2013
En días pasados el impresor/editor alemán Paul Klös visitó las instalaciones de los ta-lleres de gráfica de Uniandes, y compartió sus experiencias alrededor de los procesos y técnicas de impresión en serie, en un conversatorio con los profesores de Foto-litografía Carmen Cecilia Rodriguez, y de Serigrafía/Gráfica Contemporánea Enrique Hernández. Un sinnúmero de imágenes y la cotejación del trabajo desarrollado por cada uno de ellos, hacen que estas visitas e intercam-bios enriquescan el entorno académico y los procesos experimentales que se realizan en cada uno de los laboratorios y talleres de gráfica del Departamento de artes de la Universidad.Para observar la calidad y diversidad de su producción como impresor/editor compar-tió con nuestra comunidad Uniandina los siguientes enlaces:
http://taboerlin.de/booksprojects/richtergross.htmlhttp://edition-noir.de/Buecher-kloes.htmlhttp://edition-noir.de/kloes-nudes.htmlhttp://edition-noir.de/startKloesBodo.htmlhttp://edition-noir.de/startUngerer1.htmlhttp://edition-noir.de/
Ing. Sebastian Velásquez [email protected]
Visita / Talleres de Gráfica en el ÑoSteindruckererei & Verlag
TABOR PRESSE BERLINwww.taboerlin.de
Paul Klös, Carmen Rodriguez y Enrique Hernández R.
Recomendado *
