SUPER Central Printing Engraving Rochester NY Advertising Lg Card Design 1890s

SUPER - RARE Original Advertising Card. The Central Printing and Engraving Company. Of Rochester, New York Rochester, New York. For offer, a nice old piece of ephemera! Fresh from an old prominent estate.

Never offered on the market until now. Vintage, Old, Original - NOT a Reproduction - Guaranteed! Beautiful piece of color print advertising. On heave paper - not card stock.

Designers, engravers, printers - with lions and gilt on front, and a camera and Ames Iron works machine on back. Measures 9 1/8 x 5 5/8 inches. Light crease to upper lh corner. Please see photos for all details. If you collect 19th century Americana advertisement ad history, American printing, lithography chromolithography, etc.

This is a nice one for your paper or ephemera collection. Genealogy research importance as well. S-/ is a city in the U. State of New York, the seat of Monroe County, and the third-most populous in the state after New York City and Buffalo, with an estimated population of 205,695 in 2020.

[4] The city of Rochester forms the core of a much larger metropolitan area with a population of around 1.1 million people, across six counties. Rochester was one of the United States' first boomtowns, initially due to the fertile Genesee River Valley, which gave rise to numerous flour mills, and then as a manufacturing center, which spurred further rapid population growth. [5] The city rose to prominence as the birthplace and home of some of America's most iconic companies, in particular Eastman Kodak, Xerox, and Bausch & Lomb (along with Wegmans, Gannett, Paychex, W U, French's, Constellation Brands, Ragú, and others), by which the region became a global center for science, technology, and research and development.

This status has been aided by the presence of several internationally renowned universities (notably the University of Rochester and Rochester Institute of Technology) and their research programs; these schools, along with many other smaller colleges, have played an increasingly large role in Greater Rochester's economy. [6] Rochester has also played a key part in US history as a hub for certain important social/political movements, especially abolitionism[7] and the women's rights movement. [8] While the city experienced some significant population loss as a result of deindustrialization, strong growth in the education and healthcare sectors boosted by elite universities and the slower decline of bedrock companies such as Eastman Kodak and Xerox (as opposed to the rapid fall of heavy industry with steel companies in Buffalo and Pittsburgh) resulted in a much less severe contraction than in most Rust Belt metro areas. Today, Rochester's economy is defined by technology and education (aided by a highly educated workforce, research institutions, and other strengths born in its past).

[9] The Rochester metropolitan area is the third-largest regional economy in New York, after the New York City metropolitan area and the Buffalo-Niagara Falls Metropolitan Area. [11] Rochester is also known for its culture, in particular its music culture; institutions such as the Eastman School of Music (considered to be one of the most prestigious conservatories in the world) and the Rochester International Jazz Festival anchor a vibrant music industry, ranked as one of the top-10 music scenes in the US in terms of the concentration of musicians and music-related business. [12] It is the site of multiple major festivals every year (such as the Lilac Festival, the aforementioned Jazz Festival, the Rochester Fringe Festival, and others that draw hundreds of thousands of attendees each) and is home to several world-famous museums such as The Strong National Museum of Play and the George Eastman Museum, the oldest photography collection in the world and one of the largest[13][circular reference].

The Rochester metro is ranked highly in terms of livability and quality of life[14] and is often considered to be one of the best places in America for families[15][16] due to low cost of living, highly ranked public schools[dubious - discuss] and a low unemployment rate. A great divide, though, exists between its inner-city component (which has at times had the highest child poverty rate in the nation) and its affluent, well-educated southern suburbs. It is considered to be a global city, ranked by the Globalization and World Cities Research Network as having sufficiency status. Printing is a process for mass reproducing text and images using a master form or template.

The earliest non-paper products involving printing include cylinder seals and objects such as the Cyrus Cylinder and the Cylinders of Nabonidus. The earliest known form of printing as applied to paper was woodblock printing, which appeared in China before 220 AD for cloth printing. However, it would not be applied to paper until the seventh century. [1] Later developments in printing technology include the movable type invented by Bi Sheng around 1040 AD[2] and the printing press invented by Johannes Gutenberg in the 15th century.

The technology of printing played a key role in the development of the Renaissance and the Scientific Revolution and laid the material basis for the modern knowledge-based economy and the spread of learning to the masses. Part of a series on the. Chodowiecki Basedow Tafel 21 c Z. Main article: History of printing.

Woodblock printing is a technique for printing text, images or patterns that was used widely throughout East Asia. It originated in China in antiquity as a method of printing on textiles and later on paper. As a method of printing on cloth, the earliest surviving examples from China date to before 220 A.

The intricate frontispiece of the Diamond Sutra from Tang-dynasty China, 868 AD (British Library). Main article: History of printing in East Asia. The earliest surviving woodblock printed fragments are from China. They are of silk printed with flowers in three colours from the Han Dynasty before 220 A. The earliest examples of woodblock printing on paper appear in the mid-seventh century in China.

By the ninth century, printing on paper had taken off, and the first extant complete printed book containing its date is the Diamond Sutra (British Library) of 868. [4] By the tenth century, 400,000 copies of some sutras and pictures were printed, and the Confucian classics were in print. A skilled printer could print up to 2,000 double-page sheets per day. Printing spread early to Korea and Japan, which also used Chinese logograms, but the technique was also used in Turpan and Vietnam using a number of other scripts.

This technique then spread to Persia and Russia. [6] This technique was transmitted to Europe via the Islamic world, and by around 1400 was being used on paper for old master prints and playing cards. [7] However, Arabs never used this to print the Quran because of the limits imposed by Islamic doctrine. Block printing, called tarsh in Arabic, developed in Arabic Egypt during the ninth and tenth centuries, mostly for prayers and amulets.

There is some evidence to suggest that these print blocks made from non-wood materials, possibly tin, lead, or clay. The techniques employed are uncertain, however, and they appear to have had very little influence outside of the Muslim world.

Though Europe adopted woodblock printing from the Muslim world, initially for fabric, the technique of metal block printing remained unknown in Europe. Block printing later went out of use in Islamic Timurid Renaissance. [8] The Golden Age of Islam saw printing of texts, including passages from the Quran and Hadith, adopting the Chinese craft of paper making, developed it and adopted it immensely in the Islamic world, which led to a significant increase in the production of manuscript texts. The printing technique in Egypt was embraced reproducing texts on paper strips and supplying them in different copies to meet the demand. The earliest known woodcut, 1423, Buxheim, with hand-colouring. Block printing first came to Europe as a method for printing on cloth, where it was common by 1300. Images printed on cloth for religious purposes could be quite large and elaborate. When paper became relatively easily available, around 1400, the technique transferred very quickly to small woodcut religious images and playing cards printed on paper. These prints produced in very large numbers from about 1425 onward. Around the mid-fifteenth-century, block-books, woodcut books with both text and images, usually carved in the same block, emerged as a cheaper alternative to manuscripts and books printed with movable type. These were all short heavily illustrated works, the bestsellers of the day, repeated in many different block-book versions: the Ars moriendi and the Biblia pauperum were the most common. There is still some controversy among scholars as to whether their introduction preceded or, the majority view, followed the introduction of movable type, with the range of estimated dates being between about 1440 and 1460. Jikji, "Selected Teachings of Buddhist Sages and Son Masters" from Korea, the earliest known book printed with movable metal type, 1377. Bibliothèque Nationale de France, Paris.

See also: History of Western typography. Movable type is the system of printing and typography using movable pieces of metal type, made by casting from matrices struck by letterpunches. Movable type allowed for much more flexible processes than hand copying or block printing. Around 1040, the first known movable type system was created in China by Bi Sheng out of porcelain. [2] Bi Sheng used clay type, which broke easily, but Wang Zhen by 1298 had carved a more durable type from wood.

He also developed a complex system of revolving tables and number-association with written Chinese characters that made typesetting and printing more efficient. Still, the main method in use there remained woodblock printing (xylography), which "proved to be cheaper and more efficient for printing Chinese, with its thousands of characters". Copper movable type printing originated in China at the beginning of the 12th century.

Movable type spread to Korea during the Goryeo dynasty. Around 1230, Koreans invented a metal type movable printing using bronze. The Jikji, published in 1377, is the earliest known metal printed book. Type-casting was used, adapted from the method of casting coins.

The character was cut in beech wood, which was then pressed into a soft clay to form a mould, and bronze poured into the mould, and finally the type was polished. [13] The Korean form of metal movable type was described by the French scholar Henri-Jean Martin as "extremely similar to Gutenberg's". A case of cast metal type pieces and typeset matter in a composing stick. The invention of printing, anonymous, design by Stradanus, collection Plantin-Moretus Museum.

Around 1450, Johannes Gutenberg introduced the first movable type printing system in Europe. He advanced innovations in casting type based on a matrix and hand mould, adaptations to the screw-press, the use of an oil-based ink, and the creation of a softer and more absorbent paper. [15] Gutenberg was the first to create his type pieces from an alloy of lead, tin, antimony, copper and bismuth - the same components still used today. [16] Johannes Gutenberg started work on his printing press around 1436, in partnership with Andreas Dritzehen - whom he had previously instructed in gem-cutting - and Andreas Heilmann, the owner of a paper mill.

Compared to woodblock printing, movable type page setting and printing using a press was faster and more durable. Also, the metal type pieces were sturdier and the lettering more uniform, leading to typography and fonts. The high quality and relatively low price of the Gutenberg Bible (1455) established the superiority of movable type for Western languages. The printing press rapidly spread across Europe, leading up to the Renaissance, and later all around the world.

Gutenberg's innovations in movable type printing have been called the most important invention of the second millennium. Printing advertisement from Macon City Directory, 1860. Main article: Rotary printing press.

The rotary printing press was invented by Richard March Hoe in 1843. It uses impressions curved around a cylinder to print on long continuous rolls of paper or other substrates. Rotary drum printing was later significantly improved by William Bullock.

There are multiple types of rotary printinting press technologies that are still used today: sheetfed offset, rotogravure, and flexographic printing. The table lists the maximum number of pages which various press designs could print per hour. All printing process are concerned with two kinds of areas on the final output. After the information has been prepared for production (the prepress step), each printing process has definitive means of separating the image from the non-image areas. Conventional printing has four types of process.

Planographics, in which the printing and non-printing areas are on the same plane surface and the difference between them is maintained chemically or by physical properties, the examples are: offset lithography, collotype, and screenless printing. Relief, in which the printing areas are on a plane surface and the non printing areas are below the surface, examples: flexography and letterpress. Intaglio, in which the non-printing areas are on a plane surface and the printing area are etched or engraved below the surface, examples: steel die engraving, gravure. Porous, in which the printing areas are on fine mesh screens through which ink can penetrate, and the non-printing areas are a stencil over the screen to block the flow of ink in those areas, examples: screen printing, stencil duplicator. Miehle press printing Le Samedi journal.

Letterpress printing is a technique of relief printing. A worker composes and locks movable type into the bed of a press, inks it, and presses paper against it to transfer the ink from the type which creates an impression on the paper. There is different paper for different works the quality of paper shows different ink to use.

Letterpress printing was the normal form of printing text from its invention by Johannes Gutenberg in the mid-15th century and remained in wide use for books and other uses until the second half of the 20th century, when offset printing was developed. More recently, letterpress printing has seen a revival in an artisanal form. Offset printing is a widely used modern printing process.

This technology is best described as when a positive (right-reading) image on a printing plate is inked and transferred (or "offset") from the plate to a rubber blanket. The blanket image becomes a mirror image of the plate image. An offset transfer moves the image to a printing substrate (typically paper), making the image right-reading again. Offset printing utilizes a lithographic process which is based on the repulsion of oil and water. The offset process employs a flat (planographic) image carrier (plate) which is mounted on a press cylinder.

The image to be printed obtains ink from ink rollers, while the non-printing area attracts an (acidic) film of water, keeping the non-image areas ink-free. Most offset presses utilize three cylinders: Plate, blanket, impression. Currently, most books and newspapers are printed using offset lithography. Gravure printing is an intaglio printing technique, where the image being printed is made up of small depressions in the surface of the printing plate. The cells are filled with ink, and the excess is scraped off the surface with a doctor blade.

Then a rubber-covered roller presses paper onto the surface of the plate and into contact with the ink in the cells. The printing cylinders are usually made from copper plated steel, which is subsequently chromed, and may be produced by diamond engraving; etching, or laser ablation. Flexography is a type of relief printing. The relief plates are typically made from photopolymers. The process is used for flexible packaging, corrugated board, labels, newspapers and more. In this market it competes with gravure printing by holding 80% of the market in USA, 50% in Europe but only 20% in Asia. The other significant printing techniques include. Inkjet, used typically to print a small number of books or packaging, and also to print a variety of materials: from high quality papers simulating offset printing, to floor tiles. Laser printing (toner printing) mainly used in offices and for transactional printing (bills, bank documents). Pad printing, popular for its ability to print on complex three-dimensional surfaces. Relief print, mainly used for catalogues. Screen-printing for a variety of applications ranging from T-shirts to floor tiles, and on uneven surfaces. Intaglio, used mainly for high value documents such as currencies. Thermal printing, popular in the 1990s for fax printing. Used today for printing labels such as airline baggage tags and individual price labels in supermarket deli counters. Impact of German movable type printing press. European output of books printed by movable type from ca. It is estimated that following the innovation of Gutenberg's printing press, the European book output rose from a few million to around one billion copies within a span of less than four centuries.

Samuel Hartlib, who was exiled in Britain and enthusiastic about social and cultural reforms, wrote in 1641 that "the art of printing will so spread knowledge that the common people, knowing their own rights and liberties, will not be governed by way of oppression". Replica of the Gutenberg press at the International Printing Museum in Carson, California. In the Muslim world, printing, especially in Arabic scripts, was strongly opposed throughout the early modern period, though sometimes printing in Hebrew or Armenian script was permitted. Thus the first movable type printing in the Ottoman Empire was in Hebrew in 1493.

[27] According to an imperial ambassador to Istanbul in the middle of the sixteenth century, it was a sin for the Turks to print religious books. In 1515, Sultan Selim I issued a decree under which the practice of printing would be punishable by death.

At the end of the sixteenth century, Sultan Murad III permitted the sale of non-religious printed books in Arabic characters, yet the majority were imported from Italy. Ibrahim Muteferrika established the first press for printing in Arabic in the Ottoman Empire, against opposition from the calligraphers and parts of the Ulama. It operated until 1742, producing altogether seventeen works, all of which were concerned with non-religious, utilitarian matters. Printing did not become common in the Islamic world until the 19th century. Jews were banned from German printing guilds; as a result Hebrew printing sprang up in Italy, beginning in 1470 in Rome, then spreading to other cities including Bari, Pisa, Livorno, and Mantua.

Local rulers had the authority to grant or revoke licenses to publish Hebrew books, [29] and many of those printed during this period carry the words'con licenza de superiori' (indicating their printing having been licensed by the censor) on their title pages. It was thought that the introduction of printing'would strengthen religion and enhance the power of monarchs. [30] The majority of books were of a religious nature, with the church and crown regulating the content.

The consequences of printing'wrong' material were extreme. Meyrowitz[30] used the example of William Carter who in 1584 printed a pro-Catholic pamphlet in Protestant-dominated England.

The consequence of his action was hanging. Print gave a broader range of readers access to knowledge and enabled later generations to build directly on the intellectual achievements of earlier ones without the changes arising within verbal traditions.

Print, according to Acton in his 1895 lecture On the Study of History, gave "assurance that the work of the Renaissance would last, that what was written would be accessible to all, that such an occultation of knowledge and ideas as had depressed the Middle Ages would never recur, that not an idea would be lost". Bookprinting in the 16th century. Print was instrumental in changing the social nature of reading.

Elizabeth Eisenstein identifies two long-term effects of the invention of printing. She claims that print created a sustained and uniform reference for knowledge and allowed comparisons of incompatible views. Asa Briggs and Peter Burke identify five kinds of reading that developed in relation to the introduction of print. Critical reading: Because texts finally became accessible to the general population, critical reading emerged as people were able to form their own opinions on texts.

Dangerous reading: Reading was seen as a dangerous pursuit because it was considered rebellious and unsociable, especially in the case of women, because reading could stir up dangerous emotions such as love, and if women could read, they could read love notes. Creative reading: Printing allowed people to read texts and interpret them creatively, often in very different ways than the author intended. Extensive reading: Once print made a wide range of texts available, earlier habits of intensive reading of texts from start to finish began to change, and people began reading selected excerpts, allowing much more extensive reading on a wider range of topics. Private reading: Reading was linked to the rise of individualism because, before print, reading was often a group event in which one person would read to a group. With print, both literacy and the availability of texts increased, and solitary reading became the norm. The invention of printing also changed the occupational structure of European cities. Printers emerged as a new group of artisans for whom literacy was essential, while the much more labour-intensive occupation of the scribe naturally declined.

Proof-correcting arose as a new occupation, while a rise in the numbers of booksellers and librarians naturally followed the explosion in the numbers of books. Gutenberg's printing press had profound impacts on universities as well. Universities were influenced in their "language of scholarship, libraries, curriculum, [and] pedagogy" [32].

Before the invention of the printing press, most written material was in Latin. However, after the invention of printing the number of books printed expanded as well as the vernacular. Latin was not replaced completely, but remained an international language until the eighteenth century.

At this time, universities began establishing accompanying libraries. Cambridge made the chaplain responsible for the library in the fifteenth century but this position was abolished in 1570 and in 1577 Cambridge established the new office of university librarian. Although, the University of Leuven did not see a need for a university library based on the idea that professor were the library. This issue was solved, however, by a man named Merton (1589) who decided books should be stacked horizontally on shelves.

The printed press changed university libraries in many ways. Professors were finally able to compare the opinions of different authors rather than being forced to look at only one or two specific authors.

Textbooks themselves were also being printed in different levels of difficulty, rather than just one introductory text being made available. Comparison of printing methods[33]. >5,000 (A3 trim size, sheet-fed)[34]. >30,000 (A3 trim size, web-fed)[34]. Edges of letters and lines are jagged[35].

Pressing ink through holes in screen. Image formation by Electrostatics and transfer while fixing. High PQ, excellent image reproduction, wide range of media, very thin image.

Special paper required to reduce bleeding. Thermal transfer film or water release decal. Mass-production method of applying an image to a curved or uneven surface. Aerosolized inks carried by gas. Digital Printer from Design Print Shop.

Digital Printers can now not just print leaflets and documents, but also scan, fax, copy and make booklets plus more. By 2005, Digital printing accounts for approximately 9% of the 45 trillion pages printed annually around the world. Printing at home, an office, or an engineering environment is subdivided into. Small format (up to ledger size paper sheets), as used in business offices and libraries. Wide format (up to 3' or 914mm wide rolls of paper), as used in drafting and design establishments. Some of the more common printing technologies are. Blueprint - and related chemical technologies. Daisy wheel - where pre-formed characters are applied individually. Dot-matrix - which produces arbitrary patterns of dots with an array of printing studs.

Line printing - where formed characters are applied to the paper by lines. Heat transfer - such as early fax machines or modern receipt printers that apply heat to special paper, which turns black to form the printed image.

Inkjet - including bubble-jet, where ink is sprayed onto the paper to create the desired image. Electrophotography - where toner is attracted to a charged image and then developed.

Laser - a type of xerography where the charged image is written pixel by pixel using a laser. Solid ink printer - where solid sticks of ink are melted to make liquid ink or toner. Vendors typically stress the total cost to operate the equipment, involving complex calculations that include all cost factors involved in the operation as well as the capital equipment costs, amortization, etc. Professional digital printing (using toner) primarily uses an electrical charge to transfer toner or liquid ink to the substrate onto which it is printed. Digital print quality has steadily improved from early color and black and white copiers to sophisticated colour digital presses such as the Xerox iGen3, the Kodak Nexpress, the HP Indigo Digital Press series, and the InfoPrint 5000. The iGen3 and Nexpress use toner particles and the Indigo uses liquid ink. The InfoPrint 5000 is a full-color, continuous forms inkjet drop-on-demand printing system. All handle variable data, and rival offset in quality.

Digital offset presses are also called direct imaging presses, although these presses can receive computer files and automatically turn them into print-ready plates, they cannot insert variable data. Small press and fanzines generally use digital printing.

Prior to the introduction of cheap photocopying, the use of machines such as the spirit duplicator, hectograph, and mimeograph was common. 3D printing is a form of manufacturing technology where physical objects are created from three-dimensional digital models using 3D printers. The objects are created by laying down or building up many thin layers of material in succession.

The technique is also known as additive manufacturing, rapid prototyping, or fabricating. Gang run printing is a method in which multiple printing projects are placed on a common paper sheet in an effort to reduce printing costs and paper waste. Gang runs are generally used with sheet-fed printing presses and CMYK process color jobs, which require four separate plates that are hung on the plate cylinder of the press.

Printers use the term "gang run" or "gang" to describe the practice of placing many print projects on the same oversized sheet. Basically, instead of running one postcard that is 4 x 6 as an individual job the printer would place 15 different postcards on 20 x 18 sheet, therefore using the same amount of press time the printer will get 15 jobs done in roughly the same amount of time as one job. Printed electronics is the manufacturing of electronic devices using standard printing processes. Printed electronics technology can be produced on cheap materials such as paper or flexible film, which makes it an extremely cost-effective method of production. Since early 2010, the printable electronics industry has been gaining momentum and several large companies, including Bemis Company and Illinois Tool Works have made investments in printed electronics and industry associations including OE-A and FlexTech Alliance are contributing heavily to the advancement of the printed electronics industry. Printing terminologies are the specific terms used in the printing industry. Archived from the original on December 3, 2010.

Johannes Gutenberg: Inventor of the Printing Press. Archived from the original on November 10, 2013.

Tsuen-Hsuin, Tsien; Needham, Joseph (1985). Science and Civilisation in China. Thomas Franklin Carter, The Invention of Printing in China and its Spread Westward, The Ronald Press, NY 2nd ed. Princeton: Metropolitan Museum of Art. Bulliet (1987), "Medieval Arabic Tarsh: A Forgotten Chapter in the History of Printing". Journal of the American Oriental Society 107 (3), pp. See Geoffrey Roper, Muslim Printing Before Gutenberg and the references cited therein. Paper Before Print: The History and Impact of Paper in the Islamic World. New Haven: Yale University Press. Alan Shestack, Philadelphia Museum of Art, 1967.

Briggs, Asa and Burke, Peter (2002) However, more correctly it should be described as the other way around. Gutenberg's form of metal movable type was extremely similar to the Korean Jikji's, which was printed 78 years prior to the Gutenberg Bible. A Social History of the Media: from Gutenberg to the Internet, Polity, Cambridge, pp. Five Hundred Years of Printing 3rd ed. Retrieved November 27, 2006, from Encyclopædia Britannica Ultimate Reference Suite DVD - entry "printing".

Deutsche Sprachgeschichte vom Spätmittelalter bis zur Gegenwart: I. Einführung, Grundbegriffe, Deutsch in der frühbürgerlichen Zeit (in German). New York/Berlin: Gruyter, Walter de GmbH. In 1997, Time-Life magazine picked Gutenberg's invention to be the most important of the second millennium. In 1999, the A&E Network voted Johannes Gutenberg "Man of the Millennium". See also 1,000 Years, 1,000 People: Ranking The Men and Women Who Shaped The Millennium Archived October 12, 2007, at the Wayback Machine which was composed by four prominent US journalists in 1998. "The performance of the wooden printing press". Joanna Izdebska; Sabu Thomas (September 24, 2015).

Printing on Polymers: Fundamentals and Applications. Buringh, Eltjo; van Zanden, Jan Luiten: "Charting the'Rise of the West': Manuscripts and Printed Books in Europe, A Long-Term Perspective from the Sixth through Eighteenth Centuries", The Journal of Economic History, Vol. Ref: Briggs, Asa and Burke, Peter (2002) A Social History of the Media: from Gutenberg to the Internet, Polity, Cambridge, pp. Or soon after; Naim A. Yüzyila - Türk Yahudileri, Gözlem Gazetecilik Basin ve Yayin A.

A and Turkish Incunabula, Journal of the American Oriental Society, 1968, volume 88, issue 3, p. "A Lifetime's Collection of Texts in Hebrew, at Sotheby's", Edward Rothstein, New York Times, February 11, 2009. Meyrowitz: Mediating Communication: What Happens? " in "Questioning the Media, p. Eisenstein in Briggs and Burke, 2002: p.

"Gutenberg's Effects on Universities". Handbook of print media: technologies and production methods Illustrated ed. Zeng, Minxiang; Zhang, Yanliang (October 22, 2019). "Colloidal nanoparticle inks for printing functional devices: emerging trends and future prospects".

Journal of Materials Chemistry A. Hu, Guohua; Kang, Joohoon; Ng, Leonard W. Zhu, Xiaoxi; Howe, Richard C.

Hasan, Tawfique (May 8, 2018). "Functional inks and printing of two-dimensional materials". Renn, Michael; Christenson, Kurt; Plourde, Richard (October 2012).

"Printing conformal electronics on 3D structures with Aerosol Jet technology". 2012 Future of Instrumentation International Workshop (FIIW) Proceedings: 1-4.

"When 2% Leads to a Major Industry Shift Archived February 16, 2008, at the Wayback Machine" Patrick Scaglia, August 30, 2007. "Recent Announcements Show Gains Being Made by PE Industry".

"Printable transistors usher in'internet of things'". Block Printed Textiles of India. Saunders, Gill; Miles, Rosie (May 1, 2006). Prints Now: Directions and Definitions.

Dictionary of Terms Used in the Paper, Printing, and Allied Industries. The History and Technique of Lettering. Five Hundred Years of Printing.

London and Newcastle: The British Library and Oak Knoll Press. A New Introduction to Bibliography. Winchester and Newcastle: St Paul's Bibliographies and Oak Knoll Press. Eisenstein, The Printing Press as an Agent of Change, Cambridge University Press, September 1980, Paperback, 832 p.

Marshall McLuhan, The Gutenberg Galaxy: The Making of Typographic Man (1962) Univ. Of Toronto Press 1st ed. Tam, Pui-Wing The New Paper Trail, The Wall Street Journal Online, February 13, 2006 p. Joseph Needham, Science and Civilisation in China, Chemistry and Chemical Technology. 11 Jang Young Sil by Baek Sauk Gi.

On the effects of Gutenberg's printing. The classic manual of early hand-press technology is.

Herbert, Davies; Carter, Harry eds. "Mechanick Exercises on the Whole Art of Printing" reprint ed. A somewhat later one, showing 18th century developments is. "The Printer's Grammar" reprint ed. Engraving is the practice of incising a design onto a hard, usually flat surface by cutting grooves into it with a burin. The result may be a decorated object in itself, as when silver, gold, steel, or glass are engraved, or may provide an intaglio printing plate, of copper or another metal, for printing images on paper as prints or illustrations; these images are also called "engravings". Engraving is one of the oldest and most important techniques in printmaking. Wood engraving is a form of relief printing and is not covered in this article.

Engraving was a historically important method of producing images on paper in artistic printmaking, in mapmaking, and also for commercial reproductions and illustrations for books and magazines. It has long been replaced by various photographic processes in its commercial applications and, partly because of the difficulty of learning the technique, is much less common in printmaking, where it has been largely replaced by etching and other techniques. "Engraving" is also loosely but incorrectly used for any old black and white print; it requires a degree of expertise to distinguish engravings from prints using other techniques such as etching in particular, but also mezzotint and other techniques. Many old master prints also combine techniques on the same plate, further confusing matters. Line engraving and steel engraving cover use for reproductive prints, illustrations in books and magazines, and similar uses, mostly in the 19th century, and often not actually using engraving.

Traditional engraving, by burin or with the use of machines, continues to be practised by goldsmiths, glass engravers, gunsmiths and others, while modern industrial techniques such as photoengraving and laser engraving have many important applications. Engraved gems were an important art in the ancient world, revived at the Renaissance, although the term traditionally covers relief as well as intaglio carvings, and is essentially a branch of sculpture rather than engraving, as drills were the usual tools.

An assortment of hand engraving tools. Other terms often used for printed engravings are copper engraving, copper-plate engraving or line engraving.

Steel engraving is the same technique, on steel or steel-faced plates, and was mostly used for banknotes, illustrations for books, magazines and reproductive prints, letterheads and similar uses from about 1790 to the early 20th century, when the technique became less popular, except for banknotes and other forms of security printing. Especially in the past, "engraving" was often used very loosely to cover several printmaking techniques, so that many so-called engravings were in fact produced by totally different techniques, such as etching or mezzotint. "Hand engraving" is a term sometimes used for engraving objects other than printing plates, to inscribe or decorate jewellery, firearms, trophies, knives and other fine metal goods. Traditional engravings in printmaking are also "hand engraved", using just the same techniques to make the lines in the plate. This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2016) (Learn how and when to remove this template message). At an engravers workshop: Miniature engraving on a Louis George watch movement: Smallest engraving of the royal Prussian eagle on a watch movement. It takes about 100 passes to create the figure. Ecce Homo by Jan Norblin, original print (left) and copper plate (right) with composition reversed (National Museum in Warsaw). Each graver is different and has its own use. Engravers use a hardened steel tool called a burin, or graver, to cut the design into the surface, most traditionally a copper plate. [1] However, modern hand engraving artists use burins or gravers to cut a variety of metals such as silver, nickel, steel, brass, gold, titanium, and more, in applications from weaponry to jewellery to motorcycles to found objects. Modern professional engravers can engrave with a resolution of up to 40 lines per mm in high grade work creating game scenes and scrollwork. Dies used in mass production of molded parts are sometimes hand engraved to add special touches or certain information such as part numbers. In addition to hand engraving, there are engraving machines that require less human finesse and are not directly controlled by hand. They are usually used for lettering, using a pantographic system. There are versions for the insides of rings and also the outsides of larger pieces. Such machines are commonly used for inscriptions on rings, lockets and presentation pieces. Tools and gravers or burins. Gravers come in a variety of shapes and sizes that yield different line types. The burin produces a unique and recognizable quality of line that is characterized by its steady, deliberate appearance and clean edges. The angle tint tool has a slightly curved tip that is commonly used in printmaking. Florentine liners are flat-bottomed tools with multiple lines incised into them, used to do fill work on larger areas or to create uniform shade lines that are fast to execute. Ring gravers are made with particular shapes that are used by jewelry engravers in order to cut inscriptions inside rings. Flat gravers are used for fill work on letters, as well as "wriggle" cuts on most musical instrument engraving work, remove background, or create bright cuts. Knife gravers are for line engraving and very deep cuts.

Round gravers, and flat gravers with a radius, are commonly used on silver to create bright cuts (also called bright-cut engraving), as well as other hard-to-cut metals such as nickel and steel. Square or V-point gravers are typically square or elongated diamond-shaped and used for cutting straight lines. V-point can be anywhere from 60 to 130 degrees, depending on purpose and effect. These gravers have very small cutting points. Other tools such as mezzotint rockers, roulets and burnishers are used for texturing effects.

Burnishing tools can also be used for certain stone setting techniques. Musical instrument engraving on American-made brass instruments flourished in the 1920s and utilizes a specialized engraving technique where a flat graver is "walked" across the surface of the instrument to make zig-zag lines and patterns. The method for "walking" the graver may also be referred to as "wriggle" or "wiggle" cuts. This technique is necessary due to the thinness of metal used to make musical instruments versus firearms or jewelry. Wriggle cuts are commonly found on silver Western jewelry and other Western metal work. Tool geometry is extremely important for accuracy in hand engraving. When sharpened for most applications, a graver has a "face", which is the top of the graver, and a "heel", which is the bottom of the graver; not all tools or application require a heel. These two surfaces meet to form a point that cuts the metal. The geometry and length of the heel helps to guide the graver smoothly as it cuts the surface of the metal.

When the tool's point breaks or chips, even on a microscopic level, the graver can become hard to control and produces unexpected results. Modern innovations have brought about new types of carbide that resist chipping and breakage, which hold a very sharp point longer between resharpening than traditional metal tools. Sharpening a graver or burin requires either a sharpening stone or wheel.

Harder carbide and steel gravers require diamond-grade sharpening wheels; these gravers can be polished to a mirror finish using a ceramic or cast iron lap, which is essential in creating bright cuts. Several low-speed, reversible sharpening systems made specifically for hand engravers are available that reduce sharpening time. Fixtures that secure the tool in place at certain angles and geometries are also available to take the guesswork from sharpening to produce accurate points. Very few master engravers exist today who rely solely on "feel" and muscle memory to sharpen tools. These master engravers typically worked for many years as an apprentice, most often learning techniques decades before modern machinery was available for hand engravers.

These engravers typically trained in such countries as Italy and Belgium, where hand engraving has a rich and long heritage of masters. Preparatory drawing by Hans von Aachen for a print with effigy of Emperor Rudolph II, National Library of Poland[2] and Aegidius Sadeler's print from 1603, Metropolitan Museum of Art. Design or artwork is generally prepared in advance, although some professional and highly experienced hand engravers are able to draw out minimal outlines either on paper or directly on the metal surface just prior to engraving. The work to be engraved may be lightly scribed on the surface with a sharp point, laser marked, drawn with a fine permanent marker (removable with acetone) or pencil, transferred using various chemicals in conjunction with inkjet or laser printouts, or stippled.

Originally, handpieces varied little in design as the common use was to push with the handle placed firmly in the center of the palm. With modern pneumatic engraving systems, handpieces are designed and created in a variety of shapes and power ranges. Handpieces are made using various methods and materials.

Knobs may be handmade from wood, molded and engineered from plastic, or machine-made from brass, steel, or other metals. The most widely known hand engraving tool maker, GRS Tools in Kansas is an American-owned and operated company that manufacture handpieces as well as many other tools for various applications in metal engraving. Master engraver ennobling a watch movement. Top level engravers work under a stereo microscope.

The actual engraving is traditionally done by a combination of pressure and manipulating the work-piece. The traditional "hand push" process is still practiced today, but modern technology has brought various mechanically assisted engraving systems. Most pneumatic engraving systems require an air source that drives air through a hose into a handpiece, which resembles a traditional engraving handle in many cases, that powers a mechanism (usually a piston). The air is actuated by either a foot control (like a gas pedal or sewing machine) or newer palm / hand control.

This mechanism replaces either the "hand push" effort or the effects of a hammer. The internal mechanisms move at speeds up to 15,000 strokes per minute, thereby greatly reducing the effort needed in traditional hand engraving.

These types of pneumatic systems are used for power assistance only and do not guide or control the engraving artist. One of the major benefits of using a pneumatic system for hand engraving is the reduction of fatigue and decrease in time spent working. Hand engraving artists today employ a combination of hand push, pneumatic, rotary, or hammer and chisel methods. Hand push is still commonly used by modern hand engraving artists who create "bulino" style work, which is highly detailed and delicate, fine work; a great majority, if not all, traditional printmakers today rely solely upon hand push methods.

Pneumatic systems greatly reduce the effort required for removing large amounts of metal, such as in deep relief engraving or Western bright cut techniques. Finishing the work is often necessary when working in metal that may rust or where a colored finish is desirable, such as a firearm. A variety of spray lacquers and finishing techniques exist to seal and protect the work from exposure to the elements and time. Finishing also may include lightly sanding the surface to remove small chips of metal called "burrs" that are very sharp and unsightly. Some engravers prefer high contrast to the work or design, using black paints or inks to darken removed (and lower) areas of exposed metal.

The excess paint or ink is wiped away and allowed to dry before lacquering or sealing, which may or may not be desired by the artist. The engraving is so fine that a normal printer cannot recreate the detail of hand engraved images, nor can it be scanned. In the Bureau of Engraving and Printing, more than one hand engraver will work on the same plate, making it nearly impossible for one person to duplicate all the engraving on a particular banknote or document. The modern discipline of hand engraving, as it is called in a metalworking context, survives largely in a few specialized fields. The highest levels of the art are found on firearms and other metal weaponry, jewellery, and musical instruments.

In most commercial markets today, hand engraving has been replaced with milling using CNC engraving or milling machines. Still, there are certain applications where use of hand engraving tools cannot be replaced. In some instances, images or designs can be transferred to metal surfaces via mechanical process. One such process is roll stamping or roller-die engraving. In this process, a hardened image die is pressed against the destination surface using extreme pressure to impart the image.

In the 1800s pistol cylinders were often decorated via this process to impart a continuous scene around the surface. Engraving machines such as the K500 (packaging) or K6 (publication) by Hell Gravure Systems use a diamond stylus to cut cells. Each cell creates one printing dot later in the process. A K6 can have up to 18 engraving heads each cutting 8.000 cells per second to an accuracy of.

They are fully computer-controlled and the whole process of cylinder-making is fully automated. It is now common place for retail stores (mostly jewellery, silverware or award stores) to have a small computer controlled engrave on site.

This enables them to personalise the products they sell. Retail engraving machines tend to be focused around ease of use for the operator and the ability to do a wide variety of items including flat metal plates, jewelry of different shapes and sizes, as well as cylindrical items such as mugs and tankards.

They will typically be equipped with a computer dedicated to graphic design that will enable the operator to easily design a text or picture graphic which the software will translate into digital signals telling the engraver machine what to do. Unlike industrial engravers, retail machines are smaller and only use one diamond head. This is interchangeable so the operator can use differently shaped diamonds for different finishing effects. They will typically be able to do a variety of metals and plastics.

Glass and crystal engraving is possible, but the brittle nature of the material makes the process more time-consuming. Retail engravers mainly use two different processes. The first and most common'Diamond Drag' pushes the diamond cutter through the surface of the material and then pulls to create scratches. These direction and depth are controlled by the computer input. The second is'Spindle Cutter'.

This is similar to Diamond Drag, but the engraving head is shaped in a flat V shape, with a small diamond and the base. The machine uses an electronic spindle to quickly rotate the head as it pushes it into the material, then pulls it along whilst it continues to spin. This creates a much bolder impression than diamond drag.

It is used mainly for brass plaques and pet tags. With state-of-the-art machinery it is easy to have a simple, single item complete in under ten minutes.

The engraving process with diamonds is state-of-the-art since the 1960s. Today laser engraving machines are in development but still mechanical cutting has proven its strength in economical terms and quality. More than 4,000 engravers make approx.

8 Mio printing cylinders worldwide per year. For the printing process, see intaglio (printmaking). For the Western art history of engraved prints, see old master print and line engraving. Gérard Audran after Charles LeBrun, original print first published 1675, engraving, Department of Image Collections, National Gallery of Art Library, Washington, DC.

The first evidence for humans engraving patterns is a chiselled shell, dating back between 540,000 and 430,000 years, from Trinil, in Java, Indonesia, where the first Homo erectus was discovered. [3] Hatched banding upon ostrich eggshells used as water containers found in South Africa in the Diepkloof Rock Shelter and dated to the Middle Stone Age around 60,000 BC are the next documented case of human engraving. [4] Engraving on bone and ivory is an important technique for the Art of the Upper Paleolithic, and larger engraved petroglyphs on rocks are found from many prehistoric periods and cultures around the world. In antiquity, the only engraving on metal that could be carried out is the shallow grooves found in some jewellery after the beginning of the 1st Millennium B. The majority of so-called engraved designs on ancient gold rings or other items were produced by chasing or sometimes a combination of lost-wax casting and chasing.

Engraved gem is a term for any carved or engraved semi-precious stone; this was an important small-scale art form in the ancient world, and remained popular until the 19th century. Battle of Engravers, satirical etching by George Cruikshank, showing hypothetical battle between the engravers, including William Hogarth, Antoine Masson, William Woollett, Jean-Joseph Balechou, Albrecht Dürer and Marcantonio Raimondi. However the use of glass engraving, usually using a wheel, to cut decorative scenes or figures into glass vessels, in imitation of hardstone carvings, appears as early as the first century AD, [5] continuing into the fourth century CE at urban centers such as Cologne and Rome, [6] and appears to have ceased sometime in the fifth century. Decoration was first based on Greek mythology, before hunting and circus scenes became popular, as well as imagery drawn from the Old and New Testament. [6] It appears to have been used to mimic the appearance of precious metal wares during the same period, including the application of gold leaf, and could be cut free-hand or with lathes. As many as twenty separate stylistic workshops have been identified, and it seems likely that the engraver and vessel producer were separate craftsmen. In the European Middle Ages goldsmiths used engraving to decorate and inscribe metalwork. It is thought that they began to print impressions of their designs to record them. From this grew the engraving of copper printing plates to produce artistic images on paper, known as old master prints, in Germany in the 1430s. Many early engravers came from a goldsmithing background. The first and greatest period of the engraving was from about 1470 to 1530, with such masters as Martin Schongauer, Albrecht Dürer, and Lucas van Leiden.

Modern impression of Rembrandt's 1639 self-portrait, with the engraving plate. Thereafter engraving tended to lose ground to etching, which was a much easier technique for the artist to learn. But many prints combined the two techniques: although Rembrandt's prints are generally all called etchings for convenience, many of them have some burin or drypoint work, and some have nothing else. By the nineteenth century, most engraving was for commercial illustration. Before the advent of photography, engraving was used to reproduce other forms of art, for example paintings.

Engravings continued to be common in newspapers and many books into the early 20th century, as they were cheaper to use in printing than photographic images. Buffalo nickels, coins customised with engraving tools.

Modifying the relief designs on coins is a craft dating back to the 18th century and today modified coins are known colloquially as hobo nickels. In the United States, especially during the Great Depression, coin engraving on the large-faced Indian Head nickel became a way to help make ends meet. The craft continues today, and with modern equipment often produces stunning miniature sculptural artworks and floral scrollwork. During the mid-20th century, a renaissance in hand-engraving began to take place.

With the inventions of pneumatic hand-engraving systems that aided hand-engravers, the art and techniques of hand-engraving became more accessible. From 1860 to 1990 most printed music was produced through a combination of engraved master plates reproduced through offset lithography. The first comprehensive account is given by Mme Delusse in her article "Gravure en lettres, en géographie et en musique" in Diderot's Encyclopedia.

The technique involved a five-pointed raster to score staff lines, various punches in the shapes of notes and standard musical symbols, and various burins and scorers for lines and slurs. For correction, the plate was held on a bench by callipers, hit with a dot punch on the opposite side, and burnished to remove any signs of the defective work.

The process involved intensive pre-planning of the layout, and many manuscript scores with engraver's planning marks survive from the 18th and 19th centuries. By 1837 pewter had replaced copper as a medium, and Berthiaud gives an account with an entire chapter devoted to music (Novel manuel complet de l'imprimeur en taille douce, 1837). Printing from such plates required a separate inking to be carried out cold, and the printing press used less pressure. Generally, four pages of music were engraved on a single plate.

Because music engraving houses trained engravers through years of apprenticeship, very little is known about the practice. Fewer than one dozen sets of tools survive in libraries and museums. [9] By 1900 music engravers were established in several hundred cities in the world, but the art of storing plates was usually concentrated with publishers.

Extensive bombing of Leipzig in 1944, the home of most German engraving and printing firms, destroyed roughly half the world's engraved music plates. Ars moriendi engraving by Master ES, circa 1450. Examples of contemporary uses for engraving include creating text on jewellery, such as pendants or on the inside of engagement- and wedding rings to include text such as the name of the partner, or adding a winner's name to a sports trophy.

Another application of modern engraving is found in the printing industry. There, every day thousands of pages are mechanically engraved onto rotogravure cylinders, typically a steel base with a copper layer of about 0.1 mm in which the image is transferred. After engraving the image is protected with an approximately 6 µm chrome layer. Using this process the image will survive for over a million copies in high speed printing presses.

Engraving machines such as GUN BOW (one of the leading engraving brands) are the best examples of hand engraving tools, although this type of machine is typically not used for fine hand engraving. Some schools throughout the world are renowned for their teaching of engraving, like the École Estienne in Paris. Sudarium of Saint Veronica by Claude Mellan (1649), a famous showpiece where the image is formed by a single continuous line, starting on the tip of Christ's nose. In traditional engraving, which is a purely linear medium, the impression of half-tones was created by making many very thin parallel lines, a technique called hatching.

When two sets of parallel-line hatchings intersected each other for higher density, the resulting pattern was known as cross-hatching. Patterns of dots were also used in a technique called stippling, first used around 1505 by Giulio Campagnola. Claude Mellan was one of many 17th-century engravers with a very well-developed technique of using parallel lines of varying thickness (known as the "swelling line") to give subtle effects of tone (as was Goltzius) - see picture below. One famous example is his Sudarium of Saint Veronica (1649), an engraving of the face of Jesus made from a single spiraling line that starts at the tip of Jesus's nose.

The earliest allusion to engraving in the Bible may be the reference to Judah's seal ring (Ge 38:18), followed by (Ex 39.30). Engraving was commonly done with pointed tools of iron or even with diamond points. Each of the two onyx stones on the shoulder-pieces of the high priest's ephod was engraved with the names of six different tribes of Israel, and each of the 12 precious stones that adorned his breastpiece was engraved with the name of one of the tribes. The holy sign of dedication, the shining gold plate on the high priest's turban, was engraved with the words: Holiness belongs to Adonai. Bezalel, along with Oholiab, was qualified to do this specialized engraving work as well as to train others. Ex 35:30-35; 28:9-12; 39:6-14, 30.

See also: List of printmakers. St Michael Slaying the Dragon, 1584, Hieronymus Wierix.

Paulus Pontius (1603 - 1658). Don Quixote engraving by Paul Gustave Doré. Theodorus of Samos, Polycrates' gem-engraver. Nearby towns in Monroe County.

City Rochester (county seat) Towns Brighton Chili Clarkson East Rochester Gates Greece Hamlin Henrietta Irondequoit Mendon Ogden Parma Penfield Perinton Pittsford Riga Rush Sweden Webster Wheatland Villages Brockport Churchville East Rochester Fairport Hilton Honeoye Falls Pittsford Scottsville Spencerport Webster Census-designated places Brighton Clarkson Gates Greece Hamlin Irondequoit North Gates Hamlets Adams Basin Garbutt Gates Center Mumford Union Hill. This item is in the category "Collectibles\Advertising\Merchandise & Memorabilia\Victorian Trade Cards\Other Victorian Trade Cards". The seller is "dalebooks" and is located in this country: US. This item can be shipped worldwide.

Type of Advertising: Card
Modified Item: No
Country/Region of Manufacture: United States
Date of Creation: 1895
Color: Multi-color