Thank you for being excited about what you're talking about in a genuine way! It really encourages those watching you to have the same attitude! Very captivating.
Thank you so much for this! I was super confused when trying to understand print making art style thru other sources. I need to make a PowerPoint presentation on this topic and this video is perfect as a source. Amazing video!
I discovered this video tonight, just because I've been tempted on giving a new artistry a try at my college such as printmaking. also because a digital art professor of mine at my college also recommended it on giving it a try once. Ya make it sound really fun and I might give it a try sometime to boost my artistry to co-exist with my painting.
There are four basic types of printmaking relief, intaglio, lithography, and silkscreen Relief printmaking is when you make a print from some kind of raised surface like a shoe pressing on concrete The intaglio process describes prints that are made by cutting the lines of an image Into the surface of a smooth sheet of metal to make a print ink pushed into these incised lines and then the whole surface is wiped clean so that only the areas with ink are in the lines of the design the plate is then pressed Into a wet sheet of papare transferring the inked design onto the paper Lithography is a little different in that no incisions are made into the surface this proc process works on the principle that grease attracts grease, but he repels water Silk screen or screen print is a type of stencil printing process the artist makes a stencil of the design place. Is it under a sheet of silk, and then uses a squeegee to spray the ink over the stencil and onto the surface below
Thank you!! This is a great overview video to show my elementary students about printmaking. It would have been perfect without the brief nudity, but I can stop it before it gets there. The enthusiasm is great and I think it will help my students get excited about printmaking!
I think what you should have said was… @@elrerex255 Metallographic impression is more likely to turn out to be the direct ancestor of typography, although the record is far from clear. Several medieval craft guilds, notably the metal founders, the die-cutters, and goldsmiths and silversmiths, were familiar with the technique of using dies. Masters of this technique apparently realized that it could be applied to a process that would enable texts to be set in relief more quickly than by carving wood blocks, probably in three steps: (1) a set of dies, each bearing a letter of the alphabet, was engraved in brass or bronze; (2) using these dies, the text was struck letter by letter to form a mold on the surface of a matrix of clay or of a soft metal such as lead; (3) lead was then poured over the surface to form a small plate that, once hardened, would bear the text in relief. The theoretical advantages of this process were that only one engraving per letter, that of the die, was required to make the letter as often as desired, and any two examples of the same letter would be identical, since they came from a single die; sinking the matrix and casting the lead were rapid operations; the lead had better durability than wood; and by casting several plates from the same matrix the number of copies printed could be rapidly increased. Metallographic printing appears to have been practiced in Holland around 1430 and next in the Rhineland. Gutenberg used it in Strassburg (now Strasbourg, France) between 1434 and 1439. But the experiments were not followed up because of problems created by the cast plates. It was difficult to strike each letter die with the same force and to keep a regular alignment, and, worse, each strike tended to deform the adjacent letter. It may well be that the major value of metallographic printing was that it associated the idea of the die, the matrix, and cast lead. The invention of typography-Gutenberg (1450?) This association of die, matrix, and lead in the production of durable typefaces in large numbers and with each letter strictly identical, was one of the two necessary elements in the invention of typographic printing in Europe. The second necessary element was the concept of the printing press itself, an idea that had never been conceived in the Far East. Johannes Gutenberg is generally credited with the simultaneous discovery of both these elements, though there is some uncertainty about it, and disputes arose early to cloud the honour. It is true that his signature does not appear on any printed work. If masterpieces such as the Forty-two-Line Bible of 1455 rather than the imperfect products of a nascent typography such as the donats of 1445 or the “Astronomic Calendar” of 1447-48 are attributed to him, this is because of deduction and historical and technical cross-checking. The basic assumption is that, since Gutenberg was by profession a silversmith, he would have retained the role of designer in an association set up at Mainz, Germany, with the businessman Johann Fust and Fust’s future son-in-law the calligrapher Peter Schöffer. The assumption is based solely on the interpretation of obscure aspects of a lawsuit that Gutenberg lost against his associates in 1455. Apart from chronicles, all published after his death, that attributed the invention of printing to him, probably the most convincing argument in favour of Gutenberg comes from his chief detractor, Johann Schöffer, the son of Peter Schöffer and grandson of Johann Fust. Though Schöffer claimed from 1509 on that the invention was solely his father’s and grandfather’s, the fact is that in 1505 he had written in a preface to an edition of Livy that “the admirable art of typography was invented by the ingenious Johan Gutenberg at Mainz in 1450.” It is assumed that he had inherited this certainty from his father, and it is hard to see how a new element could have persuaded him to the contrary after 1505, since Johann Fust died in 1466 and Peter Schöffer in 1502. The first pieces of type appear to have been made in the following steps: a letter die was carved in a soft metal such as brass or bronze; lead was poured around the die to form a matrix and a mold into which an alloy, which was to form the type itself, was poured. Spectroscopic analyses of early type pieces reveal that the alloy used was a mix of lead, tin, and antimony-the same components used today: tin, because lead alone would have oxidized rapidly and in casting would have deteriorated the lead mold matrices; antimony, because lead and tin alone would have lacked durability. It was probably Peter Schöffer who, around 1475, thought of replacing the soft-metal dies with steel dies, in order to produce copper letter matrices that would be reliably identical. Until the middle of the 19th century, type generally continued to be made by craftsmen in this way. The typographer’s work was from the beginning characterized by four operations: (1) taking the type pieces letter by letter from a typecase; (2) arranging them side by side in a composing “stick,” a strip of wood with corners, held in the hand; (3) justifying the line; that is to say, spacing the letters in each line out to a uniform length by using little blank pieces of lead between words; and (4), after printing, distributing the type, letter by letter, back in the compartments of the typecase. The Gutenberg press Documents of the period, including those relating to a 1439 lawsuit in connection with Gutenberg’s activities at Strassburg, leave scarcely any doubt that the press has been used since the beginning of printing. Perhaps the printing press was first just a simple adaptation of the binding press, with a fixed, level lower surface (the bed) and a movable, level upper surface (the platen), moved vertically by means of a small bar on a worm screw. The composed type, after being locked by ligatures or screwed tight into a right metal frame (the form), was inked, covered with a sheet of paper to be printed, and then the whole pressed in the vise formed by the two surfaces. This process was superior to the brushing technique used in wood-block printing in Europe and China because it was possible to obtain a sharp impression and to print both sides of a sheet. Nevertheless, there were deficiencies: it was difficult to pass the leather pad used for inking between the platen and the form; and, since several turns of the screw were necessary to exert the required pressure, the bar had to be removed and replaced several times to raise the platen sufficiently to insert the sheet of paper. It is generally thought that the printing press acquired its principal functional characteristics very early, probably before 1470. The first of these may have been the mobile bed, either on runners or on a sliding mechanism, that permitted the form to be withdrawn and inked after each sheet was printed. Next, the single thread of the worm screw was replaced with three or four parallel threads with a sharply inclined pitch so that the platen could be raised by a slight movement of the bar. This resulted in a decrease in the pressure exerted by the platen, which was corrected by breaking up the printing operation so that the form was pushed under the press by the movable bed so that first one half and then the other half of the form was utilized. This was the principle of printing “in two turns,” which would remain in use for three centuries. Improvements after Gutenberg Several of the many improvements in the screw printing press over the next 350 years were of significance. About 1550 the wooden screw was replaced by iron. Twenty years later, innovators added a double-hinged chase consisting of a frisket, a piece of parchment cut out to expose only the actual text itself and so to prevent ink spotting the nonprinted areas of the paper, and a tympan, a layer of a soft, thick fabric to improve the regularity of the pressure despite irregularities in the height of the type. About 1620 Willem Janszoon Blaeu in Amsterdam added a counterweight to the pressure bar in order to make the platen rise automatically; this was the so-called Dutch press, a copy of which was to be the first press introduced into North America, by Stephen Daye at Cambridge, Massachusetts in 1639. About 1790 an English scientist and inventor, William Nicholson, devised a method of inking using a cylinder covered with leather (later with a composition of gelatin, glue, and molasses), the first introduction of rotary movement into the printing process. The metal press (1795) The first all-metal press was constructed in England in about 1795. Some years later a mechanic in the United States built a metal press in which the action of the screw was replaced by that of a series of metal joints. This was the “Columbian,” which was followed by the “Washington” of Samuel Rust, the apogee of the screw press inherited from Gutenberg; its printing capacity was about 250 copies an hour.
@@1Ma9iN8tive ? I do not get the purpose of your copy/pasted text. Muslims were using xylography much before Gutenberg, we all agree on that. But I find inacurate the shortcut that was made between printing, reproducing a text or an image, and Gutenberg's typography who was working on a technique regarding the reproduction of text caracters. Chinese and coreans, though, were using this method of mobile caracters before Gutenberg.
@@elrerex255 You’re right … you do not get the point I can only provide the information - I can not then proceed to understand the information for you Gutenberg was not a xylographer - read the information … he invented the Gutenberg press … Stating this in no way impacts on Muslim xylography nor diminished that fact You sir are crying like a child over non existent issues - please grow up and go live a life worthy of humanity instead of picking fights you can’t win
