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Seeing in Different Ways: A Liz Magor Backpack Project
Seeing in Different Ways:
A Liz Magor Backpack Project

Why Paper Discolours (Part 2)
Why Paper Discolours (Part 2)

Why Paper Discolours (Part 1)
Why Paper Discolours (Part 1)

Mending a Tear in an Aboriginal Drum
Mending a Tear in an Aboriginal Drum

Distortions and Dimensional Changes
in Paper (Part 3)
Distortions and Dimensional Changes
in Paper (Part 3)

Distortions and Dimensional Changes
in Paper (Part 2)

Distortions and Dimensional Changes
in Paper (Part 1)

After treatment
Oscar Cahén: Innovative Conservation
for an Innovative Artist

Rigid Water Gels: New Treatment Options for Paper Conservators

Structural Remedies for Canvas Paintings

Organizing and Preserving Collections - Part 4: Digital-based Material

Organizing and Preserving Collections - Part 3: Photo-based Material

Organizing and Preserving Collections - Part 2: Paper-based Material

First Steps
Organizing and Preserving Collections - Part 1: The First Steps

Natural Dyes
The Use of Natural Dyes in Textile Conservation

A Relocation Project

Challenges of Preserving Contemporary Artwork

Preserve Your Investment through Art Conservation

A Project Completed: Heritage Preserved

Old and New Methods for Cleaning Paintings

I Can See Clearly Now – Or Can I? Part 2

I Can See Clearly Now – Or Can I?

The E.J. Hughes Mural: An Expanded Project

Is She or Is She Not an Emily

Treating Art with Sensitive Media

Malaspina Mural: An Update

For the Artist: Testing Your Materials

Conservator as Art Historian

Alum Sizing and the Art of W.J. Phillips

Treatment of an Elizabeth Keith Wood Block Print

Structural Treatment of an Emily Carr

The Treatment of a Monumental Wall Hanging

Changing Images

Preserving a Rare Record

Gold Leaf: Imitation and Genuine

The Case Against Canvas Backings

Heritage Colours: Research Discovers Original Colours

Lighting Your Art: Balancing Seeing and Protecting

The Double-Sided Emily Carr Painting

Choosing a Period Picture Frame

How to Identify a Picture Frame

Stretching Canvas and Restretching Artwork

Mounting Textiles

Aging Paintings:
Some Causes and Effects

Chine Collé Prints

What's Your Favourite Color?

Backing Removals

Rips, Holes and Tears

Filling in the Gaps

DIY – Preventative Care of Paintings

Frame it Right

Fire, Water and Smoke-Damaged Paintings

Inherent Vice

Saturated Problems:
A Water-Damaged Painting

Moldy Paper

Conserving Time

Conserving Paper: Dos and Don'ts

Repair of Textiles

Conserving Wood

Rescuing Endangered Murals

Repairing Acid-Matte Burn

Art Services & Materials
Exhibition Openings & Events

Conservation Corner Back

Seeing Color/Printing Color: A Review

by Rebecca Pavitt

William Blake, Plate 2, Jerusalem the Emanation of the Giant Albion (1804-1820), relief etching with watercolour additions

William Blake, Plate 2, Jerusalem the Emanation of the Giant Albion (1804-1820), relief etching with watercolour additions

In October 2013, it was my pleasure to attend the American Printing History Association’s 38th annual conference Seeing Color/Printing Color. The sum of these presentations gave a sweeping overview of the history of colour printing, highlighted by details. What follows is a brief and necessarily incomplete summary of information presented. Further information about the conference, speakers and presentations can be found on APHA’s website.

Before the 19th century, colour printing was rare and, for the most part, restricted to red embellishments on black text and prints via frisket or stencil. In the early to mid-18th century, some medical and botanical prints were printed in colour, but it was not until the 19th century that colour printing came of age.

Multi-coloured etchings were built up layer by layer by printing successive plates onto the paper. Aquatint and mezzotint etching plates allowed continuous colour tones; single hand-painted plates also allowed multiple colours to be printed. Hand-coloured details were sometimes added to the image after printing. Robert John Thornton’s Temple of Flora and William Blake’s epic Jerusalem are examples of the creative possibilities being explored.

Newly invented lithography opened further avenues of colour printing and was sometimes used in conjunction with the older intaglio methods, as exemplified by the Baxter print.

Labour-intensive art prints, usually in runs of 200 or less, could result in financial ruin for the artist publisher, but labour-un-intensive, commercial book publications could make fortunes. Under the leadership of John McLoughlin, McLoughlin Bros.’ picture books were wildly successful because he kept pace with developing chromolithic printing technologies and was, in the manner of Disney, an inspired marketer: “Childhood Looks for McLoughlin Books.”

Colour printing was not limited to illustrations. Chromatic wood type used two woodblocks to create 3-D effects with up to four colours. William Page’s 1874 specimen catalogue of types and borders is a psychedelic tour de force.

Artists designed their original work while keeping in mind the qualities of the technology with which it would be reproduced. Trichromate halftone photographic printing was developed with the goal of laying each colour “so subtly that the method is unidentifiable” (Joseph Pennel, Modern Illustration). It was used to reproduce the work of Maxfield Parrish, Beatrix Potter and Arthur Rackham. Rackham was so enamoured of trichromate’s qualities that he insisted on its use long after the ascendancy of four-colour printing.

Stencilling in the 20th century was used to illustrate limited edition fine press books because it made these small runs affordable. The aesthetic of the stencil was also appreciated in its own right (think Matisse), with original stencil art being reproduced by offset lithography.

Stencilling can be manipulated by hand techniques (shading, stippling) to produce very subtle effects. Nowhere was this done with such success as at Trianon Press under the leadership of Arnold Fawcus. Using stencil over collotype, Trianon printers worked with contemporary artists such as Duchamp, Chagall and Shahn to reproduce original artworks and create livres d’artistes. Trianon Press also reproduced the work of deceased artists so they were preserved for posterity. Coming full circle, one of Trianon’s most famous publications was the reproduction of the last extant coloured copy of visionary poet and pioneer colour printer Blake’s Jerusalem.

Previously: Graffiti and Public Art
Next issue: Oscar Cahén, Painters Eleven, Materials, Techniques and Treatments


 Fri, Oct 10, 2014