Showing papers on "Lithography published in 1971"

Crosslinked resin overcoated electrophotographic elements useful in lithography

Abstract: Electrophotographic elements are provided with a conversion-free overcoat of a layer comprising a cross-linkable polymer and a crosslinking agent therefor. These elements are useful as lithographic printing masters without the need for a separate conversion step after development.

Apparatus for printing by reverse lithography

Abstract: A reverse lithographic printing apparatus incorporating a combined inking and fountain roller is disclosed. A watermiscible ink is applied to the surface of an oil loaded, porous inking roller. A mixture of ink and oil is formed which is applied to the printing master. The oil selectively deposits on the oleophilic background portion of the master while the watermiscible ink selectively deposits on the image areas.

Lithography as a Democratic Art: A Reappraisal

Abstract: The author points out that the development of lithographic technology falls into three periods: (1) 1800 to 1820—European artists learned the characteristics of the medium, with little thought to creating a popular or democratic art, a good method of preparing and inking stones was found by Senefelder in Bavaria, and at the end of the period his method was introduced to America; (2) 1820 to 1855—artists and businessmen tried to use lithography to reach all the people, Americans followed the European lead but presses were too slow for large production of prints and (3) 1855 to 1890—Americans successfully applied their inventive abilities to the development of steam-operated automatic presses but lithography became a medium for American business and ‘artistic’ emphasis vanished. Throughout all three periods the debt of America to Europe was immense, for the lithographic craft was essentially developed in Germany, France and England, ‘artistic’ and popular prints produced by American lithographic companies in the nineteenth century seem native to America and it is often difficult to see them as products of European technology. L’auteur montre que le développement de la lithographie se divise en trois périodes: (1) de 1800 à 1820 les artistes européens s’initient aux caractéristiques de cette technique et ne pensent guère à créer un art populaire et démocratique, en Bavière, Senefelder découvre une bonne méthode pour preparer et encrer la pierre et, à la fin de la période considérée, cette méthode est introduite en Amérique; (2) de 1820 à 1855, les artistes et les hommes d’affaires essaient de se servir de la lithographie pour toucher les masses, les Américains suivent les traces des Européens mais le travail à la presse est trop lent pour obtenir une grande production; et (3) de 1855 à 1890 les Américains utilisent avec succès leurs capacités d’invention pour développer les presses automatiques à vapeur, mais la lithographie devient un moyen au service du commerce américain et la qualité artistique disparait. Pendant ces trois périodes, la dette de l’Amérique envers l’Europe est immense car l’art de la lithographie s’est developpé surtout en Allemagne en France et en Angleterre. Les lithographies ‘artistiques’ et populaires qui sortent des presses américaines au dix-neuvième siècle semblent être d’origine américaine et il est souvent difficile de les reconnaître comme des produits de la technologie européenne.

Light-sensitive mixed esters of polyvinyl alcohol

Abstract: LIGHT-SENSITIVE FILM FORMING POLYMERS ARE DISCLOSED WHICH COMPRISE RECURRING UNITS OF BENZOATE- AND FUROATE-ESTERIFIED POLYVINYL ALCOHOL AS WELL AS THEIR UTILIZATION AS PHOTOGRAPHIC RESIST MATERIALS AND PRINTING PLATES FOR LITHOGRAPHY.