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colour prints

  • 1 colour comparator prints

    Универсальный англо-русский словарь > colour comparator prints

  • 2 Bang-Thro Prints

    A term given to a style of designs printed so heavily that both design and colour show on the back as well as on the face. The copper roller is cut deeper than for ordinary printing in order to take up more colour. The illustration is an example (see also Pushing)

    Dictionary of the English textile terms > Bang-Thro Prints

  • 3 Discharge Prints

    These are fabrics that are first dyed in a solid colour, such as blue, dried without fixing the colour, then passed through a printing machine and printed with a chemical substance which acting upon the dye discharges or clears it from the fabric. When finished the cloth will have white figuring on a blue ground.

    Dictionary of the English textile terms > Discharge Prints

  • 4 Fayence Prints

    A cotton fabric printed with indigo blue paste. The colour is mixed with other material into a paste and the cloth printed with the mixture. The fabric is then treated in some alkaline solution which fixes the blue colour. The cloth is made about 72 ends and 76 picks per inch, 32's T., 36's W.

    Dictionary of the English textile terms > Fayence Prints

  • 5 Cohras Prints

    Native-made coloured cotton cloth on which a design is printed with wax, when dyed the wax resists the colour and only the unwaxed ground is coloured. The wax is afterwards removed, giving a white pattern on a coloured ground.

    Dictionary of the English textile terms > Cohras Prints

  • 6 Fukiye Prints

    These fabric pictures were produced in the 18th century by the Japanese. The cloth was resist printed with some wax or other substance and the colour was blown on to the parts not bearing the resist through a brass funnel. This method of ornamenting fabric is said to have been copied from the Chinese.

    Dictionary of the English textile terms > Fukiye Prints

  • 7 Intaglio Prints

    This term is used to describe fabrics with painted designs such as awning. The colour are pigments mixed with varnish, and a thinning liquid reduces the mixture to the right consistency.

    Dictionary of the English textile terms > Intaglio Prints

  • 8 Ives, Frederic Eugene

    [br]
    b. 17 February 1856 Litchfield, Connecticut, USA
    d. 27 May 1937 Philadelphia, Pennsylvania, USA
    [br]
    American printer who pioneered the development of photomechanical and colour photographic processes.
    [br]
    Ives trained as a printer in Ithaca, New York, and became official photographer at Cornell University at the age of 18. His research into photomechanical processes led in 1886 to methods of making halftone reproduction of photographs using crossline screens. In 1881 he was the first to make a three-colour print from relief halftone blocks. He made significant contributions to the early development of colour photography, and from 1888 he published and marketed a number of systems for the production of additive colour photographs. He designed a beam-splitting camera in which a single lens exposed three negatives through red, green and blue filters. Black and white transparencies from these negatives were viewed in a device fitted with internal reflectors and filters, which combined the three colour separations into one full-colour image. This device was marketed in 1895 under the name Kromskop; sets of Kromograms were available commercially, and special cameras, or adaptors for conventional cameras, were available for photographers who wished to take their own colour pictures. A Lantern Kromskop was available for the projection of Kromskop pictures. Ives's system enjoyed a few years of commercial success before simpler methods of making colour photographs rendered it obsolete. Ives continued research into colour photography; his later achievements included the design, in 1915, of the Hicro process, in which a simple camera produced sets of separation negatives that could be printed as dyed transparencies in complementary colours and assembled in register on paper to produce colour prints. Later, in 1932, he introduced Polychrome, a simpler, two-colour process in which a bipack of two thin negative plates or films could be exposed in conventional cameras. Ives's interest extended into other fields, notably stereoscopy. He developed a successful parallax stereogram process in 1903, in which a three-dimensional image could be seen directly, without the use of viewing devices. In his lifetime he received many honours, and was a recipient of the Royal Photographic Society's Progress Medal in 1903 for his work in colour photography.
    [br]
    Further Reading
    B.Coe, 1978, Colour Photography: The First Hundred Years, London J.S.Friedman, 1944, History of Colour Photography, Boston. G.Koshofer, 1981, Farbfotografie, Vol. I, Munich.
    BC

    Biographical history of technology > Ives, Frederic Eugene

  • 9 print ****

    [prɪnt]
    1. n
    1) (mark, imprint: of foot, tyre, finger) impronta
    2) (typeface, characters) caratteri mpl, (printed matter) stampa

    that book is in/out of print — quel libro è disponibile/esaurito

    to see o.s. in print — vedere il proprio nome stampato

    in small/large print — stampato (-a) a caratteri piccoli/grandi

    3) (fabric) (tessuto) stampato
    4) Art stampa, Phot fotografia

    colour prints — foto fpl a colori

    2. vt
    1) Typ Textiles Phot stampare, (fig: on memory) imprimere
    2) (publish) pubblicare, stampare
    3) (write in block letters) scrivere in stampatello
    •

    English-Italian dictionary > print ****

  • 10 Baxter, George

    SUBJECT AREA: Paper and printing
    [br]
    b. 31 July 1804 Lewes, Sussex, England
    d. 11 January 1867 Sydenham, London, England
    [br]
    English pioneer in colour printing.
    [br]
    The son of a printer, Baxter was apprenticed to a wood engraver and there began his search for improved methods of making coloured prints, hitherto the perquisite of the rich, in order to bring them within reach of a wider public. After marriage to the daughter of Robert Harrild, founder of the printing firm of Harrild \& Co., he set up house in London, where he continued his experiments on colour while maintaining the run-of-the-mill work that kept the family.
    The nineteenth century saw a tremendous advance in methods of printing pictures, produced as separate prints or as book illustrations. For the first three decades colour was supplied by hand, but from the 1830s attempts were made to print in colour, using a separate plate for each one. Coloured prints were produced by chromolithography and relief printing on a small scale. Prints were first made with the latter method on a commercial scale by Baxter with a process that he patented in 1835. He generally used a key plate that was engraved, aquatinted or lithographed; the colours were then printed separately from wood or metal blocks. Baxter was a skilful printer and his work reached a high standard. An early example is the frontispiece to Robert Mudie's Summer (1837). In 1849 he began licensing his patent to other printers, and after the Great Exhibition of 1851 colour relief printing came into its own. Of the plethora of illustrated literature that appeared then, Baxter's Gems of the Great Exhibition was one of the most widely circulated souvenirs of the event.
    Baxter remained an active printer through the 1850s, but increasing competition from the German coloured lithographic process undermined his business and in 1860 he gave up the unequal struggle. In May of that year, all his oil pictures, engravings and blocks went up for auction, some 3,000 lots altogether. Baxter retired to Sydenham, then a country place, making occasional visits to London until injuries sustained in a mishap while he was ascending a London omnibus led to his death. Above all, he helped to initiate the change from the black and white world of pre-Victorian literature to the riotously colourful world of today.
    [br]
    Further Reading
    C.T.Courtney Lewis, 1908, George Baxter, the Picture Printer, London: Sampson Lowe, Marsden (the classic account).
    M.E.Mitzmann, 1978, George Baxter and the Baxter Prints, Newton Abbot: David \& Charles.
    LRD

    Biographical history of technology > Baxter, George

  • 11 Ducos du Hauron, Arthur-Louis

    [br]
    b. 1837 Langon, Bordeaux, France
    d. 19 August 1920 Agen, France
    [br]
    French scientist and pioneer of colour photography.
    [br]
    The son of a tax collector, Ducos du Hauron began researches into colour photography soon after the publication of Clerk Maxwell's experiment in 1861. In a communication sent in 1862 for presentation at the Académie des Sciences, but which was never read, he outlined a number of methods for photography of colours. Subsequently, in his book Les Couleurs en photographie, published in 1869, he outlined most of the principles of additive and subtractive colour photography that were later actually used. He covered additive processes, developed from Clerk Maxwell's demonstrations, and subtractive processes which could yield prints. At the time, the photographic materials available prevented the processes from being employed effectively. The design of his Chromoscope, in which transparent reflectors could be used to superimpose three additive images, was sound, however, and formed the basis of a number of later devices. He also proposed an additive system based on the use of a screen of fine red, yellow and blue lines, through which the photograph was taken and viewed. The lines blended additively when seen from a certain distance. Many years later, in 1907, Ducos du Hauron was to use this principle in an early commercial screen-plate process, Omnicolore. With his brother Alcide, he published a further work in 1878, Photographie des Couleurs, which described some more-practical subtractive processes. A few prints made at this time still survive and they are remarkably good for the period. In a French patent of 1895 he described yet another method for colour photography. His "polyfolium chromodialytique" involved a multiple-layer package of separate red-, green-and blue-sensitive materials and filters, which with a single exposure would analyse the scene in terms of the three primary colours. The individual layers would be separated for subsequent processing and printing. In a refined form, this is the principle behind modern colour films. In 1891 he patented and demonstrated the anaglyph method of stereoscopy, using superimposed red and green left and right eye images viewed through green and red filters. Ducos du Hauron's remarkable achievement was to propose theories of virtually all the basic methods of colour photography at a time when photographic materials were not adequate for the purpose of proving them correct. For his work on colour photography he was awarded the Progress Medal of the Royal Photographic Society in 1900, but despite his major contributions to colour photography he remained in poverty for much of his later life.
    [br]
    Further Reading
    B.Coe, 1978, Colour Photography: The First Hundred Years, London. J.S.Friedman, 1944, History of Colour Photography, Boston. E.J.Wall, 1925, The History of Three-Colour Photography, Boston. See also Cros, Charles.
    BC

    Biographical history of technology > Ducos du Hauron, Arthur-Louis

  • 12 print

    1. noun
    1) (impression) Abdruck, der; (fingerprint) Fingerabdruck, der
    2) (printed lettering) Gedruckte, das; (typeface) Druck, der

    clear/large print — deutlicher/großer Druck

    editions in large print — Großdruckbücher; see also academic.ru/68194/small_print">small print

    3) (published or printed state)

    be in/out of print — [Buch:] erhältlich/vergriffen sein

    4) (printed picture or design) Druck, der
    5) (Photog.) Abzug, der; (Cinemat.) Kopie, die
    6) (Textiles) (cloth with design) bedruckter Stoff
    2. transitive verb
    1) drucken [Buch, Zeitschrift, Geldschein usw.]
    2) (write) in Druckschrift schreiben
    3) (cause to be published) veröffentlichen [Artikel, Roman, Ansichten usw.]
    4) (Photog.) abziehen; (Cinemat.) kopieren
    5) (Textiles) bedrucken [Stoff]
    Phrasal Verbs:
    * * *
    [print] 1. noun
    1) (a mark made by pressure: a footprint; a fingerprint.) der Abdruck
    2) (printed lettering: I can't read the print in this book.) der Druck
    3) (a photograph made from a negative: I entered three prints for the photographic competition.) der Abzug
    4) (a printed reproduction of a painting or drawing.) der Druck
    2. verb
    1) (to mark (letters etc) on paper (by using a printing press etc): The invitations will be printed on white paper.) drucken
    2) (to publish (a book, article etc) in printed form: His new novel will be printed next month.) drucken
    3) (to produce (a photographic image) on paper: He develops and prints his own photographs.) abziehen
    4) (to mark designs on (cloth etc): When the cloth has been woven, it is dyed and printed.) bedrucken
    5) (to write, using capital letters: Please print your name and address.) in Druckbuchstaben schreiben
    •
    - printer
    - printing
    - printing-press
    - print-out
    - in / out of print
    * * *
    [prɪnt]
    I. n
    1. (lettering) Gedruckte(s) nt
    bold \print Fettdruck m
    in large \print in Großschrift
    the small [or fine] \print das Kleingedruckte
    to write sth in \print etw in Druckschrift schreiben
    2. no pl (printed form) Druck m
    to appear in \print veröffentlicht [o gedruckt] werden
    to be in/out of \print erhältlich/vergriffen sein
    to get into \print erscheinen, gedruckt werden
    to go out of \print nicht mehr gedruckt [o aufgelegt] werden
    to put sth into \print etw in Druck geben
    to rush sth into \print etw schnell veröffentlichen
    3. (printed media)
    ▪ the \prints pl die Presse kein pl
    ▪ in \print in der Presse
    4. (photo) Abzug m, Kopie f; (film) Kopie f; (reproduction) Kopie f; (copy of artwork) Druck m
    5. (pattern) [Druck]muster nt
    floral \print Blumenmuster nt
    6. (footprint) Fußabdruck m; ( fam: fingerprint) Fingerabdruck m
    to leave \prints Fingerabdrücke hinterlassen
    to take sb's \prints jds Fingerabdrücke nehmen
    II. n modifier (concerning media) (industry, sales, worker) Druck-
    \printmaker Grafiker(in) m(f)
    \print scandal Presseskandal m
    \print union Druckergewerkschaft f
    III. vt
    ▪ to \print sth
    1. TYPO etw drucken
    to \print a magazine/newspaper eine Zeitschrift/Zeitung herausgeben
    2. PUBL etw veröffentlichen; (in magazine, newspaper) etw abdrucken
    to be \printed in hardback in gebundener Ausgabe erscheinen
    to \print a special issue eine Sonderausgabe herausbringen
    to \print only lies nur Lügen drucken
    to \print the truth about sb/sth die Wahrheit über jdn/etw veröffentlichen
    3. COMPUT etw ausdrucken
    4. PHOT etw abziehen, von etw dat einen Abzug machen
    5. (on fabric) etw bedrucken
    \printed by hand handbedruckt
    to \print a pattern on sth etw mit einem Muster bedrucken, ein Muster auf etw akk [auf]drucken
    6. (write by hand) etw in Druckschrift [o Druckbuchstaben] schreiben
    please \print your name below your signature schreiben Sie bitte ihren Namen in Druckbuchstaben unter ihre Unterschrift
    IV. vi
    1. (be in preparation) sich akk im Druck befinden
    the book is \printing das Buch ist im Druck
    2. (make copy) drucken
    to \print in black and white/colour in schwarzweiß/Farbe drucken
    3. (write in unjoined letters) in Druckschrift [o Druckbuchstaben] schreiben
    to \print clearly/sloppily deutlich/unleserlich schreiben
    * * *
    [prɪnt]
    1. n
    1) (= typeface, characters) Schrift f; (= printed matter) Gedruckte(s) nt

    he'll never get into print — er wird nie etwas veröffentlichen

    See:
    → also small print
    2) (= picture) Druck m
    3) (PHOT) Abzug m, Kopie f; (of cinema film) Kopie f
    4) (= fabric) bedruckter Stoff; (= cotton print) Kattun m; (= dress) bedrucktes Kleid; (of cotton) Kattunkleid nt
    5) (= impression of foot, hand etc) Abdruck m

    a thumb/paw print — ein Daumen-/Pfotenabdruck m

    2. vt
    1) book, design, money drucken; (COMPUT) (aus)drucken; fabric bedrucken
    2) (= publish) story, picture veröffentlichen
    3) (= write in block letters) in Druckschrift schreiben
    4) (PHOT) abziehen
    5)
    3. vi

    ready to print (book) — druckfertig; machine druckbereit

    2) (= write in block letters) in Druckschrift schreiben
    * * *
    print [prınt]
    A v/t
    1. drucken (lassen), in Druck geben:
    print in italics kursiv drucken;
    print waste makulieren
    2. ein Buch etc verlegen, herausgeben
    3. (ab)drucken:
    printed form Vordruck m, Formular n;
    printed matter, printed paper(s pl) Postwesen: Drucksache(n) f(pl);
    printed circuit ELEK gedruckter Schaltkreis
    4. bedrucken:
    printed (wall)paper bedruckte Tapete(n pl);
    printed goods Druckstoffe
    5. in Druckschrift schreiben:
    printed characters Druckbuchstaben
    6. einen Stempel etc aufdrücken (on dat), drücken (on auf akk), einen Eindruck, eine Spur hinterlassen (on auf dat), ein Muster etc ab-, aufdrucken, drücken (in in akk)
    7. print itself sich einprägen (on sb’s mind jemandem)
    a) auch print off FOTO abziehen, kopieren
    b) COMPUT ausdrucken
    B v/i
    1. drucken:
    a) Bücher etc verlegen oder veröffentlichen
    b) Abdrucke machen
    c) Drucker(in) sein
    2. gedruckt werden, sich im Druck befinden:
    3. in Druckschrift schreiben
    4. a) sich drucken lassen
    b) FOTO sich abziehen lassen:
    print badly schlechte Abzüge liefern
    C s
    1. TYPO Druck m:
    a) im Druck (erschienen),
    b) vorrätig (Buch);
    out of print vergriffen
    2. TYPO Druck m (Schriftart): → cold A 4 b
    3. Druckschrift f, -buchstaben pl
    4. Drucksache f, -schrift f, besonders US Zeitung f, Blatt n:
    daily prints bes US Tageszeitungen;
    the prints pl bes US die Presse;
    rush into print sich in die Öffentlichkeit flüchten;
    appear in print im Druck erscheinen
    5. Aufdruck m
    6. Druck m (Bild etc)
    7. Druck m:
    a) (Stahl-, Kupfer) Stich m, Radierung f
    b) Holzschnitt m
    c) Lithografie f
    8. Zeitungspapier n
    9. (etwas) Geformtes, Stück n (geformte) Butter
    10. (Finger- etc) Abdruck m, Eindruck m, Spur f:
    prints of steps Fußspuren oder -(s)tapfen;
    print of a fox Fuchsfährte f
    11. Druckmuster n
    12. bedruckter Kattun, Druckstoff m:
    print dress Kattunkleid n
    13. FOTO Abzug m, Kopie f
    14. Lichtpause f
    15. TECH
    a) Stempel m, Form f:
    print cutter Formenschneider m
    b) (Butter- etc) Form f, (-)Model m
    c) Gesenk n (zum Formen von Metall)
    * * *
    1. noun
    1) (impression) Abdruck, der; (fingerprint) Fingerabdruck, der
    2) (printed lettering) Gedruckte, das; (typeface) Druck, der

    clear/large print — deutlicher/großer Druck

    editions in large print — Großdruckbücher; see also small print

    be in/out of print — [Buch:] erhältlich/vergriffen sein

    5) (Photog.) Abzug, der; (Cinemat.) Kopie, die
    6) (Textiles) (cloth with design) bedruckter Stoff
    2. transitive verb
    1) drucken [Buch, Zeitschrift, Geldschein usw.]
    2) (write) in Druckschrift schreiben
    3) (cause to be published) veröffentlichen [Artikel, Roman, Ansichten usw.]
    4) (Photog.) abziehen; (Cinemat.) kopieren
    5) (Textiles) bedrucken [Stoff]
    Phrasal Verbs:
    * * *
    n.
    Druck -e m.
    Fotoabzug m. v.
    drucken v.

    English-german dictionary > print

  • 13 Lumière, Auguste

    [br]
    b. 19 October 1862 Besançon, France
    d. 10 April 1954 Lyon, France
    [br]
    French scientist and inventor.
    [br]
    Auguste and his brother Louis Lumière (b. 5 October 1864 Besançon, France; d. 6 June 1948 Bandol, France) developed the photographic plate-making business founded by their father, Charles Antoine Lumière, at Lyons, extending production to roll-film manufacture in 1887. In the summer of 1894 their father brought to the factory a piece of Edison kinetoscope film, and said that they should produce films for the French owners of the new moving-picture machine. To do this, of course, a camera was needed; Louis was chiefly responsible for the design, which used an intermittent claw for driving the film, inspired by a sewing-machine mechanism. The machine was patented on 13 February 1895, and it was shown on 22 March 1895 at the Société d'Encouragement pour l'In-dustrie Nationale in Paris, with a projected film showing workers leaving the Lyons factory. Further demonstrations followed at the Sorbonne, and in Lyons during the Congrès des Sociétés de Photographie in June 1895. The Lumières filmed the delegates returning from an excursion, and showed the film to the Congrès the next day. To bring the Cinématographe, as it was called, to the public, the basement of the Grand Café in the Boulevard des Capuchines in Paris was rented, and on Saturday 28 December 1895 the first regular presentations of projected pictures to a paying public took place. The half-hour shows were an immediate success, and in a few months Lumière Cinématographes were seen throughout the world.
    The other principal area of achievement by the Lumière brothers was colour photography. They took up Lippman's method of interference colour photography, developing special grainless emulsions, and early in 1893 demonstrated their results by lighting them with an arc lamp and projecting them on to a screen. In 1895 they patented a method of subtractive colour photography involving printing the colour separations on bichromated gelatine glue sheets, which were then dyed and assembled in register, on paper for prints or bound between glass for transparencies. Their most successful colour process was based upon the colour-mosaic principle. In 1904 they described a process in which microscopic grains of potato starch, dyed red, green and blue, were scattered on a freshly varnished glass plate. When dried the mosaic was coated with varnish and then with a panchromatic emulsion. The plate was exposed with the mosaic towards the lens, and after reversal processing a colour transparency was produced. The process was launched commercially in 1907 under the name Autochrome; it was the first fully practical single-plate colour process to reach the public, remaining on the market until the 1930s, when it was followed by a film version using the same principle.
    Auguste and Louis received the Progress Medal of the Royal Photographic Society in 1909 for their work in colour photography. Auguste was also much involved in biological science and, having founded the Clinique Auguste Lumière, spent many of his later years working in the physiological laboratory.
    [br]
    Further Reading
    Guy Borgé, 1980, Prestige de la photographie, Nos. 8, 9 and 10, Paris. Brian Coe, 1978, Colour Photography: The First Hundred Years, London ——1981, The History of Movie Photography, London.
    Jacques Deslandes, 1966, Histoire comparée du cinéma, Vol. I, Paris. Gert Koshofer, 1981, Farbfotografie, Vol. I, Munich.
    BC

    Biographical history of technology > Lumière, Auguste

  • 14 Cros, Charles

    [br]
    b. 1842 France
    d. 1888
    [br]
    French doctor, painter and man of letters who pioneered research into colour photography.
    [br]
    A man of considerable intellect, Cros occupied himself with studies of topics as diverse as Sanskrit and the synthesis of precious stones. He was in particular interested in the possibility of colour photography, and deposited an account of his theories in a sealed envelope with the Académie des Sciences on 2 December 1867, with instructions that it should be opened in 1876. Learning of a forthcoming presentation on colour photography by Ducos du Hauron at the Société Française de Photographie, he arranged for the contents of his communication to be published on 25 February 1869 in Les Mondes. At the Société's meeting on 7 May 1869, Cros's letter was read and samples of colour photography from Ducos du Hauron were shown. Both had arrived at similar conclusions: that colour photography was possible with the analysis of colours using negatives exposed through red, green and blue filters, as demonstrated by Clerk Maxwell in 1861. These records could be reproduced by combining positive images produced in blue-green, magenta and yellow pigments or dyes. Cros and Ducos du Hauron had discovered the principle of subtractive colour photography, which is used in the late twentieth century. In 1878 Cros designed the Chromometre, a device for measuring colours by mixing red, green and blue light, and described the device in a paper to the Société Française de Photographie on 10 January 1879. With suitable modification, the device could be used as a viewer for colour photographs, combining red, green and blue positives. In 1880 he patented the principle of imbibition printing, in which dye taken up by a gelatine relief image could be transferred to another support. This principle, which he called hydrotypie, readily made possible the production of three-colour subtractive photographic prints.
    [br]
    Further Reading
    J.S.Friedman, 1944, History of Colour Photography, Boston. Gert Koshofer, 1981, Farbefotografie, Vol. I, Munich.
    BC

    Biographical history of technology > Cros, Charles

  • 15 ilustración de libros

    Ex. Colour printing from suites of wood blocks, used hitherto chiefly for separate prints, became common for book illustration in the 1840s and soon afterwards for the printed covers of yellow-backs.
    * * *

    Ex: Colour printing from suites of wood blocks, used hitherto chiefly for separate prints, became common for book illustration in the 1840s and soon afterwards for the printed covers of yellow-backs.

    Spanish-English dictionary > ilustración de libros

  • 16 plancha de madera

    (n.) = wood block [woodblock]
    Ex. Colour printing from suites of wood blocks, used hitherto chiefly for separate prints, became common for book illustration in the 1840s and soon afterwards for the printed covers of yellow-backs.
    * * *
    (n.) = wood block [woodblock]

    Ex: Colour printing from suites of wood blocks, used hitherto chiefly for separate prints, became common for book illustration in the 1840s and soon afterwards for the printed covers of yellow-backs.

    Spanish-English dictionary > plancha de madera

  • 17 Blanquart-Evrard, Louis-Désiré

    [br]
    b. 2 August 1802 Lille, France
    d. 28 April 1872 Lille, France
    [br]
    French photographer, photographic innovator and entrepreneur.
    [br]
    After beginning his working life in a tobacco company, Blanquart-Evrard became Laboratory Assistant to a chemist. He also became interested in painting on ivory and porcelain, foreshadowing a life-long interest in science and art. Following his marriage to the daughter of a textile merchant, Blanquart-Evrard became a partner in the family business in Lyon. During the 1840s he became interested in Talbot's calotype process and found that by applying gallic acid alone, as a developing agent after exposure, the exposure time could be shorter and the resulting image clearer. Blanquart-Evrard recognized that his process was well suited to producing positive prints in large numbers. During 1851 and 1852, in association with an artist friend, he became involved in producing quantities of prints for book illustrations. In 1849 he had announced a glass negative process similar to that devised two years earlier by Niepcc de St Victor. The carrying agent for silver salts was albumen, and more far-reaching was his albumen-coated printing-out paper announced in 1850. Albumen printing paper was widely adopted and the vast majority of photographs made in the nineteenth century were printed in this form. In 1870 Blanquart-Evrard began an association with the pioneer colour photographer Ducos du Hauron with a view to opening a three-colour printing establishment. Unfortunately plans were delayed by the Franco-Prussian War, and Blanquart-Evrard died in 1872 before the project could be brought to fruition.
    [br]
    Bibliography
    1851, Traité de photographie sur papier, Paris (provides details of his improvements to Talbot's process).
    Further Reading
    J.M.Eder, 1945, History of Photography, trans. E. Epstein, New York.
    JW

    Biographical history of technology > Blanquart-Evrard, Louis-Désiré

  • 18 print

    [prɪnt] n
    1) ( lettering) Gedruckte(s) nt;
    bold \print Fettdruck m;
    in large \print in Großschrift;
    the small [or fine] \print das Kleingedruckte;
    to write sth in \print etw in Druckschrift schreiben
    2) no pl ( printed form) Druck m;
    to appear in \print veröffentlicht [o gedruckt] werden;
    to be in/out of \print erhältlich/vergriffen sein;
    to get into \print erscheinen, gedruckt werden;
    to go out of \print nicht mehr gedruckt [o aufgelegt] werden;
    to put sth into \print etw in Druck geben;
    to rush sth into \print etw schnell veröffentlichen
    the \prints pl die Presse kein pl;
    in \print in der Presse
    4) ( photo) Abzug m, Kopie f; ( film) Kopie f; ( reproduction) Kopie f; ( copy of artwork) Druck m
    5) ( pattern) [Druck]muster nt;
    floral \print Blumenmuster nt
    6) ( footprint) Fußabdruck m; (fam: fingerprint) Fingerabdruck m;
    to leave \prints Fingerabdrücke hinterlassen;
    to take sb's \prints jds Fingerabdrücke nehmen n
    modifier ( concerning media) (industry, sales, worker) Druck-;
    \printmaker Grafiker(in) m(f);
    \print scandal Presseskandal m;
    \print union Druckergewerkschaft f vt
    to \print sth
    1) typo etw drucken;
    to \print a magazine/ newspaper eine Zeitschrift/Zeitung herausgeben
    2) publ etw veröffentlichen;
    (in magazine, newspaper) etw abdrucken;
    to be \printed in hardback in gebundener Ausgabe erscheinen;
    to \print a special issue eine Sonderausgabe herausbringen;
    to \print only lies nur Lügen drucken;
    to \print the truth about sb/ sth die Wahrheit über jdn/etw veröffentlichen
    3) comput etw ausdrucken
    4) phot etw abziehen, von etw dat einen Abzug machen
    5) ( on fabric) etw bedrucken;
    \printed by hand handbedruckt;
    to \print a pattern on sth etw mit einem Muster bedrucken, ein Muster auf etw akk [auf]drucken
    6) ( write by hand) etw in Druckschrift [o Druckbuchstaben] schreiben;
    please \print your name below your signature schreiben Sie bitte ihren Namen in Druckbuchstaben unter ihre Unterschrift vi
    1) ( be in preparation) sich akk im Druck befinden;
    the book is \printing das Buch ist im Druck
    2) ( make copy) drucken;
    to \print in black and white/ colour in schwarzweiß/Farbe drucken
    3) ( write in unjoined letters) in Druckschrift [o Druckbuchstaben] schreiben;
    to \print clearly/ sloppily deutlich/unleserlich schreiben

    English-German students dictionary > print

  • 19 Batik

    The real batiks are hand-produced by natives of Java. They outline a design on both sides of a piece of cloth and this is followed in melted wax, then the cloth is dyed indigo, the wax cracks in the dye bath, and the colour penetrates through to the cloth, thus producing the fine veins, so characteristic of these prints. The cloth is washed in hot water to remove the wax. If two colours are required, the first process is to paint in wax the part required for the second colour, and after the indigo dyeing, the cloth is cleaned of wax, and the white part is treated with the second colour, and wax as above. The part to be blue or white is first painted in wax. The colours used are blue, brown, black and yellow.

    Dictionary of the English textile terms > Batik

  • 20 Sutton, Thomas

    [br]
    b. 1819 England
    d. 1875 Jersey, Channel Islands
    [br]
    English photographer and writer on photography.
    [br]
    In 1841, while studying at Cambridge, Sutton became interested in photography and tried out the current processes, daguerreotype, calotype and cyanotype among them. He subsequently settled in Jersey, where he continued his photographic studies. In 1855 he opened a photographic printing works in Jersey, in partnership with L.-D. Blanquart- Evrard, exploiting the latter's process for producing developed positive prints. He started and edited one of the first photographic periodicals, Photographic Notes, in 1856; until its cessation in 1867, his journal presented a fresher view of the world of photography than that given by its London-based rivals. He also drew up the first dictionary of photography in 1858.
    In 1859 Sutton designed and patented a wideangle lens in which the space between two meniscus lenses, forming parts of a sphere and sealed in a metal rim, was filled with water; the lens so formed could cover an angle of up to 120 degrees at an aperture of f12. Sutton's design was inspired by observing the images produced by the water-filled sphere of a "snowstorm" souvenir brought home from Paris! Sutton commissioned the London camera-maker Frederick Cox to make the Panoramic camera, demonstrating the first model in January 1860; it took panoramic pictures on curved glass plates 152×381 mm in size. Cox later advertised other models in a total of four sizes. In January 1861 Sutton handed over manufacture to Andrew Ross's son Thomas Ross, who produced much-improved lenses and also cameras in three sizes. Sutton then developed the first single-lens reflex camera design, patenting it on 20 August 1961: a pivoted mirror, placed at 45 degrees inside the camera, reflected the image from the lens onto a ground glass-screen set in the top of the camera for framing and focusing. When ready, the mirror was swung up out of the way to allow light to reach the plate at the back of the camera. The design was manufactured for a few years by Thomas Ross and J.H. Dallmeyer.
    In 1861 James Clerk Maxwell asked Sutton to prepare a series of photographs for use in his lecture "On the theory of three primary colours", to be presented at the Royal Institution in London on 17 May 1861. Maxwell required three photographs to be taken through red, green and blue filters, which were to be printed as lantern slides and projected in superimposition through three projectors. If his theory was correct, a colour reproduction of the original subject would be produced. Sutton used liquid filters: ammoniacal copper sulphate for blue, copper chloride for the green and iron sulphocyanide for the red. A fourth exposure was made through lemon-yellow glass, but was not used in the final demonstration. A tartan ribbon in a bow was used as the subject; the wet-collodion process in current use required six seconds for the blue exposure, about twice what would have been needed without the filter. After twelve minutes no trace of image was produced through the green filter, which had to be diluted to a pale green: a twelve-minute exposure then produced a serviceable negative. Eight minutes was enough to record an image through the red filter, although since the process was sensitive only to blue light, nothing at all should have been recorded. In 1961, R.M.Evans of the Kodak Research Laboratory showed that the red liquid transmitted ultraviolet radiation, and by an extraordinary coincidence many natural red dye-stuffs reflect ultraviolet. Thus the red separation was made on the basis of non-visible radiation rather than red, but the net result was correct and the projected images did give an identifiable reproduction of the original. Sutton's photographs enabled Maxwell to establish the validity of his theory and to provide the basis upon which all subsequent methods of colour photography have been founded.
    JW / BC

    Biographical history of technology > Sutton, Thomas

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