Gillotage. Exploring a mid-nineteenth century relief printing technique
Read the Full Article

Keywords

Gillotage
Prepared Surface Paper
Technological Reconstruction

How to Cite

Machado, G. ., Belkot , M. ., & Costa Brás, S. . (2022). Gillotage. Exploring a mid-nineteenth century relief printing technique. IMPACT Printmaking Journal, 5, 20. https://doi.org/10.54632/22.5.IMPJ2

Abstract

Gillotage, a relief printing method used in nineteenth century commercial industry, consists of using a lithographic transfer of an image drawn and processed on stone to a metal plate, while avoiding undercutting the raised areas of the design needed to obtain a relief printing plate. Gillotage was a first option when it came to reproducing an illustration in a commercial sphere, being a cheaper alternative to relief printing methods such as wood engraving. This article wrestles with a fundamental problem: is it possible to recreate the material conditions, interpretations and successful printing outcomes as present in original gillotage? How to contend with the unfortunate demands of historical and unfamiliar technologies of reproduction and adapt them to a contemporary practice? Can a project based on an obsolete printing technique used with letterpress printing demonstrate how to engage researchers and students in new printing approaches?

Our technological reconstruction helped us to better understand the materials and components of gillotage, the aesthetic and tactile qualities achieved by these methods which have not entered a printmaking studio. Nevertheless, such operational circumstances may thus be understood as an invitation to experiment, contradicting the original use of making a print as a means to reproduce. We aim to get closer to an alternative printing matrix compatible with letterpress printing while developing methods to involve print practitioners in printing history and experiment with materials in their creative practice.

https://doi.org/10.54632/22.5.IMPJ2
Read the Full Article

References

Bock, J. (1885). Zincography. London: Wyman & Sons.

Bouvier, B. (2004). L ́Édition d’Architecture à Paris au XIXe Siècle. Paris: Droz.

Chefdeville, L., M., H. D., & Rawen, C. J. (1893). Drawings for Reproduction by Process: Outline Work and Tint Boards.’ Studio: International Art, 2, pp. 65-72.

Cumming, D. (1948). Handbook of Lithography (3rd Edition ed.). London: A. & C. Black, Ltd.

Davanne, A. (1886-88). La photographie: traité théorique et pratique (Vol. 2). Paris: Gauthier-Villars et Fils.

Duchâtel, E., & Bénédite, L. o. (1907). Manuel de Lithographie Artistique

pour l’Artiste & l’Imprimeur. Paris: E. Duchatel.

Gamble, W. (1900). Line Photo-Engraving. London: Percy Lund, Humphries & Co.

Gascoigne, B. (1986). How to Identify Prints. New York: Thames and Hudson.

Gervais, T. (2010). La similigravure. Nouvelle de l’estampe, 229, pp. 8-25.

Gervais, T. (2017). The Making of Visual News: A History of Photography in the Press. London: Bloomsbury.

Geymet. (1886). Traité de Photogravure sur Zinc et sur Cuivre. Paris: Gauthier-Villars.

Grandidier, A. (1878). Exposition Universelle Internationale de 1878 a Paris: Rapports du jury International. Groupe II – Classe 16. Paris: Imprimerie Nationale.

Harper, C. G. (1894). A Practical hand-book of Drawing for Modern Methods of Reproduction. London: Chapman & Hall.

Hinton, A. H. (1884). A Handbook of Illustration. London: Dawbarn & Ward.

Lemercier, A. (1896). La Lithographie Française de 1796 a 1896. Paris: Ch. Lorilleux et Cle.

Lostalot, A. d. (1882). Les Procédés de la gravure. Paris: A. Quantin Éditeur.

Machado, G. (2019). Tempo da gravura ou a procura de chão em Encontro Internacional Pure

Print Porto Alegre Brazil, Porto Alegre, Maristela Salvatori – organiser. Porto Alegre: Marcavisual, Brazil. pp. 13-18.

Machado, G; Bełkot, M.; Bras, C. S. & Lopes, D. (2020) Coated or prepared

paper: New grounds where process becomes matter. [Conference presentation; call submission] CONFIA: 8th International Conference on Illustration and Animation, Instituto Politécnico do Cávado e do Ave, Barcelos, Portugal.

Machado, G., & Belkot, M. (2019). Drawing for Reproduction: Toward recreating surface prepared papers for making prints and exploring creative practice. Paper presented at the Confia 2019, Viana do Castelo, Portugal.

Monet, A. l. (1888). Proc ́dés de Productions Graphiques Appliquées a

L’Imprimerie. Paris: Administration du Bulletin de L’Imprimerie.

Morenus, L. S. (2004). Joseph Pennell and the Art of Transfer Lithography. Print Quarterly, 21(no. 3), pp. 248-265.

Pelzer-Montada, Ruth (2018) Perspectives on Contemporary Printmaking, Manchester University Press, pp. 257-268.

Pinsard, J. (1897). L’Illustration du livre moderne et la photographie. Paris: Charles Mendel.

Rhodes, H. J. (1914). The Art of Lithography. London: Scott Greenwood and Son.

Richmond, W. D. (1880). The Grammar of Lithography: a Practical Guide for the Artist and Printer. London: Wyman & Sons.

Rodrigues, J. J. (1879). Procédés photographiques et méthodes diverses d’impression aux encres grasses. Paris: Gauthier-Villars.

Senefelder, A. (1819). A Complete Course of Lithography. London: R. Ackermann.

Smith, W. J., Turner, E. L., & Hallam, C. D. (1936). Photo-Engraving in Relief. London: Sir Isaac Pitman & Sons.

Vidal, L. (1893). Traité Pratique de Photolithographie. Paris: Gauthier- Villars et Fils.

Villon, A. M. (1924). Nouveau manuel complet du graveur en creux et en relief (Vol. 2). Paris: L. Mulo, Libraire-Éditeur.

Waterhouse, C. J. (1890). Practical Notes on the Preparation of Drawings for Photographic Reproduction. London: Kegan Paul, Trench, Truber & Co.

Wilkinson, W. T. (1888). Photo-engraving, photo-etching and photo- lithography in line and half-tone; also collotype and heliotype. New York: Edward L. Wilson.

Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.

Copyright (c) 2022 Graciela Machado, Marta Belkot , Sandra Costa Brás

Downloads

Download data is not yet available.