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Abstract
In the 19th century, the field of cartography grew exponentially when photomechanical printing became a stabilised procedure for the graphic arts industry. With the introduction of photomechanical processes, in the early developments of chromolithography, maps not only became a widespread product in Europe and the United States but they were also refined and became increasingly visually complex.
The interaction between scientists and printmakers also changed. As photomechanical processes allowed cartographers to autonomously transfer, reduce or enlarge maps, scientists and military personnel took over the task of translating images onto the wood or copper plates - a job traditionally assigned to a skilled engraver (Cook, 2002) This has also shifted the authorship of printmaking literature to scientists and military personnel, such as captains or colonels (Twyman, 1990).
Early printing techniques - such as woodcut or intaglio - are practised today within a very specific setting for particular needs. In the framework of contemporary art, design, or illustration, aspects such as the materiality of images are discussed, visually experimented with, and exhibited. While some industrial printing techniques have gained artistic standing - serigraphy, for example - a wider range of processes are hidden in the past (R. Williams and D. Williams, 1986). Cook (2002) argues that both cartography and printmaking owe each other a great deal for their progress. In the history books, however, one rarely recognises the other. We argue this is because printmaking as a profession has been split between art and science.
References
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