75 Sentences With "photoengraving" | Random Sentence Generator

A two-column cut of Dr. King was rushed through photoengraving.

Other uses for RFNA include fertilizers, dye intermediates, explosives, and pharmaceutic aid as acidifier. It can also be used as a laboratory reagent in photoengraving and metal etching.

As compared to lithography and copperplate it had the disadvantage that it could not reproduce fine shading well. The technique remained popular to the end of the 19th century but was gradually pushed out by photoengraving.

He was also an inventor. He patented a photoengraving process for newspapers that was introduced by Fairchild Camera and Instrument in 1948. He died at Morristown Memorial Hospital in Morristown, New Jersey on December 27, 1966.

While working he became an expert in photoengraving and learned photography. This helped him find a job in Shanghai, under a year's contract with the Commercial Press, to install a photoengraving plant, and teach their workman to run it, where he moved with his family in 1909. Frank Stafford was among the first Seventh-day Adventist missionaries to acquire a knowledge of the Shanghai dialect. In 1911 he became director of the Kiangsu Church Mission.Cottrell, Roy F. “Life Sketch of Elder F. E. Stafford” The China Division Reporter, 1938 - Vol.

The photoengraving method first proposed by Cros was then used to produce a metal disc with a playable groove. Arguably, these circa 1887 experiments by Berliner were the first known reproductions of sound from phonautograph recordings.Berliner, E: "The Gramophone: Etching the Human Voice", Journal of the Franklin Institute, June, 1888 125(6):425–447. Berliner, who scrupulously acknowledges the work of Scott and Cros in this paper, uses the word "phonautogram" (see pages 437 and 438) to describe his own recordings prior to their processing into playable form by photoengraving or direct etching.

Washington's son, George Washington, Jr., served for a time as treasurer of his father's company, and, like his father, dabbled in invention, patenting a widely used photoengraving process for newspapers that was introduced by Fairchild Camera and Instrument in 1948.

One method of photoengraving produces a shallow depression in the metal. This is used for intaglio printing plates or for decorative purposes. It is also the same method used for printed circuit boards. The engraving is usually made in copper or brass.

George Washington Jr. (August 1899 - December 27, 1966) served for a time as treasurer of the G. Washington Coffee Company started by his father, George Washington. He was also an inventor, patenting a photoengraving process for newspapers that was introduced by Fairchild Camera and Instrument in 1948.

Visiting Belloir, Maigret again meets Van Damme, along with Janin, a sculptor in Paris, and Jef Lombard, who has a photoengraving business in Liège. They were once students together in Liège. They look alarmed when Maigret shows them the photograph. Maigret goes to Liège and visits Jef Lombard's workshop.

René Alphonse Higonnet (April 5, 1902 - October 13, 1983) was a French engineer and inventor who co-developed the phototypesetting process with Louis Moyroud, which allows text and images to be printed on paper using a photoengraving process, a method that made the traditional publishing method of hot metal typesetting obsolete.

The oldest known print made from a photoengraved plate, by Nicéphore Niépce in 1825. It reproduces a 17th-century Flemish engraving. Niépce called the process "Heliography". The first photoengraving process was developed in the 1820s by Nicéphore Niépce, which used photoresist to make a one-off camera photograph rather than a printing plate.

Snell was born on September 29, 1858 in Richmond, England. In 1875 he emigrated to the New York City where he studied at the Art Students League Snell supported himself in the 1880s by producing marine scenes at the Photoengraving Company. There he met follow artist William Langson Lathrop. In 1888 Snell married Florence Francis.

Louis Marius Moyroud (pronounced MOY-rood; February 16, 1914 - June 28, 2010) was a French-born American inventor who co-developed the phototypesetting process with Rene Alphonse Higonnet, which allows text and images to be printed on paper using a photoengraving process, a method that made the traditional publishing method of hot metal typesetting obsolete.

Her husband Oscar's magazine production team adopted photoengraving for Phil Ashley's artwork and installed a monotype press. A free pattern was included with each issue. In 1893 Oscar was naturalized, hence also was Johanna. Weigel retired from active involvement in the business sometime around 1910, and spent much of her time in world travel.

Robert Witten Fichter (born December 30, 1939) is an American photographer. Beginning in the 1960s, Fichter was at the forefront of experimental photography; combining drawing, hand photoengraving processes and photographic images in his photographic practice. Fichter has had more than forty solo exhibitions, including a major retrospective, Robert Fichter: Photography and Other Questions, in 1982.

Edward Epstean was born on September 19, 1868 in Bohemia and immigrated to the United States in 1888. In 1889, he was employed at the electotyping firm, Hopkins & Blaut where he established their photoengraving department in 1892. In 1890, he married Josephine A. Kupfer. In 1898, he partnered with H.L. Walker and founded the Walker Engraving Company.

Its offices were in shambles. Yet, within a few days the presses were running again. On July 20, three months after the earthquake, on a Friday about midnight, a fire of undetermined origin broke through the roof in the northeast corner of the photoengraving room. In two hours the entire building had become a blazing inferno.

Iyer responded promptly, inviting Acharya to London. It was here in London that Acharya was introduced to the nationalism of India House. In London, the India House settled Acharya's short-term worries of food and shelter. With financial support from the organisation, Acharya was able to enroll to learn photoengraving at the trade school of the London County Council.

KPR, originally known as Kodak Photoresist, is a photosensitive material used in photoengraving, Photogravure and photolithography. Once dried, KPR can be dissolved by several solvents. However, after exposure to strong ultraviolet light, it hardens and becomes insoluble by some of these solvents. It is also resistant to acid, ferric chloride and other chemicals used to etch metals.

The London College of Communication The London College of Printing descends from the St Bride's Foundation Institute Printing School, which was established in November 1894 under the City of London Parochial Charities Act of 1883. The Guild and Technical School opened in Clerkenwell in the same year, but moved a year later to Bolt Court, and became the Bolt Court Technical School; it was later renamed the London County Council School of Photoengraving and Lithography. St Bride's came under the control of the London County Council in 1922 and was renamed the London School of Printing and Kindred Trades; in 1949 it was merged with the LCC School of Photoengraving and Lithography, forming the London School of Printing and Graphic Arts. In 1960 this was renamed the London College of Printing.

He developed his skill as a printmaker working as Dixon's assistant. At one point he shared a studio in the city with Ernest Briggs. During the Korean War, McClintock served as an illustrator and instructor in the U.S. Army and was afterwards stationed in Alaska (1953–55). On his return to San Francisco, he became the co-owner of a commercial photoengraving business.

He studied at the Real Academia de Bellas Artes de San Carlos. Later, thanks to a scholarship from the , he was able to spend five years in Rome (1872-1877). After that, he travelled to Paris, where he learned the techniques of photoengraving. He eventually settled in Madrid, where he created designs for the Royal Tapestry Factory and decorated the popular .

Soon after he bought the paper, he expanded the photoengraving facilities. In 1956, he replaced the paper's flatbed press with a new rotary press that printed 13,000 32-page sections per hour. The new press also allowed the paper to print photographs in color. In 1966, The Bulletin moved to a new building on Hill Street in the southern part of Bend.

Very long exposures in bright light were required, but bitumen had the advantage that it was superbly resistant to strong acids.Niepce House Museum history pages. Retrieved 28 May 2013. The use of photoengraving for a halftone process that could be used to print grayscale photographic images dates all the way back to the 1839 introduction of the daguerreotype, the first practical photographic process.

The school was formed in 1990 by the merger of the College for Distributive Trades with the London College of Printing. The London College of Printing descended from the St Bride's Foundation Institute Printing School, which was established in November 1894 under the City of London Parochial Charities Act of 1883. The Guild and Technical School opened in Clerkenwell in the same year, but moved a year later to Bolt Court, and became the Bolt Court Technical School; it was later renamed the London County Council School of Photoengraving and Lithography. St Bride's came under the control of the London County Council in 1922 and was renamed the London School of Printing and Kindred Trades; in 1949 it was merged with the LCC School of Photoengraving and Lithography, forming the London School of Printing and Graphic Arts.

The headquarters of the weekly was in Madrid. Blanco y Negro employed color print, paper couché and advanced image printing techniques such as photoengraving and photogravure for the first time in Spain. In addition, it published the first color photo in the country on 15 May 1912. The magazine covered the articles of various Spanish writers and caricaturists, including Cecilio Pla, Ramon Cilla among the others.

Carbon tissue is a gelatin-based emulsion used as a photoresist in the chemical etching (photoengraving) of gravure cylinders for printing. This was introduced by British physicist and chemist Joseph Swan in 1864. It has been used in photographic reproduction since the early days of photography. Carbon materials marketing began in 1866 by Joseph Swan which he subsequently sold to the Autotype Company in 1868.

There was also an 18th-century recipe for toothpaste that contained dragon's blood. In modern times it is still used as a varnish for violins, in photoengraving, as an incense resin, and as a body oil. Dragon's blood from both Daemonorops were used for ceremonies in India. Sometimes Dracaena resin, but more often Daemonorops resin, was used in China as red varnish for wooden furniture.

Lang, William L., "Robert Sawyer (1880–1959)", The Oregon Encyclopedia, Portland State University and the Oregon Historical Society, Portland, Oregon, May 17, 2011. Chandler ran the newspaper for the next 43 years, first as The Bend Bulletin and after 1963 as The Bulletin. During his tenure, Chandler brought new technology into his newspaper operation. Soon after he bought the paper in 1953, he expanded the photoengraving facilities.

Donovan was born in Stepney in the East End of London to lorry driver Daniel Donovan and (Lilian) Constance Violet (née Wright), a cook. He took his first photo at the age of 15. He had a fractured education, but between the ages of 11 and 15 studied at the London County Council School of Photoengraving and Lithography."About Terence Donovan" , Terence Donovan Archive.

It was also used as tooth-paste in the 18th century. It is still used as varnish for violins and for photoengraving. Dragon's blood is also listed in a 16th-century text, Stahel und Eyssen, as an ingredient in a quenching bath for tempering steel. However this text is vague and poorly regarded as either an accurate description of smith's practice, or as a viable recipe.

Charles S. Martz (November 21, 1903 – April 5, 1966) was an American photographer, painter, inventor and entrepreneur. Martz founded Tasopé Company in Aurora, Missouri in 1931. He created small photoengraving machines that could be used by small town newspapers to print photographs and patented several of these photo engraving machines. Martz quickly realized to sell his machines to newspapers, he would need trained photographers to help create the demand.

On newsstands each Saturday, at noon, it sold for six cents per copy, or three dollars per annual subscription, postage not included (later reduced to $2.00 per year and five cents per copy after protests from readers). During the early days of Nordstjernan, the 1870s, stories in publications were composed by hand through movable type. Images were engraved by hand as mirror images into metal. Photoengraving arrived much later.

Also, noteworthy was Remington's invention of "cowboy" sculpture. From his inaugural piece, The Broncho Buster (1895), he created an art form which is still very popular among collectors of Western art. An early advocate of the photoengraving process over wood engraving for magazine reproduction of illustrative art, Remington became an accepted expert in reproduction methods, which helped gain him strong working relationships with editors and printers.Peggy & Harold Samuels, 1982, p.

He developed the first practical process for photographic printing on canvas, and a forerunner of the present-day photoengraving system. Bachrach, Inc., which was founded in 1910 and is still headed by the Bachrach family, had studios in all the major east coast cities. The Bachrachs, beginning with David, established the idea of "official portraiture," becoming the leading portrait photographers in the United States well into the 1960s.

The remaining photoresist is usually removed after the operation is complete. In the graphic arts, photoengraving is used to make printing plates for various printing processes, reproducing a wide variety of graphics such as lettering, line drawings and photographs. The same procedure is used to make printed circuit boards, foil-stamping dies and embossing dies. It is also used to make nameplates, commemorative plaques and other decorative engravings.

His training focused on book and newspaper illustration, and included letterpress printing and photoengraving. His skill developed quickly and soon won praise from those he worked with. During this time printing technology underwent rapid change, brought to the forefront by the First Sino-Japanese War, which was reported in a variety of media, from paintings and woodblock prints to photographs. Kanae completed his apprenticeship at 18, followed by an obligatory year of service with Sakurai.

She began concentrating on painting in the afternoons, with her regular studies in the morning. She then entered the La Esmeralda school, to studying for six years. After graduating, Marquez received a fellowship from the government of France to travel abroad and stayed in France for almost three years, from 1983 to 1986. She studied engraving and serigraphy at the Escuela de Artes Decorativas in Paris, but also worked with photoengraving along with collage and painting over paper.

The offset cylinder was covered with specially treated cardboard that transferred the printed image from the stone to the surface of the metal. Later, the cardboard covering of the offset cylinder was changed to rubber, which is still the most commonly used material. As the 19th century closed and photography became popular, many lithographic firms went out of business. Photoengraving, a process that used halftone technology instead of illustration, became the primary aesthetic of the era.

Decorative engravings made by this method may go through a second process to produce a decorative background. The raised parts and their shoulders are painted with an etchant-resistant material and a pattern of etchant-resistant material is applied to the deep parts of the engraving. The resist for the background may be another photoengraving or may be randomly splashed on. The engraving is etched again for a short time to produce a raised pattern in the background.

A number of photoengraving locals held a national convention in Philadelphia in November 1900. Photoengravers from the ITU voted to disaffiliate and — along with some independent unions — voted to establish the International Photo-Engravers' Union of North America. The ITU, then the American Federation of Labor's largest member, prevented AFL president Samuel Gompers from officially recognizing IPEU for several years. In May 1904, however, ITU agreed to give up jurisdiction over photoengravers and the AFL issued a charter to IPEU.

The London newspaper The Graphic, which was founded in 1869, commenced publication of its own "The Daily Graphic" on January 4, 1890. It was illustrated with line drawings and woodcuts; photoengraving and halftone was considered too complex a process.William Gamble, Penrose’s Annual. The Process Year Book & Review of the Graphic Arts, Volume XXIX, 1927 at 2 The Daily Graphic was not connected with the New York Evening Graphic, published from 1924 to 1932, and most famous for Walter Winchell's gossip column.

Firmin Gillot, father of Charles Gillot (1820–1872), invented in 1852 the paniconograph for which he took a patent (photoengraving in relief according to the letterpress on several early plate). Later, he invented a new process, again in relief, but nonphotographic. Around 1870, his son Charles Gillot developed the Gillotage process (photomechanical). This process quickly predominated the illustrated newspapers and books of the period, such as for example: Le Charivari, Le Rire, L'assiette au beurre, Gil Blas Illustre, and many others.

She worked extensively with photogravure and photoengraving, transforming these mechanical printing techniques to be used for aesthetic effects rather than duplication. Unlike many photographers, Savage considered the metal plate that photographs are etched on to be a work of art in its own right. She pioneered the use of using the photographic metal plate to produce a three dimensional form with a metallic surface. Savage explored variations in color and texture in her work often by using inked and intaglio relief prints.

The Photon machine (known as the Lumitype in France) used a photoengraving process to print text and images on paper, which made hot metal typesetting obsolete. Seven years later, Rinehart & Company merged with Henry Holt and Company and John C. Winston Co. to form Holt, Rinehart, and Winston (now the Holt McDougal Division of Houghton Mifflin Harcourt). Holt, Rinehart, and Winston named Rinehart and Charles F. Kindt Jr. (president of Winston) as the company's senior vice presidents. Rinehart served in that role until retiring in 1963.

As Edward Epstean was working on Hopkins & Blaut's new photoengraving department, he also started a personal library to better understand the reproductive processes of photography. His library grew with the acquisitions of Stephen H. Horgan, William Gamble, Josef Maria Eder, and Gabriel Cromer. In 1934, The Epstean Collection was incorporated in The Columbia University Library with the help of curator Hellmut Lehmann-Haupt. Epstean viewed the collection as a work-in-progress and added to the collection and helped to secure funds for new acquisitions.

New York: McGraw-Hill, 2000. Print. Niépce's primary objective was not a photoengraving or photolithography process, but rather a photo-etching process since engraving requires the intervention of a physical rather than chemical process and lithography involves a grease and water resistance process. However, the famous image of the Cardinal was produced first by photo-etching and then "improved" by hand engraving. Bitumen, superbly resistant to strong acids, was in fact later widely used as a photoresist in making printing plates for mechanical printing processes.

Ernest Knaufft, The Art Amateur, Vol. 22, No. 6, May 1890, p. 119-120.Ernest Knaufft to Rachael Robinson Elmer, January 5, 1892, Middlebury Special Collections and Archives, Box 30, Folder 1. Pen and ink drawing became common around the 1890s when photoengraving became the main way to produce images for publications, and was commonly used in newspaper, magazine, and book illustration.Ernest Knaufft, The Art Amateur, Vol. 20, No. 4, March 1889, pg. 83-86 and Knaufft, The Art Amateur, Vol. 22, No. 6, May 1890, p.

IPEU was the first union in the U.S. to secure a shorter work-week for its members. In addition, because of the chemical hazards involved in halftone photoengraving, the IPEU was also one of the first unions in the country to compel employers to establish health and safety standards. In 1905, IPEU won the first binding arbitration clause in a contract, and by 1912 the clause was standard throughout the publishing industry. Flader retired as president of IPEU in 1906, and Matthew Woll was elected in his place.

Peckwell's wood engravings were part of the "new school" of wood engraving in the last decades of the 19th century, and his work employed and advanced that school's innovatory and more subtle techniques.Weitenkampf, Frank, "American Graphic Art," New York: Henry Holt and Company, 1912, page 161. The persistence of finely crafted hand-done wood engravings in the face of modern photoengraving was also noted in the 1897 Columbian Cyclopedia, which noted in its entry on "wood-engraving" that Peckwell was "among the most noted and skillful of the present school."Columbian Cyclopedia, vol.

George Joseph Mess was born in Cincinnati, Ohio, on June 30, 1898, to Anna Gleis Mess (1875–1960) and Joseph J. Mess (1871–1933). Mess's father was of German heritage; his mother's family was of German and Dutch ancestry. The Mess family moved to Indianapolis, Indiana, in 1899, when Joseph Mess took a job as a foreman of the photoengraving department at the Indianapolis News, one of the city's major daily newspapers. George Mess, second of the family's three sons, became interested in art and wanted to become an artist at an early age.

The contact copier is used today, particularly in the areas hobbyist, for the photoengraving of prototype printed circuit boards (PCBs) before being sent to production (artisanal creation ). Substantially similar to the contact printer used in photography, this variant usually uses ultraviolet lamps to impress a copper base specifically pre-sensitized. Burned by exposure to light parts reproduce patterns drawn on a transparent photolith film on a pre-sensitized plate (epoxy or Bakelite). This pre-sensitized plate comprises an insulating plate (epoxy resin or bakelite), adhered with a layer of copper, and coated with a varnish layer sensitized.

Toyohara Kunichika: Beautiful woman in the court of Prince Genji (1865) At the time Kunichika began his serious studies the late Edo period, an extension of traditions based on a feudal society, was about to end. The "modern" Meiji era (1868–1912), a time of rapid modernization, industrialization, and extensive contact with the West, was in stark contrast to what had come before. Ukiyo-e artists had traditionally illustrated urban life and society – especially the theater, for which their prints often served as advertising. The Meiji period brought competition from the new technologies of photography and photoengraving, effectively destroying the careers of most.

Type could be set with a typewriter, or to achieve professional results comparable to letterpress, a specialized typesetting machine. The IBM Selectric Composer, for example, could produce type of different size, different fonts (including proportional fonts), and with text justification. With photoengraving and halftone, physical photographs could be transferred into print directly, rather than relying on hand-made engravings. The layout process then became the task of creating the paste up, so named because rubber cement or other adhesive would be used to physically paste images and columns of text onto a rigid sheet of paper.

He also began contributing illustrations to the children's magazine St. Nicholas, continuing until 1890. In 1895 he published an illustrated children's history of Joan of Arc that has been regarded as his masterpiece. The epic scenes for Joan of Arc show the influence of two late-medieval painters: Fra Angelico in the use of modeling and Paolo Uccello in the composition of battle scenes. Drawn with a strong line and clear, harmonious colors, his illustrations drew critical praise even though he himself was disappointed in the quality of the reproductions, which had been done by zincotype, a then-new photoengraving process.

Jimmy Swinnerton started his career in 1892 as a young illustrator for the San Francisco Examiner, one of William Randolph Hearst's newspapers. His chief task was to provide drawings for news stories in the days before photoengraving, however, he also drew editorial cartoons and other illustrations for the paper. In 1893, the Examiner used an illustration by Frank "Cozy" Noble of a bear as the paper's mascot for the San Francisco Mid- Winter Exposition of 1894. Following this, Swinnerton was asked to provide a bear illustration every day to accompany the paper's coverage of the fair.

In 1953, the company published The Wonderful World of Insects as the first book printed by the Photon (known as the Lumitype in France), a photographic type composing machine invented by René Alphonse Higonnet and Louis Moyroud. The Photon machine (known as the Lumitype in France) used a photoengraving process to print text and images on paper, which made hotel metal typesetting obsolete. Seven years later, Rinehart & Company merged with Henry Holt and Company and John C. Winston Co. to form Holt, Rinehart, and Winston (now the Holt McDougal Division of Houghton Mifflin Harcourt). Rinehart served as a vice president at the new company before retiring from publishing in 1963.

Line engraving and steel engraving cover use for reproductive prints, illustrations in books and magazines, and similar uses, mostly in the 19th century, and often not actually using engraving. Traditional engraving, by burin or with the use of machines, continues to be practised by goldsmiths, glass engravers, gunsmiths and others, while modern industrial techniques such as photoengraving and laser engraving have many important applications. Engraved gems were an important art in the ancient world, revived at the Renaissance, although the term traditionally covers relief as well as intaglio carvings, and is essentially a branch of sculpture rather than engraving, as drills were the usual tools.

Sukumar Ray wrote for the children's magazine Sandesh, started by his father Upendrakishore, in Calcutta (now Kolkata), right from the time of its first publication in 1913. Ray was living in England at that time, where he had traveled at the end of 1911, to study photoengraving and lithography. He returned to India towards the end of 1913, and, after the death of Upendrakishore in 1915, also became the editor of Sandesh, and remained so till the time of his own untimely death in 1923. The poems in Abol Tabol, most of which first appeared in Sandesh, were composed during the period 1915 to 1923.

In Salt Lake City, Young worked for the Salt Lake Herald as an engraver and did some drawings for Deseret News. Even though he contracted the Spanish flu, Young became manager of the photoengraving shop for the Herald and saved enough money to travel to Paris, France in 1901 to study at the Académie Julian. Young received extra money to study from his mother who had arranged for a settlement of a part of Brigham Young's estate as well as donations from family and members of the LDS Church. He studied until 1905, where he studied with Jean-Paul Laurens and Jean-Antoine Injalbert.

Photoengraving is a process that uses a light-sensitive photoresist applied to the surface to be engraved to create a mask that shields some areas during a subsequent operation which etches, dissolves, or otherwise removes some or all of the material from the unshielded areas. Normally applied to metal, it can also be used on glass, plastic and other materials. A photoresist is selected which is resistant to the particular acid or other etching compound to be used. It may be a liquid applied by brushing, spraying, pouring or other means and then allowed to set, or it may come in sheet form and be applied by laminating.

Decorative engravings of this type may also be spray-painted and sanded as in the previous method. In traditional print shop practice, a special very-large-format camera is used to image the source material either directly onto the photosensitive coating, or onto a sheet of photographic film which is then developed and contact-printed onto the coated plate. In large-scale commercial printing, computer-driven optoelectronic equivalents began to replace these methods in the 1970s. In the case of line cuts (graphics in solid blacks and whites without gradations of gray or color), the photoengraving is done on zinc, and the result is called a zinc etching.

In the new process, an ordinary photograph was rephotographed directly onto the sensitized metal plate. A crossline screen, consisting of two glass plates finely ruled with opaque lines and sandwiched together with their lines crossing at right angles, was positioned near the surface of the metal, and a specially shaped diaphragm was used with the camera lens. Combined with the inherently stark black-and-white nature of the photoengraving process, these devices served to break up the image into a regular pattern of dots of various sizes with optimized shapes. During the 1890s, photographs reproduced by this second "Ives process" largely replaced the use of hand-engraved wood block and steel plate illustrations.

It was endowed in 1928 by Herbert E. Ives, a distinguished charter member and OSA President, 1924 and 1925, to honor his father who was noted as the inventor of modern photoengraving and for his pioneering contributions to color photography, three-color process printing, and other branches of applied optics. The medalist is asked to present a plenary address at OSA's Annual Meeting. The prize is funded by the Jarus W. Quinn Ives Medal Endowment raised by members at the time of Quinn's retirement in recognition of his 25 years of service as OSA's first Executive Director. […] 1943 Loyd A. Jones […].” by the Optical Society of America and he received the Progress Medal of the Royal Photographic Society (RPS) in 1948.

The U.S. Army acquisitioned the Carl Winter Printing Plant in Heidelberg, Germany, which had produced Nazi propaganda literature during the war. However, the sheer size of the project - which required "millions of sheets of paper, tens of thousands of meters of bonds and strips of linen paper, cord, typesetting, cardboard, photoengraving equipment, and a permit for electricity use" - made the army rethink its commitment. In February 1947 the project was scaled down from 3,000 sets to 50 sets. (Later, the Joint financed the printing of several hundred additional sets.) Another delay ensued when a material called collodion, which enables the transfer of page images to zinc photographic plates, was found to have been banned during the war and was only available in the city of Zwickau in the Soviet occupation zone.

It was typical for the cartographer to not label the map himself, but to leave it to the master engraver. Text styles frequently changed with the tastes of the time, but were often very ornate, especially in non-map elements such as the title. The development of Photoengraving, Zincography, and wax engraving in the mid-19th Century significantly changed the production of maps and their labels, enabling the addition of printed type to maps using stamps, but map lettering still required a great deal of skill; this remained the state of the art until the development of Photolithography in the 1950s. The photographic platemaking process meant that type could be produced on paper in a variety of ways, producing map labels of the same quality as book text.

Goldberg patented improved methods for electroplating zinc on iron in 1902 and published numerous technical papers on improved printing techniques, reducing moiré effects in half-tone printing, photoengraving and other topics. In 1910 he became well known for an improved method for making neutral gelatin wedges ("Goldberg wedge") that was widely used in sensitometry and the , an instrument that greatly reduced the labor required to measure the characteristic curves of photographic emulsions. At Ica, foreseeing a growing market in amateur and semi-professional movies, he designed an extremely compact 35 mm movie camera, the Kinamo, introduced in 1921 with a spring motor attachment added in 1923 to allow flexible handheld filming. Goldberg made films of himself and his family as promotional shorts and, in 1927, a skiing drama, “Ein Sprung . . .

By mid-April 1877, Charles Cros had realized that a phonautograph recording could be converted back into sound by photoengraving the tracing into a metal surface to create a playable groove, then using a stylus and diaphragm similar to those of the phonautograph to reverse the recording process and recreate the sound. Before he was able to put his ideas into practice, the announcement of Thomas Edison's phonograph, which recorded sound waves by indenting them into a sheet of tinfoil from which they could be played back immediately, temporarily relegated Cros's less direct method to obscurity. Ten years later, the early experiments of Emile Berliner, the creator of the disc Gramophone, employed a recording machine which was in essence a disc form of the phonautograph. It traced a clear sound-modulated spiral line through a thin black coating on a glass disc.

Charles Cros, a French poet and amateur scientist, is the first person known to have made the conceptual leap from recording sound as a traced line to the theoretical possibility of reproducing the sound from the tracing and then to devising a definite method for accomplishing the reproduction. On April 30, 1877, he deposited a sealed envelope containing a summary of his ideas with the French Academy of Sciences, a standard procedure used by scientists and inventors to establish priority of conception of unpublished ideas in the event of any later dispute. Cros proposed the use of photoengraving, a process already in use to make metal printing plates from line drawings, to convert an insubstantial phonautograph tracing in soot into a groove or ridge on a metal disc or cylinder. This metal surface would then be given the same motion and speed as the original recording surface.

He was granted his first patent for what he called the "Gramophone" in 1887. The patent described recording sound using horizontal modulation of a stylus as it traced a line on a rotating cylindrical surface coated with an unresisting opaque material such as lampblack, subsequently fixed with varnish and used to photoengrave a corresponding groove into the surface of a metal playback cylinder. In practice, Berliner opted for the disc format, which made the photoengraving step much less difficult and offered the prospect of making multiple copies of the result by some simpler process such as electrotyping, molding or stamping. In 1888 Berliner was using a more direct recording method, in which the stylus traced a line through a very thin coating of wax on a zinc disc, which was then etched in acid to convert the line of bared metal into a playable groove.

The cast was pressed into contact with an inked rubber grid consisting of an array of tiny pyramidal elements, which caused a regular array of ink dots to be deposited on the plaster, their sizes varying according to the heights of the surface. The dot pattern was then photographed onto a metal plate coated with photoresist, which was developed and chemically etched, a process known as photoengraving and already in use for making printing plates from line drawings, handwriting and other purely black and white subject matter. Although complex, this process was simpler and more efficient than other processes then in some limited use, and in 1884 Ives asserted that it was "the first patented or published process which was introduced into truly successful commercial operation."Ives, F. E., "Photographic Block Methods" (letter to the editor), The Photographic News, January 4, 1884, p 13 A few years later, Ives replaced this process with the much simpler one usually associated with his name.

The growth of the firm coincided to Upendrakishore's son Sukumar Ray going abroad on the Guruprasanna Ghosh Scholarship at Presidency College, Calcutta in 1911 to study at the London County Council School of Photoengraving and Lithography. An integral part of the firm, Sukumar was to take over the running of the press when his father fell ill and his knowledge and technical expertise regarding latest printing techniques, half-tones and multiple stops picked up at LCC and later at the School of Technology at the University of Manchester (where he took the City and Guilds of London Institute Examination and was awarded the first prize) stood him in good stead. Letters exchanged between father and son during this period explore the possibility of producing and patenting a colour camera. His return to Calcutta saw the firm advertising, stressing, among other things, 'the unique results of twenty years' experience and research and two years' intimate study of European methods'.

At the beginning of its existence, The Land of Sunshine was printed and bound by Kingsley-Barnes and Neuner Company in the Stimson Building while its photoengraving needs were handled by a variety of local companies. In 1898, the magazine began in-house publication in a building on South Broadway that combined editorial and printing functions, which by late 1901 boasted six job presses and four cylinder presses, one of which was an Optimus cylinder used principally for printing illustrated pages. In April 1904, the printing of the magazine was once again physically separated from its editorial offices, and this arrangement persisted until Lummis departed in 1909. Initially, The Land of Sunshine was published by the F. A. Pattee Publishing Company, but in August 1895 these duties were assumed by the newly incorporated Land of Sunshine Publishing Co., which at its inception consisted of W.C. Patterson (president), Lummis (vice president), Pattee (secretary and business manager), H.J. Fleishman (treasurer), Charles Cassat Davis (attorney), and Cyrus M. Davis.

Art education has been offered at RMIT since its foundation in 1887 (as the Working Men's College), as part of a suite of "art, science and technological" classes envisioned by its founder Francis Ormond. The early art classes of the College were modelled on those of British and European art schools—particularly the Brighton College of Art (now the University of Brighton) and the South Kensington Science and Art School (now the Royal College of Art) in the United Kingdom., p. 80, p. 99 By 1899, around 400 students were taking classes in architectural and freehand drawing, painting, sculpture and wood-carving at the College., p.64. p. 77 Its architectural classes were the first in Victoria, and remained part of the School of Art until 1934 when they broke away to form the predecessor to the RMIT School of Architecture and Design. RMIT School of Art's original Building 2 and buildings 4 and 6 at the Melbourne City campus Photography commenced at the College in 1891, and classes in wet-plate photography, photoengraving, photolithography and collotype and carbon printing were all offered by 1902.