Errory

• guma-arabska

  The aim of processing is to scparate chemically the image and nonimage areas of the drawing so that they will receive or reject ink consistently. When proicessing begins, the image areas consist of pasages drawn with greasy lithographic crayon or tusche. Through chemical processing the fatty-acid particles contained in the drawing are liberated, permitting them to combine with the stone itself. Once the grease has been transferred, there is no further need for the drawing materials that contained it. The greasy areas are now ink-attractive and form the printing image. Simultaneously, the undrawn or nonimage areas are so treated that they will receive water and repel grease. This reaction is brought about through a process called etching, in which a mixture of gum arabic and acid is applied to the stone, desensitizing its surface. The strength and formulation of the etch is determined through consideration of the character of both the lithographic drawing and the stone.

  A sequence involving two separate etches is employed. The first etch partially desensitires the stone, so that the drawing materials may be removed with solvent, a proress called the washout. The cleaned image, now an integral part of the stone, is inked with a roller, a process called the roll-up. The inked image is then given a second etch to complete the desensitization of the stone and to provide a durable separation of ink-attracting and ink-rejecting areas during subsequent inking and printing.

  The steps in processing:
  1. The stone is given a first etch that (a) liberates grease from the drawing into the stone and (b) desensitizes the nondrawn areas of the stone so that they will no longer attract grease. The nondrawn areas become hygroscopic; that is, they now attract and retain water films. The drawn areas become hydrophobic, or resistant to water but attractive to grease. By magnification it may be seen that the process affects each minute dot and gaiin of the stone’s surface.
  2. The drawn and etched work is washed out with solvent to remove surface materials; these materials are replaced during the roll-up with a layer of printing ink. While in this condition, the stone may be proofed at the press or minor corrections may be made. Additional desensitization is usually required before extended printing.
  3. The inked image is protected, cleaned., and given a second etch, completing desensitization of the stone. If the etches have been correct in strengt prolonged printing of the stone will now be possible.

  The etching solution is tested on the borders of the stone, to determine the strenght of reaction on that particular stone. The contact of the acid mixture with the carbonates of the stone will produce an effervescence of carbonic gas bubbles, which will indicate the strenght of the etch. If the reaction is violent and instaneously produces a rich white froth, the etch is probably too strong; it should be diluted with gum arabic. A satisfactory etch should react almost instantanelously, producing a gentle frothing. Weak etches will not efferversce until several second have elapsed; then they do so very mildly. Strong etches applied through pools of gum react like weak etches. If the etch appears too strong during application, it should immediately be diluted by adding gum arabic, or it should be brushed away from the drawing and toward the borders of the stone. Such etches should not be removed with a dampened sponge, because the water-soluble ingredients of the drawing may be endangered or smeared.
  The basic application procedure is to flow the etch across the whole stone, rapidly and evenly subjecting all areas of the image to equal amounts of solution. The area of the stone to be etched may be reduced by first covering all the borders with the etch. Next a generous brushful of etch is carried in a single sweep across the top of the image from one side to the other. The brush is charged again and a second stripe is carried across the stone, just overlapping the first. The brush will need reaching for each stripe, because its solution will be partically exhausted as well as somewhat neutralized by reaction with the limestone. This pattern is repeated until the entire stone is covered. At the same time the strongest effervescence is brushed away from the weaker areas of the drawing and is deposited on the stronger. When the stone is completely covered, the remainder of the solution is applied more deliberately, at right angles to the first application. Further manipulation of fluid over the greasier areas of the drawing is advisable at this time.
  The etching should proceed with continous manipulation for two or three minutes; after this the total volume of the solution an dmost of the chemical reaction will have been spent. The etch should not be left on the stone too long, however, for it cannot then be dried into a thin coating.
  The tinner and evener the coating, the better will be the desensitization of the stone. The wiping and polishing technique forces the film of etch or gum into the valleys of the stone grain and exposes the image for easy solvent removal during the washout. The adsorbed films of the etch or gum coating serve as a water-bearing and ink-rejecting mask, covering each grain and pore of the nonprinting surface. Coatings that are too thick or uneven often cover parts of the drawing, making it difficult for the washout solvent to penetrate and dissolve the image. Moreover, unevenly adsorbed coatings cannot retain water films equaly, hence they impair the inking of the image and can, in serious cases, produce gum streaks which are impossible to remove from the stone and which appear on the impressions printed from it.
  Etch an gum coatings should be dried with two folded cheesecloth pads; the first mpos up and evens the bulk of the etch solution, and the second polishes and dries the remainder to a thin, even film.
  When the first etch is thoroughtly dry, either the stone can be washed out, rolled up, and given a second etch or it can be stored for future completion the processing. It is preferable to complete the processing by inking the stone and giving it a second etch before storing for long periods.

  https://litografia.pl/wp-content/uploads/2017/11/test-step-05.mp4
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  https://litografia.pl/wp-content/uploads/2017/11/test-step-01.mp4
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  • Krok: 1

    Nie ma erroru dla gumy arabskiej w kroku pierwszym, bo to prawidłowa odpowiedź.

  • Krok: 2

    Water dilution of gum Arabic is going to etch not painted spaces of stone not precisely enough. Gum Arabic would run down from spaces not covered by greasy crayon. Etching would not be satisfying though.

  • Krok: 3

    You could use gum Arabic at this stage but the rosin molecules stick to the drawing are bigger than talcum molecules and they do not mat the stone surface enough.

  • Krok: 4

    You could use gum Arabic at this stage but the rosin molecules stick to the drawing are bigger than talcum molecules and they do not mat the stone surface enough.

  • Krok: 5

    nie ma erroru dla gumy arabskiej w punkcie kroku piątym 5

  • Krok: 6

    After washing the drawing with turpentine the places drawn before stay open and weak. Using gum at this stage will cause over etching of the drawing. You will have to grind the stone again.

  • Krok: 7

    Using gum Arabic on the stone with asfaltum applied may cause over etching on stone (in case when the etching mixture contains nitric acid). As the water does not mix with water, the water dilution of gum Arabic will shape in water drops on the greasy stone surface. If it is only gum Arabic you have to wash the stone with just water very quickly.

  • Krok: 8

    Using gum Arabic on the stone with asfaltum applied may cause over etching on stone (in case when the etching mixture contains nitric acid). As the water does not mix with water, the water dilution of gum Arabic will shape in water drops on the greasy stone surface. If it is only gum Arabic you have to wash the stone with just water very quickly.”

• kredka

  The aim of processing is to scparate chemically the image and nonimage areas of the drawing so that they will receive or reject ink consistently. When proicessing begins, the image areas consist of pasages drawn with greasy lithographic crayon or tusche. Through chemical processing the fatty-acid particles contained in the drawing are liberated, permitting them to combine with the stone itself. Once the grease has been transferred, there is no further need for the drawing materials that contained it. The greasy areas are now ink-attractive and form the printing image. Simultaneously, the undrawn or nonimage areas are so treated that they will receive water and repel grease. This reaction is brought about through a process called etching, in which a mixture of gum arabic and acid is applied to the stone, desensitizing its surface. The strength and formulation of the etch is determined through consideration of the character of both the lithographic drawing and the stone.

  A sequence involving two separate etches is employed. The first etch partially desensitires the stone, so that the drawing materials may be removed with solvent, a proress called the washout. The cleaned image, now an integral part of the stone, is inked with a roller, a process called the roll-up. The inked image is then given a second etch to complete the desensitization of the stone and to provide a durable separation of ink-attracting and ink-rejecting areas during subsequent inking and printing.

  The steps in processing:
  1. The stone is given a first etch that (a) liberates grease from the drawing into the stone and (b) desensitizes the nondrawn areas of the stone so that they will no longer attract grease. The nondrawn areas become hygroscopic; that is, they now attract and retain water films. The drawn areas become hydrophobic, or resistant to water but attractive to grease. By magnification it may be seen that the process affects each minute dot and gaiin of the stone’s surface.
  2. The drawn and etched work is washed out with solvent to remove surface materials; these materials are replaced during the roll-up with a layer of printing ink. While in this condition, the stone may be proofed at the press or minor corrections may be made. Additional desensitization is usually required before extended printing.
  3. The inked image is protected, cleaned., and given a second etch, completing desensitization of the stone. If the etches have been correct in strengt prolonged printing of the stone will now be possible.

  https://litografia.pl/wp-content/uploads/2017/11/test-step-02.mp4
  https://litografia.pl/wp-content/uploads/2017/12/EN-krok-02.svg
  • Krok: 1

    You can start drawing on the stone, but first protect the edges with gum arabic from unwanted grease.

  • Krok: 2

    nie ma błędu dla lredki w kroku 2 bo to prawidłowa odp

  • Krok: 3

    You should not complete the drawing after previous applying the rosin on the stone. The rosin molecules have stayed in the stone pores and they can encumbrance precise work. If you really need to complete the drawing you should apply the rosin on the matrix again.

  • Krok: 4

    You should not complete the drawing after applying rosin and talc on the stone surface. The molecules have stayed in some stone pores and they could make the precise work difficult. If you really want to complete the drawing you have to remember to apply rosin and talc again.

  • Krok: 5

    You should not complete the drawing after applying rosin and talc on the stone surface. The molecules have stayed in some stone pores and they could make the precise work difficult. If you really want to complete the drawing you have to remember to apply rosin and talc again.

  • Krok: 6

    After etching on stone the places without drawing are protected against greasing. The drawing made on gummed stone will disappear during ongoing process.

  • Krok: 7

    After etching and washing the drawing with turpentine the matrix is almost ready for ongoing processing. Not painted places will not absorb fat. You need to wash the stone with turpentine again.

  • Krok: 8

    After etching and washing the drawing with turpentine the matrix is almost ready for ongoing processing. Not painted places will not absorb fat. You need to wash the stone with turpentine again.

• kalafonia

  Drawings to be processed must first be protected with a resistant material in order to withstand the corrosive properties of the acid contained in the etching solution. Rosin and talc (French chalk) are used in the process, each performing certain tasks better than other. Rosin is the major etch resist because it possesses the following properties: (1) it is avalaible in a finely ground fluorlike form; (2) it is insoluble in water; (3) it is soft and easily soluble in turpentine; (4) it is easily melted by heat; and (5) its particles bind together instead of remaining separated under the acid.
  Talc also is unaffected by nitric acid; however, it does not exhibit the uniting properties of rosin, and it tends to separate under waterly solutions. Consequently, talc is not recommended as an absolute resist. Its most valuable function is to overcome the tendency of the greasy image to repel the watery solutions of gum and etch. By destroying surface resistance, it permits these solutions to lie more evenly on the work during the course of etching.
  Since the rosin is accepted as the major acid resist, it should be applied to the image before talc.
  Both rosin and talc must be used also in the second etching. They should be applied separately. Mixing talc and rosin together for application in a single operation is not recomended – the rosin particles will be attached first to the ink; hence the protection of the image agains the etch could be uneven.
  Both rosin and talc are gently applied to drawn and inked surfaces witch tufts of cotton or soft brushes; all excess powder is removed after each application.

  https://litografia.pl/wp-content/uploads/2017/11/test-step-03.mp4
  https://litografia.pl/wp-content/uploads/2017/12/EN-krok-03-1.svg
  • Krok: 1

    Using rosin at this stage of work does not make any sense. If you use it by chance you have to remove it from the stone’s surface with a clean and dry cloth.

  • Krok: 2

    Using rosin at this stage of work does not make any sense. If you use it by chance you have to remove it from the stone’s surface with a clean and dry cloth. You cannot use water as water will attemper the gum arabic applied on the stone edges before.

  • Krok: 3

    nie ma erroru dla kalafonii tutaj FOKUSUJ

  • Krok: 4

    Second applying rosin on the drawing does not make any sense because the rosin and talcum molecules have already adjoined the drawing.

  • Krok: 5

    The rosin has been used in previous processes preparing the stone for printing.

  • Krok: 6

    The rosin will not adhere to gummed surface.

  • Krok: 7

    At this stage you must not use rosin. It could stick to asfaltum and mix with paint later on, what may make washing the asfaltum up difficult.

  • Krok: 8

    At this stage you must not use rosin. It could stick to asfaltum and mix with paint later on, what may make washing the asfaltum up difficult.

• talk

  Drawings to be processed must first be protected with a resistant material in order to withstand the corrosive properties of the acid contained in the etching solution. Rosin and talc (French chalk) are used in the process, each performing certain tasks better than other. Rosin is the major etch resist because it possesses the following properties: (1) it is avalaible in a finely ground fluorlike form; (2) it is insoluble in water; (3) it is soft and easily soluble in turpentine; (4) it is easily melted by heat; and (5) its particles bind together instead of remaining separated under the acid.
  Talc also is unaffected by nitric acid; however, it does not exhibit the uniting properties of rosin, and it tends to separate under waterly solutions. Consequently, talc is not recommended as an absolute resist. Its most valuable function is to overcome the tendency of the greasy image to repel the watery solutions of gum and etch. By destroying surface resistance, it permits these solutions to lie more evenly on the work during the course of etching.
  Since the rosin is accepted as the major acid resist, it should be applied to the image before talc.
  Both rosin and talc must be used also in the second etching. They should be applied separately. Mixing talc and rosin together for application in a single operation is not recomended – the rosin particles will be attached first to the ink; hence the protection of the image agains the etch could be uneven.
  Both rosin and talc are gently applied to drawn and inked surfaces witch tufts of cotton or soft brushes; all excess powder is removed after each application..

  https://litografia.pl/wp-content/uploads/2017/11/test-step-04.mp4
  https://litografia.pl/wp-content/uploads/2017/12/EN-krok-04.svg
  • Krok: 1

    Using talcum at this stage of work does not make any sense. If you use it by chance you have to remove it from the stone’s surface with a clean and dry cloth.

  • Krok: 2

    Using talcum at this stage of work does not make any sense. If you use it by chance you have to remove it from the stone’s surface with a clean and dry cloth.

  • Krok: 3

    You can use talc at this stage of the process. Its tiny molecules would stick to the drawing material on the stone. That is important to react against gum Arabic running down the drawn places. Talc is less acid-proof than rosin – in case of drawing that requires stronger etching – talc could not be enough.

  • Krok: 4

    tu jest dobrze, tak

  • Krok: 5

    The talc has been used at the proper stage of the process so the second using does not make any sense.

  • Krok: 6

    The talc has been used in previous processes preparing the stone for printing.

  • Krok: 7

    Do not use talc at this stage. It will stick to ink, it will make washing the asfaltum up difficult.

  • Krok: 8

    Do not use talc at this stage. It will mix with ink, it will make washing the asfaltum up difficult.

• terpentyna

  After the first etch the fatty components of the drawing become an integral part of the stone, and the nonprinting image comprises a surface that is partially water-receptive and ink-rejective. The original ingredients of the drawing materials are no longer needed; these are removed in the washout process, which prepares the exposes image on the stone to receive ink.
  1 The work is washed out through dry coating of etch or gum, using turpentine and clean, dry rag. The solvent has the ability to penetrate the thin etch coating without dissolving it. The etch coating acts as a protective mask over the nonprinting areas, preventing the dissolved sludge from making contact with the stone.
  2. The dissolved sludge is wiped away and the stone is fanned dry, permiting the solvent to evaporate.
  3. After few minutes – asphaltum solution should be applied on the stone with a clean, dry rug.

  https://litografia.pl/wp-content/uploads/2017/11/test-step-06.mp4
  https://litografia.pl/wp-content/uploads/2017/12/EN-krok-06.svg
  • Krok: 1

    Turpentine – causes light greasing of the stone – before continuing work you have to wait until the turpentine evaporates.

  • Krok: 2

    Turpentine – causes light greasing of the stone – before continuing work you have to wait until the turpentine evaporates.

  • Krok: 3

    If you used turpentine at this stage of the process the whole drawing would disappear and you would have to grind the stone again.

  • Krok: 4

    If you washed the stone with turpentine at this stage you would loose the whole job. You would have to grind the stone again.

  • Krok: 5

    If you washed the stone with turpentine at this stage you would loose the whole job. You would have to grind the stone again.

  • Krok: 6

    A NIE MA ERRORA HAHAHAAH

  • Krok: 7

    If you by any chance wash the stone with turpentine you will have to apply asfaltum again.

  • Krok: 8

    If you by any chance wash the stone with turpentine you will have to apply asfaltum again.

• asfalt

  The ink receptivity of a lithographic image is directly proportional to the extent of its fatty deposits. Heavy deposits of grease will tend to attract ink from the roller more rapidly than weak deposits. Hence, during the roll-up, the dark areas of an image will sometimes appear fully inked before the light areas have achieved their full tonality. If the stone has also been inadvertently overetched, even slightly, the light areas will accept ink all the more slowly. Inking further to assist the development of the light areas may result in overinking of the darks.

  Liquid asphaltum may be applied to the image to fortify the fatty deposits and to equalize ink receptivity.

  When liquid asphaltum applised on the image and dried, its greasy constituents fortify the fatty image deposits, leaving a tenacious and tacky film which is highly receptive to ink. Because of its greasy nature, asphaltum is also beneficial in reinforcing areas that have suffered minor grease loss from overly strong etching.

  1. The drawing is washed out througr the dry- gum mask, following the washout procedure.

  2. Asphaltum solution is applied with a clean cloth in an even film over the entire work an then is fanned dry.

  3. The dried coating is washed out with water. This removes the etch or gum mask from the nonimage areas. The image areas will retain a firm tacky coating which forms the ink base.

  4. The stone is kept damp and is immediatly rolled up with ink. It will be seen that the image will accept ink more quickly and evenly. Slightly overetched areas will regain their original value. If they do not, the overetching has been severe, and very little can be done to correct the error without couneretching the stone.

  https://litografia.pl/wp-content/uploads/2017/11/test-step-07.mp4
  https://litografia.pl/wp-content/uploads/2017/12/EN-krok-07-1.svg
  • Krok: 1

    Using asphaltum liquid at this stage of the process is possible if you want to use it as drawing material. The places overlaid with asphaltum will stay black.

  • Krok: 2

    If you used asphaltum (not as drawing material) at this stage of the process it would attemper the drawing and greasy the stone in the places that are not covered by drawing too. If you use asphaltum by chance at this stage it will make you grind the stone again and retry work.

  • Krok: 3

    If you used asphaltum at this stage it would attemper the drawing and greasy not covered stone places. You would have to grind the stone.

  • Krok: 4

    If you used asphaltum at this stage it would attemper the drawing and greasy the stone also in the places not covered by drawing. You would have to grind the stone again.

  • Krok: 5

    If you used asphaltum at this stage it would attemper the drawing and greasy the stone also in the places not covered by drawing. You would have to grind the stone again.

  • Krok: 6

    In the lithographic process the asphaltum and turpentine dilution is used. Using the dilution at this stage would cause attrition of the drawing and greasing the places with the drawing. The remnants of drawing material mixed with asphaltum will cause the stone surface dirty and it will be difficult to remove them later. Before using asphaltum you need to wash the drawing with turpentine very precisely.

  • Krok: 7

    GIT

  • Krok: 8

    Jeśli nałożyć asfalt na asfalt – nie stanie się nic złego. Praca nie posunie się również do przodu.

    Jeżeli jednak wcześniej na kamień dostała się woda (rozpoczęte zostało wymywanie) – koniecznie trzeba go zmyć terpentyną z wodą i niezwłocznie rozpocząć wałkowanie.

• walek-drukarski

  Good job!
  It’s almost done.

  The application of ink after the washout is one of the critical phases of stone processing. The objective is to deposit a layer of ink on the image, exactly duplicating the visual characteristics of the original drawing. The inking procedure must be executed with care and deliberation, inasmuch as the stone is only partially desensitized by the first etch.
  The roller, lightly charged with ink, is passed over the work rapidly and lightly four or five times without stop- ping. Examination of the work will show that the image is beginning to receive ink in an increasing or decreasing degree, depending on its particular characteristics. The procedure of rapid rolling with minimum pressure limits the discharge of ink and enables the printer to assess the receptivity of the image to the ink. Within the period of the first few passes of the roller, the printer must determine the rolling techniques necessary for that particular stone. If ink acceptance is slow, the rolling should proceed more slowly and with graduall increased pressure. If ink acceptance is fast, rapid rolling and minimum pressure should continue. As the image develops, the roller is recharged with fresh ink from the slab, the stone is redampened, and the rolling is continued. These steps are repeated with periodic inspection of the work until the image is fully charged with ink and duplicates the tonalities of the original drawing. In this condition it is ready to receive minor corrections; these are followed by the second etch for the completion of desensitization.

  https://litografia.pl/wp-content/uploads/2017/11/test-step-08.mp4
  https://litografia.pl/wp-content/uploads/2017/12/EN-krok-07-2.svg
  • Krok: 1

    If you cover the grinded stone with paint (stone edges protected by gum Arabic before) all the places not covered by gum Arabic will blacken and you will have to grain the stone again.

  • Krok: 2

    The edges of the stone protected by gum Arabic. The drawing has already been made. If you roll up (apply the ink on the stone now) the stone now, the places not protected by gum Arabic will blacken and you will have to grind the stone again.

  • Krok: 3

    Rolling up the stone (applying the ink on the stone) after previous applying the rosin will cause blackening all the surfaces not covered by the gum Arabic. You will have to grind the stone again.

  • Krok: 4

    Rolling up the stone (applying ink on the stone) after the rosin and talcum have been used will cause blackening all places not protected by gum Arabic. You would have to grind the stone again.

  • Krok: 5

    Rolling up the gummed stone will not bring any effects. The ink will adhere to the drawing and mix with talcum and rosin. Resolving this mistake is possible as far as one condition is fulfilled: only if the drawing material greased the matrix enough and only if it will be quickly washed with the mixture of water and turpentine and will be rolled up again. If this method does not work you will have to grind the stone again.

  • Krok: 6

    Rolling up the gummed stone will not bring any effects.

  • Krok: 7

    Rolling up the stone that has been washed with turpentine before but without applying asfaltum is possible only in one situation: only if the drawing material was very greasy (ink for example). Without asphaltum rolling up the stone is going to last longer and the precise blackening of matrix can be impossible.

  • Krok: 8

    Congratulations, you did it 🙂

    After rolling up the stone, you have to do corrections and aply second etching. Then the stone will be ready to print edition.