On the Economy of Machinery and Manufactures

by Charles Babbage

Of printing from cavities

83. The art of printing, in all its numerous departments, is essentially an art of copying. Under its two great divisions, printing from hollow lines, as in copperplate, and printing from surface, as in block printing, are comprised numerous arts.

84. Copperplate printing. In this instance, the copies are made by transferring to paper, by means of pressure, a thick ink, from the hollows and lines cut in the copper. An artist will sometimes exhaust the labour of one or two years upon engraving a plate, which will not, in some cases furnish above five hundred copies in a state of perfection.

85. Engravings on steel. This art is like that of engraving on copper, except that the number of copies is far less limited. A bank-note engraved as a copperplate, will not give above three thousand impressions without a sensible deterioration. Two impressions of a bank-note engraved on steel were examined by one of our most eminent artists,(1*) who found it difficult to pronounce with any confidence, which was the earliest impression. One of these was a proof from amongst the first thousand, the other was taken after between seventy and eighty thousand had been printed off.

86. Music printing. Music is usually printed from pewter plates, on which the characters have been impressed by steel punches. The metal being much softer than copper, is liable to scratches, which detain a small portion of the ink. This is the reason of the dirty appearance of printed music. A new process has recently been invented by Mr Cowper, by which this inconvenience will be avoided. The improved method, which give sharpness to the characters, is still an art of copying; but it is effected by surface printing, nearly in the same manner as calico-printing from blocks, to be described hereafter, 96. The method of printing music from pewter plates, although by far the most frequently made use of, is not the only one employed, for music is occasionally printed from stone. Sometimes also it is printed with moveable type; and occasionally the musical characters are printed on the paper, and the lines printed afterwards. Specimens of both these latter modes of music-printing may be seen in the splendid collection of impressions from the types of the press of Bodoni at Parma: but notwithstanding the great care bestowed on the execution of that work, the perpetual interruption of continuity in the lines, arising from the use of moveable types, when the characters and lines are printed at the same time, is apparent.

87. Calico printing from cylinders. Many of the patterns on printed calicos are copies by printing from copper cylinders about four or five inches in diameter, on which the desired pattern has been previously engraved. One portion of the cylinders is exposed to the ink, whilst an elastic scraper of very thin steel, by being pressed forcibly against another part, removes all superfluous ink from the surface previously to its reaching the cloth. A piece of calico twenty-eight yards in length rolls through this press, and is printed in four or five minutes.

88. Printing from perforated sheets of metal, or stencilling. Very thin brass is sometimes perforated in the form of letters, usually those of a name; this is placed on any substance which it is required to mark, and a brush dipped in some paint is passed over the brass. Those parts which are cut away admit the paint. and thus a copy of the name appears on the substance below. This method, which affords rather a coarse copy, is sometimes used for paper with which rooms are covered, and more especially for the borders. If a portion be required to match an old pattern, this is, perhaps the most economical way of producing it.

89. Coloured impressions of leaves upon paper may be made by a kind of surface printing. Such leaves are chosen as have considerable inequalities: the elevated parts of these are covered, by means of an inking ball, with a mixture of some pigment ground up in linseed oil; the leaf is then placed between two sheets of paper, and being gently pressed, the impression from the elevated parts on each side appear on the corresponding sheets of paper.

90. The beautiful red cotton handkerchiefs dyed at Glasgow have their pattern given to them by a process similar to stencilling, except that instead of printing from a pattern, the reverse operation that of discharging a part of the colour from a cloth already dyed—is performed. A number of handkerchiefs are pressed with very great force between two plates of metal, which are similarly perforated with round or lozenge-shaped holes, according to the intended pattern. The upper plate of metal is surrounded by a rim, and a fluid which has the property of discharging the red dye is poured upon that plate. This liquid passes through the holes in the metal, and also through the calico; but, owing to the great pressure opposite all the parts of the plates not cut away, it does not spread itself beyond the pattern. After this, the handkerchiefs are washed, and the pattern of each is a copy of the perforations in the metal-plate used in the process.

Another mode by which a pattern is formed by discharging colour from a previously dyed cloth, is to print on it a pattern with paste; then, passing it into the dying-vat, it comes out dyed of one uniform colour. But the paste has protected the fibres of the cotton from the action of the dye or mordant; and when the cloth so dyed is well washed, the paste is dissolved, and leaves uncoloured all those parts of the cloth to which it was applied.