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SOME COMIC STRIPS OF THE 1880s: CARAN D’ACHE, COURBOIN, FLAMBERGE, & HOW THEIR COLOURS WERE PRINTED
or, THE MOST IMPORTANT COLOUR PRINTING TECHNIQUE YOU’VE NEVER HEARD OF: RESIN GRAIN CHROMOTYPOGRAPHY. a.k.a Relief Aquatint or, BEN DAY DOTS, PART 5-&-A HALF—a predecessor to Ben Day in colour letterpress Previously on The History of Ben Day Dots: Part 1: … Continue reading
Posted in Bandes dessinées, Comic-book art, Comics, History of Comics, History of Printing
Tagged A. Hyatt Mayor, Abbeville, Alfred Docker, An Historical and Practical Guide to Art Illustration, aqua fortis, Aquatint, Bamber Gascoigne, Baxter print, Ben Day dots, Benday Dots, Bibliothèque national de France, Boussod Valadon et Cie, Caran D’Ache, Charles Gillot, Charles Kingsley, chromographic, chromotypograph, chromotypography, Firmin Gillot, Gallica, George Baxter, George Leighton, gillotage, gillotype, Goupil et Cie, Honoré Daumier, How Prints Look, How To Identify Prints, Illustrated London News, James Shirley Hodson, Judge magazine, LA REVUE ILLUSTRÉE, Le Charivari, Lord Brougham, Maria Edgeworth, Moral Tales, paneiconographie, Puck magazine, relief aquatint, Resin Grain, Richard F. Outcault, Samuel J. Hodson, stipple engraving, The Graphic, The Yellow Kid and his New Phonograph, Thierry Smolderen, Vincent van Gogh, William Dickes, William Ivins Jr
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