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required a "master craftsman with an original painting in front of him and work out which areas of the image should be printed in which of the available colours to achieve the desired effect." The printer engraved the image to the finer end grain of the woodblock. For more complicated work the carver worked on the end grain of the wood, and with the use of fine hatchings to the wood that were inked separately achieved the look of blended colours. For the children's book market, which had lower profit margins, the printer would use fewer ink colours, which could be optimised by mixing colours such as blue and yellow to create green.
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241:. To create a blend of colours, blocks were hatched horizontally and diagonally to allow applications of multiple colours that resulted in browns, greens and greys. Gascoigne explains that a "blockmaker would know whether to engrave thin white lines (for an almost solid tone), medium white lines (a mid-tone) or crosshatchings (leaving larger or smaller lozenges of colour to achieve sometimes little more than a faint tint when seen at a normal viewing distance)." Overlapping diagonal lines were carved to create dot-like shapes on the surface that took less ink and resulted in paler tones.
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302:. Evans considered full colour printing a technique well-suited to the simple illustrations in children's books. Evans reacted against crudely coloured children's book illustrations, which he believed could be beautiful and inexpensive if the print run was large enough to maintain the costs. In doing so, Evans collaborated with Walter Crane, Kate Greenaway and Randolph Caldecott. Books illustrated by
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295:") or magazines, and in rare instances, newspaper covers, complicated colour combinations generally were not necessary. Most often the printer only used primary colors and black. The inexpensive technique of chromoxylography allowed publishers and printers to design covers as an attraction to purchase the book.
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Thicker hatchings were less expensive and easier to produce, but the result was not as attractive. Books that were to be produced as inexpensively as possible showed less engraving work and colour separation. The chief problem was to maintain correct register so that the design on the block matched
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According to
Gascoigne, 19th century chromoxylographs are identified by embossing on the back of the paper, distinctly delineated outlines, created by pressing the paper against the engraved blocks, and the presence of crosshatchings. He writes that "an impossibly and perfect and delicate area of
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To make a relief print, the printer began with a wood block, engraved the image on the block by carving out areas that were not to be printed (or inked). A wood block was carved for each primary colours, with the coloured ink coating the areas left in relief. Gascoigne explains that the process
264:
the design on the paper. To achieve a precise register small holes were drilled along each block, and the paper was pinned to it. When done correctly, the block's colour registers matched printed paper, although sometimes ink squash is visible along the edges of an illustration. An
145:, had to be produced with few colours, often only two or three, whereas more intricate and expensive books and reproductions of paintings used as many as a dozen or more colors. For each colour used, a separate woodblock had to be carved of the image being reproduced.
20:
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and serialized stories into the early-20th century. The process was used simplistically in the mid-19th century to produce covers and illustrations for dime novels, penny dreadfuls, and children's books that were usually rendered, often ineffectively, only in
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crosshatching will suggest at first that the graver could not possibly have scooped out such small and regular interstices, but on closer inspection the lines in the two directions will be found to be of slightly different colours."
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201:'s work, London's premier engraver and printer of children's books, as he perfected the process, often using as many as ten colour blocks, mixing and combining primary colours to create a broad palette of colours and hues.
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was produced for each engraved wood block, inked according to the block, thereby tinting the paper in specified areas. The colour was applied as a solid, or in stripes of various of thickness, allowing for changes in hue.
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explains that the "vast majority of colour wood engravings are reproductive work of the second half of the nineteenth century, at which time they were often referred to as chromoxylographs—meaning colour from wood, just as
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Chromoxylography was additionally used to illustrate natural history books and to reproduce paintings. To achieve realistic reproductions an engraver often used 12 or more colour blocks.
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and variations in tone. Areas intended to be printed in a solid colour were marked, and then hatching lines of various thickness were carved into the wood so that colours could be
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Close-up showing crosshatchings, mixed colours in the meadow, a pale hued sea, delineated sunrays, slight colour squash, and solid colours on the rooster.
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Because the process was inexpensive, and commonly used to illustrate covers of inexpensive books such as mysteries and romances ("yellow backs" or "
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process, popular from the mid-19th to the early-20th century, commonly used to produce illustrations in children's books, serial
314:, engraved and printed by Evans, became popular and remain as classic examples of illustrations for children's literature.
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715:
McNair, John R. "Chromolithography and Color
Woodblock: Handmaidens to Nineteenth Century Children's Literature.
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1896 children's magazine cover showing thicker hatchings. The colour register slipped causing the print to blur.
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repopularized colour relief printing, then called chromoxylography, using a "background detail plate printed in
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Chromoxylography became a popular technique in the production of inexpensive books, such as children's
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and chromoxylography was perfected by engravers and printers in the 19th century, most notably in
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185:, followed by colours printed in oil inks from relief plates—usually wood blocks".
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137:. Chromoxylography was a complicated technique, requiring intricate engraving and
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197:, using one colour per wood block. The process became much more elaborate with
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217:, shows distinct cross-hatchings in the umbrella for a lighter tone of black.
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were made by printing with engraved and coloured wood blocks. In the 1830s,
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Designer's Color Manual: The
Complete Guide to Color Theory and Application
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Literature and the child: romantic continuations, postmodern contestations
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Yellow is used to achieve a variety of hues, and fine hatchings allow for
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The process was also used to produce higher quality children's books and
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A subtle blend of colours is achieved using few colour blocks in this
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The blocks were skillfully carved with extremely fine lines to create
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who was particularly good with the process, producing a wide range of
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Chromoxylograph of owls, printed in a nature book, illustrated by
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for the best results. Less expensive products, such as covers for
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Tempting the palette: a survey of colour printing processes
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showing few hatchings to create variations in hue and tone.
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The
Illustrator and the book in England from 1790 to 1914
719:. Volume 11, Number 4, Winter 1986-1987, pp. 193–197
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printed with the chromoxylography colour printing method.
726:(2005). Rochester NY:Rochester Institute of Technology.
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Full-colour printing in the 19th century relied on the
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647:. University of Southern Mississippi. Archived from
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213:The frontispiece of 1887 Almanack, illustrated by
604:"Aspects of the Victoria Book:Penny Dreadfuls".
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761:. (1996) Iowa City: Iowa University Press.
717:Children's Literature Association Quarterly
606:British Library. Retrieved October 11, 2010
23:Cover of 1902-1906 American boy's magazine
620:"Color Printing in the Nineteenth Century"
287:double-spread with deep black background
18:
614:
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705:. (1986) New York: Thames and Hudson.
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344:Black Bess or the Knight of the Road
483:"Penny Novels and Penny Dreadfuls"
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16:Colour woodblock printing process
622:. University of Delaware Library
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121:London by engraver and printer
425:'s "The House that Jack Built"
1:
485:. Stanford University Library
394:, as in this illustration by
680:Fraser, Tom and Adam Banks.
326:Examples of chromoxylography
684:. (2004). Chronicle Books.
641:"Randolph Caldecott Papers"
408:Detail of a chromoxylograph
339:Cover art of Edward Vile's
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740:. (1991) New York: Dover.
698:. (1906). New York: Putnam
170:means colour from stone."
549:Gascoigne, section 23.b.
463:Gascoigne, section 23. a
233:, creating a variety of
668:Gascoigne, section 23.d
594:Gascoigne, section 55.s
576:Gascoigne, section 23.c
567:Gascoigne, section 53.f
558:Gascoigne, section 23.b
540:Gasgoigne, section 53.f
517:Fraser and Banks, p. 59
703:How to Identify Prints
696:English Coloured Books
645:de Grummond Collection
526:University of Stanford
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260:
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585:Gascoigne, section 68
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736:Ray, Gordon Norton.
782:History of printing
701:Gascoigne, Bamber.
157:process and colour
423:Randolph Caldecott
374:image, printed by
372:Randolph Caldecott
312:Randolph Caldecott
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252:, engraved by the
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95:woodblock printing
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690:978-0-8118-4210-5
293:dime store novels
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205:Methods and uses
168:chromolithograph
163:Bamber Gascoigne
115:relief engraving
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32:Chromoxylography
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752:Further reading
722:Pankow, David.
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93:) was a colour
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304:Kate Greenaway
250:Johann Zwecker
215:Kate Greenaway
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159:wood engraving
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143:pulp magazines
113:. The art of
99:pulp magazines
25:Brave and Bold
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651:on 2010-06-07
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653:. Retrieved
649:the original
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624:. Retrieved
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487:. Retrieved
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400:Edmund Evans
396:Walter Crane
392:overprinting
376:Edmund Evans
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308:Walter Crane
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281:Walter Crane
271:
266:electroplate
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258:Edmund Evans
224:
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199:Edmund Evans
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135:color mixing
123:Edmund Evans
31:
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24:
787:Printmaking
421:Image from
231:overprinted
107:yellow-back
776:Categories
655:2010-02-28
626:2010-02-28
489:2010-05-30
454:Ray, p. 64
443:References
285:Absurd ABC
149:Background
300:toy books
227:stippling
190:toy books
119:Victorian
103:cover art
402:in 1878.
183:intaglio
180:aquatint
139:printing
133:through
675:Sources
321:Gallery
765:
744:
730:
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688:
155:relief
101:, and
239:tones
131:tones
763:ISBN
742:ISBN
728:ISBN
707:ISBN
686:ISBN
310:and
237:and
235:hues
129:and
127:hues
109:and
105:for
283:'s
778::
643:.
611:^
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510:^
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161:.
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