Human Generated Data

Title

Seven Convolutions: Title Page

Date

1948

People

Artist: Herbert Bayer, American 1900 - 1985

Classification

Prints

Credit Line

Harvard Art Museums/Busch-Reisinger Museum, Gift of Lydia Dorner in memory of Dr. Alexander Dorner, BR58.167

Copyright

© Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

Human Generated Data

Title

Seven Convolutions: Title Page

People

Artist: Herbert Bayer, American 1900 - 1985

Date

1948

Classification

Prints

Machine Generated Data

Tags

Amazon
created on 2022-01-22

Text 100
Page 100
Word 91.8
Paper 75.8
Advertisement 64.1
Poster 63.3
Letter 58.1
Flyer 57.5
Brochure 57.5
Alphabet 55.5

Imagga
created on 2022-01-22

reflection 40.5
picture 39.5
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representation 31.8
business 28.6
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modern 14
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Google
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Font 82.4
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Paper 68.3
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Book 63.8
Document 62.8
Parallel 60.2
Letter 55.2
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text 99.9
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Text analysis

Amazon

bayer
herbert bayer
lithographs
herbert
original
which
their
original lithographs by
convolutions
seven convolutions
seven
used
more
any
the
but
prints
printing
tusche
have
by
one
color
are
were
with
black
from
than
tusche and
for
dark
and
The
be
two-color
of
When
made
lithograph
colored
can
printed
drawings
ink
are black. but the prints can be made any color in printing
in
must
stones
crayons,
containing
two
carries
shapes,
masses, shapes, and
by the use of colored inks
stone
Lithographs
stones were used it their making one for the black which
april
axel
When lithographs are S be printed is more than one color, more than
one stone must be used The "Convolutions" are two-color lithographs; two
masses,
black.
"Convolutions"
use
inks
made with lithograph crayons, tesche, or isk containing grease. Crayons
Lithographs are prints taken from stories on which drawings have boon
making
it
Crayons
color,
april 1945
for axel dornes
or
S
lithographs;
isk
taken
oct.26/1948
tesche,
grease.
aspen, oct.26/1948
1945
on
aspen,
boon
my
stories
Bolide
my Bolide gruisse,
is
gruisse,
dornes

Google

for axd dors) ay, o07.26/343 seven convolutions original lithegrophs by herbert bayer apl s Lithographs are prints taken from stones on which drawings have been made with lithograph crayons, tusche, or ink containing grease. Crayons, tusche and ink are black, but the prints can be made any color in printing by the use of colored inks. When lithographs are to be printed in more than one color, more than one stone must be used. The "Convolutions" are two-color lithographs; two stones were uscd in their making, one for the black which carries the dark masses, shapes, and lines, and one for the color which carries the tones and the high lights. It is not necessary to use regular lithograph crayons to make drawings on stones for lithographs. Any substance containing grease will do. The ink used for printing lithographs can be used also for drawing on the stone. The inking roller, used to roll up stones for printing, may serve to apply ink to the entire surface of a stone to obtain an all-over middle tone. Such a tone brings out the rich texture of the grained surface of lithograph stones. This technique, using the inking roller to apply a thin coating of ink to the stone prior to drawing on it, is useful when an artist wishes to draw darker shapes into a middle bone-to delincate shadows and outlines-or to scrape out middle tones to obtain high lights. In the "Seven Convolutioes" series of two-color lithographs, all of the first stones, which were the key stones, were printed in black. Some were drawn with lithograph crayons; some were drawn with a brush and tusche which is similar to crayon in liquid form,. The second stones were made to print the middle tones and high lights. In cach subject the middle tone was printed in the appropriate color accord- ing to the artist's conception of the design. Herbert Bayer wanted the lithographs to be drawn on stone in a direct manner so that the quality and texture of the stones would not be destroyed. He was apathetic to the harsh effect that is so often the result of scraping and scratching out high lights. Therefore, it was necessary to discover a new medium for drawing on stone before the color stones could be made. The solution to our problem was simple although it required practice to perfect the technique: on the second stones, which were printed in color, the artist drew the high lights with chalk, and immediately turned them over to the printer who inked the printing roller lightly with black lithograph ink and used it to lay a thin film of ink on the entire surface of the stones, except those parts of the stones which were protected by the chalk and were to be the high lights. Thus, for each subject two stones were drawn upon and prepared for printing-one with black ink, the other with colored ink. In 1797 Alois Senefelder, a German, invented a process of printing which he called "Lithography," meaning "to draw on stone." Until that time all printing was done from plates or blocks of wood or metal having either raised lines or surfaces such as the raised surfaces of type from which books are printed, or from plates with incised lines such as engravings and etchings In lithography, stones from which prints are made have neither raised nor incised lines. Lithography is posible because of the antipathy of grease and water each for the other. The drawing on stone is made with greasy crayon or ink and the stone is printed with greasy ink. The stone is kept moist during printing so that only the drawing, or areas which were greased, receive ink. Thus, the ink from the inking roller is transferred again to the paper when the impression is made. Lithographs are printed by a special kind of hand press. Lausence Baratt Calenado Springe Fne Ats Cantar
o07.26/343
Crayons,
ink
be
made
any
by
one
stones
carries
dark
color
and
the
not
use
lithograph
for
do.
used
roller,
to
a
of
stones.
technique,
apply
thin
coating
prior
is
useful
into
bone-to
delincate
all
were
brush
The
lights.
ing
design.
on
direct
that
He
was
apathetic
harsh
new
practice
perfect
chalk,
turned
lightly
black
surface
stones,
those
protected
chalk
each
drawn
upon
printing-one
invented
stone."
from
plates
metal
surfaces
such
raised
antipathy
other.
drawing
greasy
with
stone
printing
or
areas
roller
when
press.
Lausence
Cantar
ay,
original
apl
s
have
been
tusche
are
black,
in
When
more
than
used.
"Convolutions"
uscd
high
drawings
Any
lithographs
stone.
serve
entire
grained
using
artist
out
In
series
lithographs,
Some
which
tones
cach
appropriate
manner
so
often
scratching
it
medium
could
made.
our
simple
although
lights
who
except
parts
subject
prepared
other
colored
called
done
prints
nor
posible
water
receive
Baratt
axd
herbert
crayons,
but
can
inks.
color,
must
lithographs;
making,
shapes,
regular
lithographs.
grease
inking
roll
printing,
all-over
middle
Such
tone
darker
shapes
shadows
two-color
key
printed
crayon
form,.
artist's
Herbert
texture
would
destroyed.
result
technique:
lay
two
ink,
Alois
Senefelder,
he
"Lithography,"
meaning
draw
lines
books
incised
Lithography
during
only
ink.
impression
Lithographs
kind
hand
Calenado
Fne
Ats
dors)
seven
convolutions
lithegrophs
bayer
tusche,
containing
their
necessary
crayons
make
will
up
obtain
tone.
rich
This
it,
"Seven
Convolutioes"
first
some
similar
liquid
print
accord-
conception
quality
scraping
before
problem
required
drew
immediately
over
film
Thus,
1797
process
blocks
wood
having
as
type
etchings
lithography,
neither
lines.
because
Springe
taken
grease.
masses,
lines,
It
substance
also
may
an
brings
wishes
outlines-or
scrape
black.
crayons;
second
Bayer
wanted
effect
Therefore,
discover
solution
them
printer
inked
German,
"to
Until
time
either
printed,
engravings
kept
moist
drawing,
greased,
transferred
again
paper
special