HAND-PRESSES USED IN GRAPHIC ARTS History.—In the beginning the only machines used by the graphic arts were hand-presses. These machines were used before either steam or electricity were thought of as a means of pro viding power. Of course, in modern times, the large machines used could not be operated by human power so it was necessary to invent something that was more powerful than the hand of man. The presses driven by steam and electricity were not ex pected to improve the quality of the work produced—nor have they improved it—but they were made to increase the quantity; hence, the power press.
When Alois Senefelder (1771-1834) invented lithography about the end of the i8th century, he was compelled to build some kind of a machine that would enable him to reproduce on paper what he had engraved or written on the limestone which he had used as a base for his work of printing music. He pro ceeded to make a machine which was called the pole-and-beam press, which, as the name indicates, was made of poles and beams. This first press that Senefelder made is said to have been com pleted during the year 1796. The pressure was applied by the workman standing on a treadle, his weight supplying the needed pressure—and the larger the pressman the better the impression he produced.
The pole-and-beam press was not an unqualified success and was soon discarded by the lithographic inventor and an entirely different machine was built in 1797. The new machine was called the "star press" and was patented in 18oi, and, while very crude, was used by Senefelder for a number of years. Some of the parts of this press are followed in some of the hand-presses in use to-day. It was an improvement on the pole-and-beam press because of the use of a much larger stone. For many years this press was the "standard" model in the business.
There is no record of a lithographic hand-press being built be tween the years 1798 and 1820, but during the last-named year a machine was turned out in England called "the English hand press." This press and other similar ones were used until the
power machines came into use in 1865. After the introduction of this power-press, which was called the "steam press," the hand press was practically discarded except for pulling proofs and working off extremely short runs. While the "steam press" has been adopted all over the world as the standard lithographic machine, it is still maintained by many lithographers that better and more perfect work can be turned out by the hand-press.
The pressure that prints the image from the stone to the paper by the hand-press is entirely different from the pressure of any other printing machine in use. It is a scraping motion. After the paper is placed on the stone a piece of hard wood is drawn across the form to be printed, with sufficient pressure to make the paper take the ink. All other lithographic presses and type presses print by pressing down on the paper by some direct means.
About 1825 a hand-press was made of iron and its operation was entirely different from any previous ones. It had a roller made of brass and operated by a handle which caused a travelling carriage, on which the stone was placed, to run under a frame to which was attached the scraper. The pressure was regulated from beneath the carriage, which was forced up by a screw to give the correct amount of impression when the scraper was applied. After the print was made the pressure was released and the car riage drawn back by hand, thus giving the operation a saving of time and greatly increasing the output.
In 1846 there was constructed in Ireland a hand-press known as the Macbrair press. It was a great improvement on the English machine mentioned before, and did good work at what was considered in those days great speed. One of these machines was brought to America and a good-sized family was supported with it for several years. The largest edition worked on this machine ran about 5oo copies in one colour. This press is now said to be in a museum on exhibition as a curiosity.