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ABSTRACT

THE APPLICATIONS OF LITHOGRAPHY
TO THE DECORATING OF METAL CANS

By Stephen P. Wolf

This thesis has been concerned with the applications of
the lithOgraphic printing process to the decoration
of metal cans. The lithographic process is used
extensively in the United States and other parts of the
world in decorating on metal substrates. Metal decorating
is a highly specialized process.

It has been the purpose of this thesis to research the
lithographic process as it has applied to the decorating
of metal cans. Considered were conventional litho-
graphy and dry offset lithography. The merits and
disadvantages of each was discussed. Also covered was
the form in which these substrates were decorated,
including flat sheet and in the round. Discussion of
substrates, inks, coatings and other materials essential
to the process were included.

In addition, the lithographic trade union and its
relationship with other graphic arts craft unions was
examined. Of main concern was the merger between the
lithographers and the photoengravers and the effect of

the merger on collective bargaining.

THE APPLICATIONS OF IITHOGRAPHY

TO THE DECORATING OF METAL CANS

By

Stephen P. Wolf

A THESIS

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

MASTER OF SCIENCE
School of Packaging

1968

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ACKNOWLEDGEMENT

I would like to thank the manufacturers and
decorators of lithographed metal cans for the assistance
provided in writing this thesis. The visits to their
metal decorating facilities proved to be quite informative.
Included are Continental Can Company, American Can Company
and Reynolds Metals Company. I would also like to thank
DuPont de Nemours and Minnesota Mining and Manufacturing
for information regarding lithographic plates.

I would also like to thank my wife for her patience

and typing service.

11

II.

III.

IV.

TABLE OF CONTENTS
Metal Decorating and the Can Industry
Introduction
Invention of Lithography
Lithographic Presses
Lithographic Troubles
Decorating Process
Substrates
Inside and Outside Coatings

Inks Used in Metal Decorating

LithOgraphic Plates

Introduction

Production of Lithographic Plates
Surface Plates

Presensitized Plates

Deep Etch Plates

Bimetallic Plates

Dry Offset Plates

The Effect of Lithographic Mergers on Collective
Bargaining

Introduction

Review of Merger Activity

Objectives of the L.P.I.U. Merger

Summary and Conclusions

Bibliography

iii

Pages
1-18

IO
12
15
16

19-32
19
19
21
21
22
25
26

33-40
33
34
36
40

41-43

METAL DECORATING AND THE CAN INDUSTRY

Introduction. The growth of the metal decorating
field in the can industry is due to the general increase
in the consumption of all products. In packaging today,
the prime word is convenience. This includes the ease of
selection, choice of a size, convenient price, easy carry
home, easy Opening and ease of use and disposal. This
is especially true in the beverage field.1

In 1966, approximately one third of the can production
or twenty billion cans were used for beer and soft drinks.
Of these, thirteen billion had easy Opening lids.2

Total production of metal cans in 1966 was estimated
at about 53.5 billion units.3

The metal can is practical in that is will resist
heat, cold, moisture and rough handling during transpor-
tation. The metal container greatly extends the shelf
life of many products.

The average consumer does not realize it, but the
appearance of the label on a product may influence his
selection of that product. He consumes the contents and

discards the container without realizing anything about

 

1"New Directions," Packaging EDCXClODedia (1957 ed.),
V01. 40. p. 15.

21bid,, p. 15.

3
"Metal Cans," Packaging BncyClopedia (1967 ed.,),
vol. 40, p. 316.

11

c.

the printing process that persuaded him to buy the
product. Many consumers still believe that all metal
containers are decorated with paper labels. The consumer
is unaware of metal decorating simply because the
conservative nature of the industry tends to hide the

4
process.

The growth of the metal decorating industry is also
due to the change in package designs and costs of raw
materials. Although the cost of the capital investment
for converting to metal decorating is high, the ultimate
cost for paper labels and metal decorating is roughly
the same.

The scepe of the industry is amazing. Multicolored
products confront the consumer everywhere. Examples
are beer, juice, coffee, motor-oil cans, pressurized
spray cans for cosmetics, closures for jars and bottles
and other containers of many shapes and sizes. The metal

decorating industry could not have deve10ped as it has

without the invention of lithography.

Invention g; Lithography. Lithography was first
discovered by Alois Senefelder in 1798 in Bavaria.

Senefelder's experiments involved the use of

 

4R. E. Whitworth, "Printing of Metal," Visual,
vol. 2 (Nov., 1964), p. 8.

51b1d., p. 10.

a water absorbing limestone used as the lithOgraphic
form. The image was drawn on the dry stone with a
greasy crayon or liquid tusche. When the image was
complete, thesnone was etched with an acidified gum
arabic solution. When the gum dried, the crayon was
washed away with turpentine and liquid asphaltum was put
in its place. Thus, the water repellent base image was
formed. The stone could then be washed with water and
rubbed down to just a damp condition. Ink was applied
to the images with rags and then rollers. This is
essentially the lithographic process in its infancy. In
lithOgraphy, the separation of image and non—image areas
is said to be chemical. The natural antipathy of water
for grease is used as a basis for the separation of
printing from non printing areas. The lithographic plate
has a plane surface and is sometimes referred to as a
planographic printing process. The image areas are

made highly grease receptive so they will take ink and
repel water. The non-printing areas are made water
receptive so they will, when wet, repel ink.

Both the water rollers and ink rollers contact the
entire lithographic plate, but only the image area takes
ink when the plate is dampened prOperly. This is the
reason that conventional lithography employs water in
its process. In dry offset, the printing areas of the
plate are raised above the non-printing areas. The inking

rollers touch and deliver ink only to the high parts of

11

the plate. Both conventional and dry offset plates will

be discussed at length later on in this paper.

LitnOgggphic Presses. On a modern sheet-fed metal

 

decorating or paper press, printing is accomplished by
means of a three cylinder unit. The first cylinder is
the plate cylinder because it carries the plate. It is
generally the uppermost cylinder of the three because it
is accessible to the inking system.

The second cylinder is the blanket cylinder which
carries a sheet of fabric covered with a film of rubber
wrapped around the cylinder. The blanket picks up the
image on the plate and transfers it to the sheet being
printed. The advantage of this process is the high
fidelity of transfer. The rubber blanket is able to pick
up the finest dot on the plate and transfer it to the
substrate.

The third cylinder, the impression cylinder, is
reSponsible for the transfer of the impression and
carrying the sheet to the delivery end of the press.

It is possible to print multicolor sheets by either
passing them through a single color machine the required
Iiumt>er‘ of times, or using straight line feed tandem units.
Some manufacturers allow for a changeover at a later date
to a tandem press simply by adding additional units. The
sheet control mechanism on the additional unit is identical

to that of the first, therefore hairline register is assured.

The Hoe press manufacturers claim that tandem presses
have been built in as many as four units and are extremely
efficient in minimizing the costs of color work. The
tandem press can be run at considerably higher speeds
than old style one unit two-color presses and wet colors
can be printed directly over one another. A tandem
printing press aIIOWS‘fimzpressmen to produce superior
lithography in color work.

The press size most commonly used today is the
34" x 36” press on which the greatest majority Of metal
food and beer cans, metal crowns and other products are
manufactured. The 50" x 77%" press is the latest Hoe
develOpment, primarily for the decorating of steel drums
and other large metal containers used for packaging oil
and other liquids, paint, varnish and semi-liquid products.

The running speed of 5JOO sheets per hour on the
smaller presses is the speed at which the presses are
actually being Operated in plants.

In the decoration of cans manufactured by the impact
extrusion method or the drawn and iron process, the
Rutherford or Levy Cylindrical Printers are being used.
The extruded and drawn and iron cans are seamless and are
decorated in the round on the cylindrical printing
machines.

Rutherford claims that their machine prints four
hundred cylindrical containers per minute. These presses

utilize the dry offset process to lay down all four colors

c3

on the blanket cylinder in one pass. This, in turn, is
rolled on to the container as it passes through on a
revolving mandrel. The machine may be used for containers
from 1%" to 3‘" in diameter and up to 8” long. It will
print four colors and overprint a varnish. The quality
which Rutherford offers by incorporating the dry offset
printing process is excellent. It transfers the image
to an intermediate or blanket cylinder and then to the
surface to be printed. The dry Offset plate is a relief
plate. It has a clearly defined image .015" higher than
the image on a deep etch offset plate. It is considered
a long running Offset plate with the number of impressions
ranging in the low millions.

Levy claims their machine will print on an aluminum

extruded can at a rate of six hundred cans per minute.

Lithographic Troubles. The lithOgraphic printing
process runs smoothly when all conditions are carefully
controlled. There are a number of variables in the
process that may hinder reproduction. These variables
are the non-image area, the image, plate failures and
mechanical failures.

The non-image area is the area Of the plate that does
not print and is made to resist the acceptance of ink
in two ways. They are called desensitized areas. When
properly formed they accept only water.

When the lithOgraphic process went from stone to metal,

a desensitizing etch was deveIOped that would work if the
metal was coarsely grained. The grain formed wells to hold
water and increase the specific areas of the plate.

With the introduction of photomechanical plates
and camera halftones, the coarse grains were no longer
satisfactory. Finer grains mean that finer screens may
be used and better formed dots will be printed. Less water
used on the press means more brilliant colors on the sheet
with less ink.

The printing areas or images on stone were usually
coated with a film of asphaltum. This also did an excellent
job on metal plates. Asphaltum is highly ink receptive,
resists water and does not lose its ink affinity when
plates stand waiting for press. The image areas must be
highly sensitive to ink and highly resistant to dampening
solutions. They must at all times be protected with a
healthy film of ink

The entire art of lithOgraphy depends upon the chemical
separation of image and non-image areas. The plates, being
flat, are contacted all over by both water and ink rollers.
Therefore, the surface must be chemically selective with
each area accepting what is meant for it and repelling the
other. No matter how well a lithOgraphic plate is made,
it can be ruined by poor handling on the press.

Plate failure is another variable that hinders
metal decorating. Most plates are Spoiled because of too

much of something. Plates will not print prOperly if there

8

is too much ink, too much roller pressure, too much plate
to blanket pressure, too high a blanket, too thick gum
and too much asphaltum.

If the pressman runs too much ink for any reason at
all,there will be trouble. The allowable variation in
ink film that can be successfully used on a plate is rather
small. The minimum amount is where there is danger of
exposing the image to the dampening solution. The
maximum is where the halftones start to fill up. Between
minimum and maximum, there is a narrow safety zone. When
there is too little ink, the water overcomes the ink and
the print gets light.. Most troubles come from too much
ink. The indications are filled halftones and dirty
dampeners. The dots grow, scum appears and finally the
plate is ruined.

Ink rollers set too heavy on the plate have a scrubbing
action. They wear the plate, cause roller streaks and filled
halftones. The plate must be cleaned repeatedly until
it finally breaks down completely. The rollers must be
clean, pliable and set light for quality work and good
plate life. Plate to blanket pressure must be as light
as possible also. The pressure on medium sized presses
should be .003" and on larger presses .004". Heavy pressure
here can cause a rub that will quickly wear a plate.

A poor blanket packing can quickly wear a plate out too.
If the blanket is too high in relation to the plate,

a damaging rub will occur and ruin the printing qualities

of the plate.

A gum that is too thick when used on the plate is
difficult to remove from the images of a plate. Gum is
smoothed down on a plate to get it Off the images. If
any is left there to dry, it will desensitize the image
and blind it. Gum that is thick or stringy is almost
impossible to remove entirely.

Whenever the plate is to be washed out and put under
aSphaltum, extra care must be used in gumming it. There
must be a full charge Of ink on the image. Correctly
applied, the color of the asphaltum will be light tan and
the film will be transparant. Such a film of asphaltum
can be removed easily at any time and will not make the
plate scum on the press.

Only the damage to the two chemical surfaces has been
dealt with. There are mechanical damages that occur and
that can cause a great deal of trouble. For instance,
too sharp a bend put into the clamp edges of the plate
shortens the life of the metal. The plate may tear at
this point and not finish the job. Most plates are
discarded because of tears. Extreme care should be
practiced to avoid buckles and kinks in the press plate.
They will show up on the press as worn Spots.. It is
extremely difficult to Obtain an even coating on a plate
that has once been kinked.

Numerous other difficulties that bear mentioning

and may cause problems are, temperature Of workrooms,

IO

humidity, consistency of the ink, degree of acidity of the
fountain solution (even hardness of the water from which it
was made), the quality of ink and of solution fed to the
press, timing of exposure and of deveIOpment of the
sensitized coatings on the plate, can affect the smooth

Operation of the lithographic process.

Decorating Process. In the decorating of metal, a
certain process is followed. First, a base white is
applied on the outside of the container for a printed
background. This is not done on all decorated cans,
especially aluminum cans made by the drawn and iron
process. Generally the aluminum is allowed to show
through. Budweiser is one brewer that has a base white
coat applied. .Then, the design is printed. Next, a
varnish or lacquer is applied to the printed surface
and baked. This is done to protect the printed surface
from scratching in either the shipping, filling or in
the consumer use stage. The final stage in both the
drawn and iron and flat sheet can is the application of
an internal coating on the inside of the can or the

reverse side of the sheet, whichever the case may be.

In printing, the metal decorator runs into many
problems due to the character of the substrate involved.
For example, when a background color other than that of the

metal is desired. This means that a background must be

 

6
Ibid., p. 9.

11

applied and the most frequently used color is white. The
metal decorator can never hOpe to match the quality
attained by the lithOgraphic process on paper and cannot
try to compare the two.7

From substrate to substrate there will be a variance
in color using the same ink. A white ink printed on tin,
plate does not look the same as a white ink on aluminum.

A prime factor that affects metal decorating is the
seam that is necessary to form a can. In the past and
even recently most cans were soldered or welded and the
decoration could not extend into these seam areas. These
seam areas have to be completely free of any decoration,
lacquer or varnish. This limitation of the soldered seam
cuts down on the attractiveness of the container as
seen in the beverage market of soft drinks and beer.

Many can manufacturers have done much to solve this
problem. American Can Company has develOped a tin free
steel can that has a lapped seam. This allows for complete
decoration of the container. The seam is lapped and held
by cementing rather than soldering. In this case, an
organic material, nylon is used. The seam is claimed to
have greater holding strength than the metal itself.
Reynolds Aluminum Company has also been instrumental in

doing away with the seam. They have develOped the drawn

 

7w. H. Douglas, "Designing and Reproducing for Tin
Printing," Litho-Printer, vol. 6 (Jan., 1963), p. 25.

 

12

and iron seamless aluminum can which is decorated in the
round as described earlier in this paper. The aluminum
can seems to show great merits in terms of attractiveness
and consumer appeal.

At present, many manufacturrrs are looking into
the production of seamless aluminum cans. Among these are
American Can Company, Continental Can Company, Kaiser and
Alcoa Aluminum Companies. Aluminum seems to be a
natural material for cans because of its consumer appeal
and other physical and chemical characteristics. At
any rate, tin free steel will try to make inroads into
the metal container field. It is a cheaper can and can
be produced much faster than the drawn and iron aluminum
can. American Can claims that five hundred tin free
steel cans can be produced in one minute as Opposed to

three hundred aluminum cans per minute per line.

Substrates. 'The substrates used in the metal
decorating process are important in that they affect the
characteristics Of the printed image produced and the
general appearance and utility of the containers.
Following are the categories of substrates and their
prOperties:

1) Black Plate is the base steel used for tin plate.
It is used mostly for large containers and flat
pieces. Characteristic uses for black plate are drums

and containers for dryrunbfood items.

13

2) Tinplate is a substrate of steel coated with tin.
The tin is a surface treatment to protect the steel base
and to provide a base for decorative or protective
coatings. Although it is recognized by its typical bright
appearance, it can be produced with a matt or bright silver
finish.8 Tin can be applied by evaporation in a vacuum,
although currently it is applied by electrOplating.9
About two thirds of the world's tin plate is now produced
by the electrolytic process.10

3) Aluminum-coated steel utilizes a steel substrate.
The surface is coated by using aluminum with the vacuum
deposited process. The range of thickness can be controlled.
It is resistant to atmOSpheric rust. Although it is
subject to staining by water, it can be treated to
eliminate this problem.11 V

4) Aluminum substrates can be produced to have
different characteristics. The many prOperties Of
aluminum include light weight, good workability, resistance
to corrosion, high strength by alloying, non-magnetic

prOperties, high scrap values, clean appearance,

 

8
Ibid:, p. 25.

9A. N. Laubscher, "Tin-Free Steel for Decorating,"
Lodern Lithogra h , vol. 35 (Aug., 1957), P- 35.

1 Whitworth, Visual, p. 12.

 

ll”Member Panel Highlights NEDA Meeting," Mgdern
Lithography, vol, 34 (Nov., 1966). p. 76.

I,

14

conduction of electricity and heat, reflection of light and
safety for food.12

In the decorating of aluminum, feeders on lithographic
presses must be equipped with new attachments because of
the non-magnetic prOperties of aluminum. It is also
important to remember that coating, drying and curing
temperatures for metal decoration are in the range that can
affect the strength of aluminum. The same high temperature
may also cause a sheet to warp.

5) United States Steel Tin-Free Steel was develOped
and introduced in 1965. It is produced from the same steel
base as that of tin plate but no tin is deposited on the
surface. Tin-free steel has a gray cast, but when coated
with a clear lacquer it appears similar to tin. Lithographic
printing Operations are n0' problem, Huwever, it lacks
the highlights of a printed label which are afforded by
tin plate.13

Tin-free steel cannot be soldered, but where nylon
adhesives are used for lap seams as American Can Company
is doing, the Operation is quite successful. Tests
comparing it with tin plate show favorable results for

14
rust, corrosion, humidity and water processing.

 

12B. N. Peak, "Aluminum for Decorating," Modern

lithogg‘apm, v01. 33 (AI-1309 1965), p0 63-

13"Analyzing Ink Problems," Printing R31§zine/Nation31
Lithographer, vol. 91 (Sept., 19677, p. 131.

14

 

Laubscher, Nodern lithosraphy, p. 78.

15

In considering tin-free steel, manufacturers view it
as a cheaper material to use in producing cans, especially
for the beer and soft drink market. Cans are generally
sold by the price per LOGO. The tin-free steel can
is now selling at approximately two dollars per 1900
less than the tin plate and aluminum cans.

The aluminum can manufacturers do not view the tin-
free can as commercially available at this time. When
they feel it is, the aluminum manufacturers will reduce

their prices to remain competitive.

Inside and Outsigg Coatings. The nature of certain
products such as food and beverages requires that cans
be protectively coated on the inside to eliminate the
reactions between the contents and the metal of the can.

Uniform coating over the entire sheet is suitable for
certain articles such as trays, signs and crowns. Where
soldering must follow as in the case of most packers
cans, a margin of uncoated sheet must be left. To do this,
strip coating is used. When strip coating is used, a
surface tin on each side of the body blank must be left
clean to make soldering possible. In addition to leaving
soldering strips, margins of uncoated tin surface at the
tap and bottom of the can body must be left to prevent
coating material from stringing off in the flange area

during the sealing process.15

 

15Harold W. Lee, "Metal Decorating, or Tin Printing,"
Share Egur Knowledgg Review, vol. 47 (june, 1956), p. 7.

16

After the coatings are applied to the inside of the
cans, the tiny diSpersed resin particles must be coalesced
into tough flexible films by baking the coating in ovens.

A typical bake would be ten minutes at 350° to 3750?. If

the temperature is allowed to be greater than 4OOOF, problems
of thermal degradation occur. MicrOSCOpic scratches may
expose the base iron and when the organosols contact the

iron at high temperatures, harmful black thermal degradation
products result.16

There is a strong emphasis put on the quality of the
coating and on quality control programs in the can industry.
In many cases, quality control procedures are essential to

satisfy requirements of the Food and Drug Administration.17

Inks Used in_hetal Decorating. Inks used in metal

 

decorating must be able to resist breakdown from high
temperatures. This is due to the heating process which

is necessary for baking the overprinting of the varnish

or lacquer after the image is printed. Most varnishes and
lacquers dry by evaporation in eight to ten minutes at
248°F. This gives them a hard, glassy finish that
protects the image underneath. Some lacquers are known

to dry in four minutes but normally they take twenty

 

16M. A. Glaser and G. L. Weaver, ”Dispersion Coatings,"
Modern Litho;raphy, vol. 33 (March, 1965), p. 68.

17D. E. Callis, "Product Insurance for the hetal
Decorator,” Kodern Lithoaraphy, vol. 33 (Jan., 1965),
p. 52.

17

minutes. Lacquers must be flexible enough to withstand
bending and stamping Operations. Lacquers used over
white inks must be extremely pale in color and possess
excellent color retention.

Inks used in metal decorating must not bleed during
the heating process. Some inks are subject tO pasturization~
and sterilization processes which may be done by dry heat,
pressurized hot water and steam.

General Printing Ink Division of Sun Chemical
Corporation, introduced an ink that may be subjected to
a baking temperature Of 460°F. This ink has superior
printing prOperties and hiding power for use on conventional
metal decorating presses and for dry Offset printing with
Dycril plates. It bakes in ten minutes at 280°F,
extremely hard in three minutes at 400°F or in one minute
at 425°F.19

Since the base metals are not white as paper is, large
areas Of solid colors, white or tinted, must be layed
down as a printing base. The Offset printing process can
be used, but roller coating has a number Of advantages.20

These advantages are:

 

18E. A. Apps, "Inks for Metal Decoration,” litho-
Printer, vol. 5 (June, 1962), p. 379.

l9"GPI Offers High-Heat Decorating Inks," LQQEEE
Lithosraphy, vol. 33 (June, 1965). p. 115.
20
R. Whitworth, "From Paper to Tin," IithO-Printer,
vol. 9 (Sept.,1966), p. 38.

 

I.

c‘)

18

1) Equipment is simple, occupies little space and is
easy to Operate.

2) An even thickness of coating can be Obtained,
eliminating the need for several printings to get the
required thickness.

3) A wider range of solvents or resins can be used.

4) High gloss is easier to Obtain.

5) Costs less than Offset tin printing.

6) It has low Odor.

7) Finishes can be made for air drying.

8) Pigments can be used that are not suitable for

21
the Offset process.

 

21Apps, latho-Printer, p. 377.

 

IITHOGRAPHIC PLATES

 

Introduction. The plates used in metal decorating

 

are Of the same general characteristics as those used in
paper lithography. The conventional wet lithographic
plates and dry Offset plates will be discussed

Production 3: lithographic Plates. The production
Of lithographic plates may be divided into three different
stages. Those arezl) photography, 2) stripping and
3) platemaking.

The Object Of the photography stage in the process is
to photOgraph the prepared copy and prepare negatives
and positives to be used for exposing the sensitized
lithographic plate. The process camera is used to
photograph the flat OOpy and is usually of the darkroom
type. In the darkroom, all handling and develOping of
film is done.

The main parts Of the horizontal process camera
are the fixed back, a movable lens board and a movable
OOpy board. Cameras range ‘in. sizes from 24" x 24" or
30" x 30" and larger. There are modifications on many
cameras for using glass halftone screens for either
color separations or the production Of black and white
halftones. Contact screens may be used in place of the
'glass screen but the fixed back must be fitted with a
vacuum back to hold the screen securely to the film.

A light-tight bellows encloses the space between

19

20

the lens board and the camera back. The cOpy holder
often has a hinged glass cover and can be tilted to a
horizontal plane for positioning c0py. Illumination for
exposures is done by are pulsed xenon or quartzline lamps.

Lenses are of several types, speeds and focal-
lengths, all adapted to give good definition over the
entire surface of the image. Some lenses are eSpecially
color-corrected for process color separation.

The stripping Operation involves the assembly of
the negatives and positives in to a flat which is
used to expose the sensitized plates. The elements are
stripped into position on the flat. The completed
negatives or positives are positioned and attached with
tape to a sheet of "goldenrod" paper, the size of the
press plate or of a complete unit for a photo composing
machine.

The photo composing machine is essentially a large
vertical photographic printing frame in which an offset
plate ready for eXposure is mounted to receive a number
of identical images. This is used constantly in metal
decorating when thirty-five can bodies of the same design
are printed on one sheet of metal. In this way, only
one set of negatives or positives is 'used. A movable
chase or plate holder holds the negative or positive
or flat carrying the design and can be positioned within

a tolerance of .001 inches. This is done by the use of

21

worm screws with micrOmeter adjustments. While the
rest of the plate is covered, the transparency is held in
contact with the plate by vacuum and the exposure is made.
After this exposure, the vacuum is released and the
Operator moves the chase to the next position for the
next exposure.

The types of plates used for metal decorating are:

1) Surface plates

2) Presensitized plates

3) Deep etch plates

4) Bimetallic plates

5) Dry effset plates or wrap around plates

Surface Elates. Surface plates have one feature in
common in that the printing areas are on the surface of
the image carrier. Surface plates were originally coated
with albumin. Albumin is an organic colloid which is
better known under the name of egg white. Albumin plates
have lost their importance in comtemporary platemaking.

These have been superseded by presensitized plates.

Presensitized Plates. Presensitized plates have been
used by metal decorators and they report 60,000 impressions
with Minnesota Mining and Manufacturing "S" type plates.
For runs of 75,000, the "S" and "S-P" plates can be
capped with a manually applied develOper known as

Image Guard.22

 

22R. B. Kincaid, "What's New for Metal Decoration?!
Modern Lithography, vol. 34. (Aug., 1966), p. 89.

22

Presensitized plates are manufactured by several
companies and are available in a wide range of sizes and
thicknesses. The base material is generally aluminum and
it is pro-coated with a diazo coating. Diazo compounds
are nitrogen derivatives of cold tar.

Presensitized plates are divided into two areas,
negative working and positive working plates. Negative
working plates are exposed to photOgraphic negatives.
Where light passes through the negative, the diazo coating
is hardened. The light hardened diazo coating is not
soluble in a develOper solution, while the unexposed
coating is soluble. After the plate is developed, it is
gummed up with a solution of gum arabic and ready to be
put on the press.

For the positive working plate, a positive must be
used for exposure. The positive working plates are
interesting in that the uneXposed areas remain impervious
to the develOper, whereas the exposed areas are soluble.
It is possible in this process to make a positive image
on the plate by exposing to a positive. Positives are
easier for the stripper to use because all images are
right readingand‘positive whereas negatives are wrong

reading from the emulsion side and negative.

Deep Etch Plates. Deep etch plates have been known
to have considerably longer life on the press than

do surface plates. The name deep etch is related to the

0'.

25

fact that the printing image is recessed in the plate
material. The non-printing areas are on the surface of
the plate and slightly above the printing areas. In

deep etch plates, the printing areas are made ink
receptive by removing the light hardened photo mechanical
stencil and by applying a non-blinding lacquer to image
or printing areas of the plate.

Deep etch plates are made with aluminum and the
plate metal is often COpperized in image areas which
lends to the plates ink receptivity. Copperizing is
done by treating theplate with a c0pperizing solution.
The result is an extremely thin film of cepper deposited
over the image areas of the plate. .

The steps of procedure in making the deep-etch plate
are as follows:

1) m the plate with running water.

2) Pre-etch, applying pre-etch solution with wide
paint brush for about one minute and then flushing with
water.

3) ngg the plate with positive deep-etch coating
solution. The whirler is set at 40 to 50 revolutions per
minute and the coating solution is poured from its
container through a cheesecloth filter to remove all
bubbles. Increase the speed to 80 or 90 revolutions per
minute, using a little heat. Too much heat may cause
tough develOping. Dry the coated plate thoroughly.

4) Expose the plate in the vacuum printing frame with

24

arc lights.

5) §tpp—ggt solution is applied to all unwanted areas
such as dust spots, tape marks and film edges. Plates are
fan dried.)

6) DeveIOp on a flat table trough and pour the positive
develOping solution on the plate. Spread the solution with
the develOping pad over the entire surface using a circular
motion. Continue develOpment until bare printing areas
are exposed and foaming action starts. Remove with squeegee
and coat again with develOper.

7) Etching solution is poured on and spread out with
the etching pad. Let the etching solution work in for
1% minutes on that part of the image which has not taken
the exposure and squeegee off.

8) Redevelopipg involves pouring more develOping
solution over the plate to guard against corrosion. This
neutralizes the etching solution. Squeegee off the plate.

9) Lacquer is poured on the surface and spread with
a cloth pad. This gives a base for the develOping ink
which follows. Dry the lacquer thoroughly and expose the
back of the plate to the are light for a minute.

10) Developing ink is poured on the plate and smoothed
out with a cloth pad over the entire plate. The plate is
rubbed until dry.

ll) Developing is completed by washing the plate with
warm water and a soft scrubbing brush to remove the

stencil from the non-printed areas of the plate.

25

13) Desensitize removes traces of scum from non-
printing areas of the plate. Place the plate in a tray
and pour over a desensitizing solution.

14) figpgg with running water, sgueeree plate and
gum plate with gum arabic.

15) Apply aSphaltum to protect image.

Instead of negatives, the deep-etch process requires
a flat made up of right-reading positive images on
transparant backgrounds. PhotOgraphically-composed
positive transparencies pulled on cellophane are p0pular.
For making deep-etch plates, it is best to purchase the

needed chemicals and solutions from a chemical supply house.

Bimetallic Plates. Bimetallic plates take advantage
of the fact that certain metals have different affinities
for ink and water. COpper is the most receptive metal
to ink; and aluminum, nickel, chromium and stainless steel
are water receptive. COpper formstflm image areas and
non-image areas are of chromium, stainless steel or
aluminum.

Some bimetal plates use a third metal such as iron
or zinc that acts as a base for the other two metals.
These are known as trimetal plates. The base material
takes no part in the formation of image or non-image areas.
Since reliability is a big factor in metal decorating,
many printers feel that steel based bimetal plates,

although more eXpensive than the rest, are well worth

I.

25

the cost.23 Decorators find that they can get well over
one hundred thousand impression from one of these plates.24

Bimetallic plates can have cOpper, the image forming
metal, either on top of stainless steel or aluminum,or
the capper can be under the chromium. Another difference
between the different kinds of bimetallic plates is that
some are made from negatives and some from positives.

The Aller plate is made from negatives and has cOpPer
on top of stainless steel. The Lithengrave plate, which
is also a negative plate, has copper on tap of aluminum.
The Lithure plate has a solid base of capper and is
electroplated on one side with chromium. Bimetal plates
of this type are closely related to deep etch plates
because they are made from positives and the cepper images
are slightly recessed below the non-image areas.25

Many suppliers today are producing presensitized

bimetal plates which eliminate? the need for plate whirlers

which are used for applying the coating material to the metal

surface.

Dry Offset. The most common plates used in metal

 

decorating are lithographic, but an increasing number of

 

23Carl.B. Harris, "Dont Neglect Plates and Chemicals,"
Modern Lithography, vol. 33 (May, 1965). p. 71.

24Modern Lithography, vol. 34, p. 81.

25Paul Hartusch, "Survey of Litho Plates," Graphic
Arts Monthly, (Nov., 1965), P.68.

27

wrap around plates are being used by the major metal
decorators.

Conventional wet lithOgraphy depends upon a chemical
separation of printing and non-printing areas. The wrap
around plate utilizes a mechanical separation of printing
and non-printing areas, such as obtained with a shallow
relief plate. The advantage of blanket printing is still
usedtut now there is no critical ink/water balance in the
printing system. With no water in the printing system, the
color is held more easily once established.

There are a number of wrap around or dry-offset
plates used in metal decorating. The number of impressions
these plates will produce depends on a number of factors
but the typical range is one to two million.26 These
plates have a good fit around the cylinder, hold fine
detail, eliminate dampening and provide better color
control. Allowances must be made for the undercut on the
plate cylinder for the thicker relief plate.27 The plates
discussed in this paper will be the single metal wrap
around plate, the DuPont Dycril plate, and the Kodak
Relief plate.

a) Single metal wrap around plate. The single metal

 

26Ibid,, p. 70. .

27"Should a quprvisor Be a Pressman?f Modern Lithography,
vol. 54 (Dec., 1966), p. 49.

 

I.

28

wrap around plates are of either zinc, magnesium or COpper,
coated with chromium to increase the number of
impressions possible. The plate metal after being coated
and dried is exposed to photographic negatives. The plate
is then etched by a powderless etching process similar to
that used for letterpress engravings. What results is
a relief image that is considerably higher than the base
metal. This is done by increasing the etching time of
the plate in the etching bath. The longer the plate is
in the etching bath, the greater the amount of metal which
is eaten away. This results in a deeper etch.

b) DuPont chril plate. The DuPont Dycril plate is
a photOpolymer plate. This means that ultraviolet light
changes the plastic material so that it forms a polymer
and physically hardens the image and makes it insoluble
to the dilute caustic washout solution used in the process.

The structure of the phOtOpolymer plate has many
layers in it. The plate has a phtotsensitive plastic and
a bonding layer containing an anti-halation material to
control light reflection from the metal support. The
ultraviolet rays passing through the Openings of the
negative polymerize and harden the plastic. The portions
under the Opaque sections of the negative remain unaffected
and are easily removed by a spray of dilute caustic in
the subsequent wash out step. The eXposure takes place
throughout the entire thickness of the plate. The printing

image is formed during the exposure step and the washout

29

merely removes unwanted non-image area.2

The negative required for Dycril is basically the
same used for other negative working lithOgraphic plates.
Opaque areas should have a density of 4.0 and detail should
be sharply defined. The plate reproduces accurately the
image on the negative.

The mechanics Of making Dycril plates are:

l) Conditioning

2) Exposure

3) Washout

4) Drying

Conditioning is done in a carbon dioxide cabinet. The
purpose of conditioning is to remove oxygen that may have
been absorbed from the air. Oxygen has a retarding
influence on the speed of the plate. The speed of the plate
concerns the amount of time required to harden the
photosensitive coating when exposed to are lamps.

Exposure is done either flat or rotary under vacuum
contact. The flat exposure is used when a plate is needed
for a flat bed press. Rotary exposure is used when the
plate is to be mounted on an offset press cylinder.

Rotary exposure is Optically controlled to produce the
desired shape of supporting structure below the printing
surface. After exposure the plate is put on a flat or

rotary washout machine. Finally, drying is done in a

 

283. B. Hurd, "Metal Decorating Without Water,"
Modern Lithpgraphy, vol. 32 (May, 1964), p. 58.

30

mild stream of warm air.

Dycril plates are available in a number of types.
Type 25 is .025" thick and has a maximum etch of
approximately .010 inches. Type 30 is .030 inches thich
and has a maximum depth of .015 inches. Both type 25 and
30 are on flexible steel. Type C is on Cronar and
exceptionally thin. It has a total thickness of .015
inches and maximum depth of approximately .007 inches.
The three types of Dycril plates are made in sizes up
to 40%" x 76".

0) Kodak Relief Plate. The Kodak Relief plate was

 

designed as a combination plastic and metal plate. The
metal base is steel, .010 inches in thickness. The
plastic layer on top of the lacquered steel is a modified
acetate. This is the layer that provides the printing
relief.
0n tOp of this modified acetate is a white layer
which increases the visibility of the develOped image
and the uppermost layer is the photosensitive emulsion.30
Plate exposure is similar to regular lithographic
plates. EXposure times are shorter than for many plate
materials and the exposure may be made in the flat or

the round.

Processing of the plate is simple. It is simply

 

291bid., p. 60.

30Jth P. Marshall, ”Dry Offset For metal Decorating,"
Modern LithOgraphy, vol. 35 (Oct., 1967), p. 21

 

31

activated which develOps the image. The activation steps
consist of dipping the exposed plate into a tank of Kodak
Relief Plate Activator. After about three minutes of
activation, the plate is removed. The exposed, visible
image is now composed of develOped silver and tanned gelatin.
The develOping of the silver emulsion in the exposed
areas also hardens the gelatin, while the unexposed areas
remain soft and are washed off with a warm water spray.
A temperature of 1200 to 140°F is used. During this step
of the process, any unwanted areas of the image can be
readily removed.31
The plate is then dried in a warm air cabinet. The
result is a black resist image in very slight relief.
The image is an exact positive proof of the job which can
be checked before any further work is done on the plate.
Both the Dycril and the Kodak Relief plate have
definite advantages over conventional wet lithography.
The plate‘s printing image conforms to the plate cylinder.
This allows the plate to be drawn snugly on the plate
cylinder by the use of normal plate clamps. Solid and
halftone areas conform smoothly and do not tend to remain
flat, causing hard edges. The tOps Of halftone dots
assume a curve.
The main advantage with dry offset is that there is

no water in the system. There is a color uniformity

 

31
Ibid,, p. 21

32

throughout the run as obtained with letterpress printing.
Once the ink fountain is adjusted, a minimum of attention
is required during the press run.

The ability to print long runs over one million
impressions and the ability to re-use a plate many
times without tearing the clamped edges is another

advantage.

THE EFFECT OF LITHOGRAPHIC MERGERS ON COLLECTIVE BARGAINING

 

Introduction. The lithographic craftsmen of the

 

metal decorating industry are responsible for the forward
looking policy of OOOperating with management and adOpting
new machines and processes. Lithographers in metal
decorating have jurisdiction over all plate preparation
and pressroom Operations. The lithographers have

recently merged with the photoengravers. 0f main concern
in this paper, is the philOSOphy Of this merger and its
effect on collective bargaining.

There are a few terms which need clarification before
embarking on the significance of this paper.
Jurisdictional diSpute, merger activity and technological
change will be mentioned. The purpose of this thesis is
to link these concepts to craft solidarity and the influence
on collective bargaining.

Jurisdictional dispute is the control or authority
over craft Operations that become less distinctive due
to advanced technology. A dispute is raised as to which
union will represent and bargain for the membership.

The craftsmen who prepare printing plates have been
confronted with the problem of diapute , which is
eliminated through merger, because contract negotiations
are handled by one union.

The combining of resources by creating a single
labor orgainization through the process of merger is known

33

34

as merger activity. The union philOSOphy of merger is to
protect and advance the interests Of the membership.

Change due to the application of scientific
principles in develOping the efficiency, preciseness and
productivity of industry is technological change. In
this paper, technolOgical change will be examined by

union attitudes and procedures in dealing with it.

Review 9; Merger Activity. To understand the
situation that the present day lithographer is confronted
with, it is important to understand the background of
union merger activity. On Labor Day, 1964, the printing
industry saw its first merger Of graphic arts unions since
the International Stereotypers and Electrotypers Union

32

merged at the turn of the century. The merger was a

result of the Amalgamated Lithographers of America,

founded in 1882 and the International Photo Engravers Union,
founded in 1900, to form the Lithographers and Photoengravers
International Union (L.P.I.U.). The new union is comprised
of 51,000 members.33 The L.P.I.U. President is Kenneth
Brown, formerly president of the A.L.A. and the executive
vice president is William Hall, formerly the I.P.E.U.

president.

The idea of the two unions merging began in 1941.

 

32"Unity Pattern Set by Merged Union," Editor and
Publisher, (Sept., 1964), p. 10.

 

33Ib1d., p. 10.

A tentative agreement to merge was reached, but the printing
pressmen would not agree with the A.L.A. and I.P.E.U.
merger. The successful merger effort came about after
more than two and one half years of talks.34

There had been agreement for a new 64,000 member
union called the Graphic Arts International Union (G.A.I.U.).
The terms had been approved by the 51,000 member L.P.I.U.
and the 13,000 member International Stereotypers and
Electrotypers Union (I.S.E.U.). The date for the official
merger was set for Labor Day, 1967.35 Ratification by
a referendum vote in January, 1967 did not pass a two-
thirds majority vote of I.P.I.U. and I.S.E.U. membership,
SO‘the ratification of that constitution was defeated. It
will probably be put to another vote in the future. No
information is available as to when this will be.

There have been other talks which are possibilities
for future mergers to organize graphic arts craftsmen.
The L.P.I.U. has had exploratory talks with the 115,000
member International Printing Pressmen and Assistants
union. These talks formally began in October, 1965.
The L.P.I.U. had also entered into exploratory talks with

the International Brotherhood of Book Binders in October, 1966.30

 

34Ibid., p. 10.

35
"Creation of New 64,000 Member Graphic Arts Union by
Merger is Approved by Executive Bodies of Two A.F.L.-C.I.P.
Unions," The Photoengraver's Bulletin, (Sept., 1966), p. 45.

36"Officers of L.P.I.U., Stereotypers Agree to Merge,"
Modern githography, 54 (Sept., 1966), p. 68.

36

The recent trend of merger activity in the lithographic
industry has brought to life the prOposal of various
future mergers. It is the writer's belief that in the
future it will be inevitable that all graphic arts
craftsmen will be organized and represented by one central
labor organization.

It is also the writer's Opinion that merger in the
graphic arts industries is a defensive measure to protect
against displacement by technological change. By merging,
the graphic arts unions are trying to increase their
solidarity by joining forces in reSponse to technological
change. White the metal decorators are concerned about
technological change, they see that the adOption of new

processes will further eXpand job Opportunities.

Objectives 33 the L.P.I.U. Merger. The phiIOSOphy
of the merger activity plays a significant role in defining
theobjectives of the L.P.I.U. According to Kenneth Brown,
there are three main objectives of the L.P.I.U. They are:

1) To organize and merge all local unions and mobilize
the eXpanded total resources to enlist new members from
among unorganized graphic arts companies.

2) To become more active in trade unionism through
the A.F.L.-O.I.O. I

3) To make the bestpossible use of increased bargaining
strength for the benefit of members and for the good of

the industries served.37

 

37Amalgamated LithOgraphers of America and the Inter-
national Photo Engravers Union, Why Merge?, (Oct., 1963), p. 7.

 

37

An A.L.A. publication, published before the merger,
stated a number of reasons why the prOposed merger would
be a sound one. According to this, the merger would
enable each of the organizations to protect advances
which had been made and secure greater benefits for the
members.38 These advances and benefits refer to wages,
hours and other conditions of employment. It is the
objective of the union to see that these standards are
protected against infringement. Greater organization
would protect all wages, hours and working conditions.

Another major objective of the L.P.I.U. merger is to
eliminate jurisdictional dispute. The elimination of
jurisdictional dispute very strongly increases solidarity.
Instead of the unions fighting over jurisdictional
dispute, they can now spend their time on organizing
non-union shops and obtain further economic goals.

The most important objective of the union merger
program is due to technological change. According to
Munson, the distinction between lithography and
letterpress will be reduced to the running of different
plates on the same press.39 What Munson is referring
to is the advent of dry offset. Dry offset is a process

in which a relief plate, commonly made by photoengravers,

 

38Editor and Publisher, p. 10.

39Fred Munson, Labor Relations la the Lithographic
Industry, (1963), p. 223.

58

is run on an offset press by lithographers.

There is other evidence to prove that the technology
in the lithOgraphic industry is rapidly changing. There
has been increased use of electronic devices, such as
the densitometer for checking ink density in the press-
room and the densities Of halftones and color separations
in the cameraroom. Electronic scanners and low grade
computers are being used for the production of color
separations, which require literally no color correction.
Further evidence Of technological change is the use Of
tape Operated, programmed step and repeat machines that
produce multiple image Offset plates with the utmost
Of efficiency. Roll film cameras are now being used that
eliminate the need for the cameraman to enter the darkroom
to photograph OOpy. The use Of automatic film processing
equipment and the offset plate processor have added to
increased productivity and preciseness.

In considering technological change, the area Of
union concern is that there is to be an orderly
introduction of these changes. Munson believes, "If
technological change continues to expand job Opportunities,
the union will continue to support it."40 Excellent
evidence of this fact is seen by the union members keen
awareness of the impact Of technological change in

the graphic arts and the effect of their job security.

 

4OMunson, p. 51.

39

The L.P.I.U. has adOpted an educational training and
retraining prOgram. There are training facilities in
Chicago, Washington D. C. and Montrealf1L1

In OOping with technological change, the L.P.I.U. has
written into many contracts the clause that requires the
company to give notice to the union of any installation
of new or improved processes. This requires forty-five
days notice in writing. The equipment shall not be
Operated unless there is mutual consent by both parties.
It is also stated in the contracts that no employe shall
be layed Off because of technological developments. 42

The general consensus of Opinion Obtained by
talking with rank and file, management and a union
president on the local level, leads the writer to believe
that the merger was in itself a move to increase the union's
strength and solidarity and guard the membership against
the massive retraining that will occur in the future due
to rapid technological advances.

A third Objective of the L.P.I.U. merger is to
preserve and improve wages, hours and other working
conditions in the future.

In Chicago, lithOgraphers earn a minimum of
$182.27 weekly or $6.07 per hour for a 30 hour work week

on the night shift. There are also four weeks paid

 

41"L.P.I.U. Training Centers," Grgphic Arts Unionist,
(June, 1967), p. 32.

 

2
Contract between Detroit Employee and L.P.I.U.
Local #12-F, Articles 19 and 23.

1+0

vacation after one year of service and ten paid holidays
per year.

Electronic engraving and scanning machine Operators,
who produce relief printing plates in metal or negatives
and positives for offset lithography, have negotiated
a three year agreement with Printing DevelOpments Inc.
of Chicago, In 1969, day rates will be increased to

$283.62 per week and night rates to $511.98 per week.

Summary and Conclusions. In conclusion, it is possible
to see that many factors have made the merger of
lithographers and photoengravers necessary. The largest
contributing factor is theemvent of rapid technological
change. In the future the lithographer will become a
technician rather than a craftsman due to the increased
use Of mechanical and electronic instruments.

In terms of wages and jurisdictional disputes, the
merger has strengthened the position Of the union in these
areas also. The fact that the merged union would have
greater control over preparatory work, platemaking and
presswork is in itself a strong bargaining tool for the L.P.I.U.

The union attitudes concerning the adOption Of new
machines and processeshas increased the Opportunities
Of employment by keeping the costs of production low. This
allows the metal decorating industry to serve more and

more customers as new fields Open up.

BIBLIOGRAPHY

Amalgamated Lithographers of America and the
International Photo Engravers Union, A Declaration g:
Princip1e§,_October, 1963.

Amalgamated Lithographers of America and the
International Photo Engravers Union, Why kerge?,
October, 1963.

 

"Analyzing Ink Problems," Printing Rajazine/Eational
Lithographer, 91, Sept., 1967.

 

Apps, E. A., ”Inks for Ketal Decoration,”
5, June, 1962.

tithe-Printer,

Callis, D. E., ”Product Insurance for the hetal Decorator,"
kodern lithoiraphy, 33, Jan., 1965.

 

Contract between Detroit Employee and L.P.I.U. local
#12-F, Articles 19 and 23.

"Contract Provisions," The Photoenjraver's Bylletin,
December, 1966.

"Creation Of New 64,000 Member Graphic Arts Union
by Rerger is Approved by Executive Bodies Of Two
A.F.L.-C.I.O. Unions,” The Photoengraver's Bulletin,
Sept., 1966.

Douglas, W. 3., "Designing and Reproducing for Tin Printing,"
Litho-Printer, 6, Jan., 1963.

"L.P.I.U. Training Centers,"
June, 1967.

Graphic Arts Unionist,
Glaser, R.A. and Weaver, G. L., ”Dispersion Coatings,"
hodern lithOQraphy, 33, Larch, 1965.

”G.P.I. Offers High-Heat Decorating Inks," hodern Lithggraphy,
33, June, 1965.

 

Harris, Carl B., "Don't Neglect Plates and Chemicals,"
Modern Lithography, 33, Ray, 1965.

Hartusch, Paul,'Survey of Litho Plates," Graphic Arts
honthl , Nov., 1965.

 

Hurd, D. B., "Metal Decorating Without Water," Nodern
Lithography, 32, Kay, 1964.

41

'3

42

"I.T.U., A‘L.A. local #1 Rake Affiliation Official,”
Inland Printer, American Iitho;raphg;, CLX, April,
1905.

"I.T.U. Delegates OK Merger,” hodern lithgjraphy, 35,
October, 1967.

Kincaid, R. B., ”What's New for ketal Decoration?"
Rodern lithography, 34, Aug., 1966.

Laubscher, A. An., ”Tin-Free Steel for Decorating,"
hodern Lithography, 35, August, 1967.

Lee, Harold W., "ketal Decorating, or Tin Printing,"
Share Your Knowledge Review, 47, June, 1966.

“L.P.I.U. Training Centers,” Graphic Arts Unionist,
.June,.1967.

"Local #1 Severs Ties with A.L.A.," Nation's Business,
LIV, Jan., 1906.

Marshall, John P., "Dry Offset for Metal Decorating,"
Modern LithOgranhy, 35, Oct., 1967.

"Member Panel Highlights NEDA Meeting," Modern Lith graphy,
34. Nov., 1966.

"Metal Cans," Packaginngncyclopedia, 1967 ed., vol. 40.

Munson, Fred, labor Relations 1p the Lith03raphig
Industry, 1963.

National Association Of Photo Lithographers, Contract
Provisions, 1967.

"NEDA Looks to the Future," Modern Lithography, 33
Nov., 1965.

"New Directions," Packaging EncyclOpedia, 1967 ed.,
v01. 40.

"Officers of L.P.I.U., Stereotypers Agree to Merge,"
hodern LithOgraphy, 34, Sept., 1966.

Peak, B. N. "Aluminum for Decorating,” Modern Lithorraphy,
33, Aug., 1965.

 

"P.D.I. Agreement Covers Four Cities," Graphic Arts
Unionist, Feb., 1968.

'4

43

"Should a Supervisor Be a Pressman?" Modern Lithorraphy,
34, Dec., 1966.

 

"Unity Pattern Set by Merged Union," Editor and Publisher,
Sept., 1964.

 

Whitworth, R. E., "From Paper to Tin,” lithO-Printer,
9, Sept., 1966.

 

, "Printing on Metal," Visual, 2, Nov., 1964.

B

W“

6

MIC

 

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