Collotype - Picture of Light Invented in France approximately one hundred fifty years ago, collotype is, a printing process which represents a fusion of photography and printmaking. Its aesthetic characteristics derive principally from two key elements. ‘The light-sensitive gelatin compound used for plate- making produces a subtlety of tone matched only by hand printed photographs. Second, the thick, oil-based ink which captures the plate image on paper gives the print itself a distinct pigmentary intensity. How does the process work? In effect, light sculpts the dichromated gelatin layer of the plate. Once the coated glass is exposed to a negative and washed, the gelatin absorbs water in proportion to the degree of light exposure, giving the surface a defined topography. ‘The more light that passes through the negative, the greater the relief it creates in the gelatin layer. In addition, a second critical transformation takes place here, which enables the registration of extremely fine details in the print. An intricate network of microscopic wrinkles form in the gelatin layer as it dries. When ink applied to this reticulated surface makes contact with paper, it saturates the fibers and achieves more complete coverage-and thus more definition than offset printing, for example, which registers color with a dot matrix system, leaving negative space around the diserete points of ink, thus compromising the resolution of the printed image. As these considerations suggest, collotype printing is meticulous work-from plate-making to printing-and requires highly developed artisanship. The number of printers worldwide with the degree of skill necessary to produce quality work is very small. In this context, Benrido’s artistic accomplishments as a collotype printer stand out all the more Not only has the company maintained the standards of past masters, it has developed new techniques like multilayer color printing, which add to the aesthetic of the collotype form. And now, adapting the power of digital technology to the traditional printing process, Benrido opens up a new future for the medium, elevating it potentially to the level of fine art.Collotype and the preservation of cultural objects The collotype was introduced to Japan in 1883. One of the vanguard collotype printers, Benrido has worked at refining the process for over a century. In and around Kyoto, the capital of Japan centuries ago, a number of National Treasures have been rescued from oblivion thanks to the efforts of the company Among these treasures are the wall paintings in the inner sanctuary of Kondo, the Main Hall of Hohryuji (Hohryu Temple), site of the world’s oldest surviving wooden structures built more than 1300 years ago. In 1935, the Japanese government commissioned Benrido to create replicas of the twelve wall paintings. It took the company seventy days to create full-scale photographs of the paintings, a composite of 385 exposures shot on 18°22" film. In 1937, Benrido completed the massive project twenty-three sets of the replicas, which would take up residence not only in Japanese museums but in important museums around the world such as The British Museum and Museum of Fine Arts in Boston Tragically, a fire broke out in the temple in 1949, which destroyed many of the wooden structures and seriously damaged the wall paintings. Were it not for the plates Benrido had made, the temple would have last its historic masterpieces. In 1967, the company restored the walls of the sanctuary with another full-scale replica of the paintings, which were then painted by several famous artists to mark the rebirth of this national treasure. Above and beyond the actual restoration, the color collotype techniques Benrido developed took on a historical role of their own, serving as the model for many future conservation efforts, In 1982, under the direction of the Japanese National government, Benrido began the replica of Shosoin Monjyo (Shosoin documents) of the Shosoin treasure house in Nara, This is an immense collection of documents and cultural objects that bear witness to the system of centralized government established in accordance with the ritsuryo legal codes 1200 years ago in Japan. It will take another half century to finish all eight hundred volumes of the Shosoin Documents, For Benrido, it is a social mission: to preserve the art of collotype printing to safeguard a national heritage In akon ese seated appsimately 2500 rps of aes nig ‘Went Sanam of At) chow he pePhotography and Collotype Collotype came into existence sixteen years after photography was invented in 1839, Early on, it served as a photographic medium as well as a print medium, due to the fact that the carbon ink it used, unlike silver printing at the time, resisted fading. Since that time, collotype printing has evolved in such a way that it can open up to photographers new avenues of creative exploration. The color collotype introduces new tonal subtlety and variety. Its ability to print on handmade paper and silk extends the creative potential of photographic images beyond the limits of conventional photographic paper. Most important, perhaps, exposed film can be used directly for plate making, bringing the collotype image a step closer to the artist's original vision. As Benrido incorporates digital technology into the collotype process, the studio's elite printers are taking advantage of the new choices it opens up to develop new techniques and push the limits of creative expression even further, ‘Throughout the history of photography, creating images has meant making choices: black and white film or color, gelatin silver print or alternative photo processing. Now, artists are experiencing a new level of freedom as they weigh the possibilities of digital technology against those of traditional film and chemical processes. As artistic vehicles, technology and tradition are by no means mutually exclusive, nor are they constrained to conform to any set value hierarchy. On the most fundamental level, the technological and the traditional serve to dimensionalize each other. The speed and precision of digital techniques exist not only as values in themselves and as avenues of exploration, but as a backdrop against which we can appreciate all the more the warmth and ineffable uniqueness of handmade prints. In the case of the collotype, Benrido believes the essential print process can be enhanced by modern technology. At the same time, however, the beauty of the collotype image will always bear witness to the traditions that produced it.Color Collotype P ting Process Research ‘@ First, research is conducted om the original Our project managers team up with our printing technicians to develop the best possible plan catering to individual needs, taking into consideration the size, color material, and shape of the original. Photographing © We employ a large format camera to produce negatives at most faithfully regenerate the original in full scale. ‘The maximum size allowance for the original is 50,8 em x 61.0em (20°%24"). We use all specially ordered black and white films, © We decompose the colors of the original and make single color negatives using one of the 4 filters (purple, green, red, yellow) from the 3 primary colors. @ Plate making technicians check color decompositions against a color composite swatch book, + In cate of inability to photograph the original in ful scale (with color decomposition), we use color reversal film for photographing, Negative Adjustment © The single color negatives go through a retouching process. Our technicians adjust each negative according to original by masking, coating, pressing, ete pon completion, the negatives are ready to be made into individual color plates. This hand made process requires exceptional workmanship. ‘@ In extremely complex color situations, over 10 negatives are produced for printing Plate Making 4 After coating a shect of 10mm ground glass with a solution of dichromated gelatin, the negative is sealed on top of it for exposure. During which the dichromated {gelatin reacts to the amount of UV light passing through the negative, causing it to harden in proportion to the tones fof the image, The hardening reaction makes the gelatin the and the least absorbent in the tones receiving the most light most absorbent in those receiving litle or no light. © The most valuable strength of color collotype printing is its ability to produce admica le color images without the useof screens ~ in continuous tone. Depending on the exposing circumstances, the tone of the negative will reflect accordingly on to the hardening gelatin. Thus, giving it a sculpted like uneven surface that is responsible for the registration of continuous tone Color Correction Prior to actual printing, tests are printed with respect to the original image. Where color strength, tone and ambience are all carefully checked and amended. Based on the test resel mes goes back to the plate making process for Additional touch spe, Printing © To make prints, the plate is dampened with a solution of slycerin and water. This solution is absorbed by the gelatin in proportion to the tones in the image. The darkest tones absorb litte or no moisture while the lighter tones and non-image areas absorb the most © When greasy collotype ink is rolled over «fully dampened plate the non-image areas holding the most ink, while the hardened image areas attract the ink. Subtle highlights holding the most moisture he least ink while the deep shadows holding the least moisture attract the most ink, Consequently, a Full continuous tone image is formed. © During printing, paper is hand fed into the printer one sheet at a time, on printing process, W1 1d printing is done while monitoring the color en one is done the next color plate gets exchanged for printing. Color Layering “The sepa olors ate printed back together in layers one after another. To avoid contortion, printing papers are left hanging at room temperature for over a month for acclimation, ‘Since all ink colors are results of specific mixtures of various pigments, the relative color combination and proportion of the anticipated composition under go careful analysis for layer printing It isa meticulous process that di inds perception and experience. Our plate makers judge and predict on every color print at every stage and adjust for the subtleties accordingly. Upon which ne sary additional colorings are sometimes performed prior 10 completionThe Abbreviated Chronological Table of Benrido ‘As of 2005, Bearido has created more than 2500 replicas of impenitent cultural documents and artifacts Listed here is ap abbreviated UUmeline that highlights some of the most important achievements Bend has sccomspiahed to date Ms? Beno eablihed a rental bookshop. 18k Exalishment ofthe publishing etn, Early 3900 Initiated on marketing self produced picture pot cade Became pioncr inthe il in Tapas 1905 Founding of eolloype printing studio forthe production of at books 1926 Printing and reproduction of Nihon Sol (Ancient History of Ian) an imperial tease, by order ofthe Japanese Inpsial Household Agency salsa reproduction as min business 1928 Eaablshment of Kiko Tovho fon Kenta a printing aston dated tthe reproduction of ae hooks and documents 32 voles of sare books published, 1928 Esublshment of Nihon Mia Barua Kank an asoxcison dedicated tothe preservation of Japanese Bushs sings 20 volumes of rings eprodced 1935 Photographing ll 12 wl patting he Man lof Hor taken separately in ull 1937 Completion af 2 ses ofthe 12 wal painting of Hori ullscle Purchase by and/or Joated o museums in Japan ad nstatins wrktwide including the Government ofthe Fedral Republic of Germany, the Government of the Republic of aly, the Museum of Fine Arts in Boson th ritsh Matcum an the Gatenberg Meseum 1919 _Vistof Rene Grouse, Director ofthe Guimet Museum, 1956 Repeodeton af Joshi Misra Srl of the Aaron ofthe nares of the Lis inthe Plac) in sa, by ede of he Bish Museum, ‘This eproducton marked the official commencement of oe colltye pining 1968 Reprodton of Raluchaenu(Grond View of Kyoto, am imperial ress, 1970 Reproduction of Shas Koanharsho zat (Alar of High View of Me aang and Badaheran’s Kachowana gaat (Aboe of Landes sou Foes ad Bi) espera eal rope: hao Tiga ad Yor Buses ben up satu (Abu of Lice) national ease 1973 Reproduction of ans strate Sl of Has) and Ban Daina ena usted Sel of he tries om Corie Ba Dino, national eases. 1974 Visitof Ante Nara, former French Minister fr Cal Adate D977) | feproftion ef te ected Dor of Naga Cate Tat wala ween Fx overt ex Eo sro 1981 Contracted and begs the reproduction af Shoso-in Mono (antholoy of the Showin Decent) i 800 volumes am on gong production. 1986 Reproduction of kone By (6 Fol Standing Sree of man Figure) «national ues 1888 Reni CerenialEeibiton - aku Naz Fs ns Wa AChalog in Artis Repro Naina! resus hl in Tokyo and Kyoto. 1991 Commencement af 3 year projet om th 10 Hasrated Sling Dror Panels in the Rinsha-Kaka Resdenc of Senlcen Garden Yokohama Important eltralpeoperties 1993 Pabcaion onthe reproduction of Mosul ehroba he Reps ofthe Mongol Ison) as pat ofthe centennial elebaton ‘Commencement of 7 year poston fpen Shanin Fd (iustrated Sl om Pit Ippe Bigrapy) 0 12 volumes. 1999 Reproduction of Ryka Mandala-ru (Manda ofthe 2 Ral} and Godan 9 (Imae of the 5 Great Viyaraa) national esszee, 2001 Began conducting spesthes om clo cllotype a the Japan Seccty for Art nd History of Photography the Secety of Photographic Science and ‘Technolgy of gun 8 wells prsigious universities thoughout Fun 2008 Reproduction of Okun Kaui (6 Fl Standing Sree sting Scene of «Kea Play, an important cull property. eabennes tf Keep ete oe Hen fo Fetes Bete Kanes Xa ea eatete ieee te forearms eel peng ee of cllype ahnology earch workshop continue to be el Uoughout Japa 2004 Production of Movin Yasumas'sFeumern Kenkyu 2004 (Vermeer Study 2004) This coloration unched our cobotype authorship series 2005 Represented Japan aa speaker tthe 2nd International Clbeype Conference hela he University ofthe Wes of England Brio, sponsored by the CHR (Center for Fine Pint Rerarch Clltype roe),Introducing @ modern classic - the Bentido collotype. Created by a new generation of artists for those who understand the power of vision,