1 classical rosette end wedge back.tuning 01 form 02.2 glueing kerfing 02.1 build guitar 04 glueing fan braces 05 finished top 03 glueing top braces 07 glueing on top&back 06 label 11 end cap 08 cutting binding channels 09 binding channel 14 gluebridge 13.1 Filling the pores 13.2 French polish back & sides 12.2 Installing fretwire 12.1 Gluing Fretboard 15 glue.bridge



Vintage silver gelatin prints from 1972 and 1973. Printed on Agfa Brovira gloss fiber paper. Toned with Kodak sepia and blue toner to create the unusual and permanent sepia/pink hue.

Image size is 8 x 10 inches on 11 x 14 paper. Archival dry mounted to 14 x 17 inch 100% rag board with window attached by linen tape.


12 Screenless Lithographs is a portfolio of 12 prints (image size: 7.5 X 9.5 inches) using a screening technique known as Integral Random Dot. Predating the digital stochastic or FM (Frequency Modulated) screening approach currently used by many offset printers in place of the traditional halftone dot, the Integral Random Dot embodies several distinctive characteristics.

As the name implies, the Integral Random Dot method of screening was truly random and responsive to the image itself—hence the “integral” in the name. In addition, the “dots,” or marks, varied in size in response to the image, unlike digital FM Screening where each “dot” is the same size but occurs in varying frequency (frequency modulated).

Creating the lithographic films used to expose the plates was a finicky and multi-generation process that rendered the image being reproduced in a uniquely crisp and brilliant manner. While a few pioneering printing firms experimented with the technique in the early 1970s, it was far too unpredictable to gain a foothold in the commercial printing industry, where reliable reproduction trumped the unique beauty of an image printed without the use of a halftone dot.

In 1973 as a graduate student at Visual Studies Workshop in Rochester, New York, however, I could afford to devote the time required to achieve exactly the results I wanted. The prints are duotones, that is, printed using two different color inks, which I intentionally altered to achieve maximum resonance for each of the twelve images in the portfolio. They were pulled on a flatbed offset proof press at VSW. Each print was dampened and rolled up by hand exactly the same as one would print from a lithographic stone. The portfolio was printed in a signed and numbered edition of forty. It is presented in a cloth bound case with a hand set letterpress printed title sheet and afterword explaining the technical details. The portfolio design, prepress, typesetting, and presswork was performed by the author.

12 Screenless Lithographs is in the permanent collection of the Art Institute of Chicago; Bibliotheque Nationale, Paris; Museum of Modern Art; National Gallery of Canada; U.C. Santa Cruz; and Visual Studies Workshop among others.

© 2012 Carl Sesto Suffusion theme by Sayontan Sinha