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Whiteprinting replaced the blueprint process for reproducing architectural and engineering drawings because the process was simpler and involved fewer toxic chemicals. A blue-line print is not permanent and will fade if exposed to light for weeks or months, but a drawing print that lasts only a few months is sufficient for many purposes.
As drawing techniques evolved, artists combined red chalk with other chalks, including white chalk. The use of white chalk allowed artists to enhance lighting effects in their drawings. However, since white chalk was barely visible on white paper or parchment, artists began to use a toned background to allow the technique to work effectively.
Sketchbook paper comes in a variety of tones, ranging from pure white, to cream, and includes less common varieties, such as gray. In displays of contemporary art, as well as historical retrospectives, intimate and ephemeral records are increasingly valued, resulting in the exhibition of sketchbooks alongside "finished" artworks.
This technique produces blue lines on a white background. The drawings are also called blue-lines or bluelines. [12] [13] Other comparable dye-based prints were known as blacklines. Diazo prints remained in use until they were replaced by xerographic print processes. Xerography is standard copy machine technology using toner on copy paper.
A size chart illustrating the ANSI sizes. In 1992, the American National Standards Institute adopted ANSI/ASME Y14.1 Decimal Inch Drawing Sheet Size and Format, [1] which defined a regular series of paper sizes based upon the de facto standard 8 + 1 ⁄ 2 in × 11 in "letter" size to which it assigned the designation "ANSI A".
The classic reproduction methods involved blue and white appearances (whether white-on-blue or blue-on-white), which is why engineering drawings were long called, and even today are still often called, "blueprints" or "bluelines", even though those terms are anachronistic from a literal perspective, since most copies of engineering drawings ...