Within the context of archival preservation, the custodians of architectural records must consider many aspects of identification and care when managing the artifactual nature of these materials. Storage containers, handling, paper and chemical compositions and interactions, ultraviolet light exposure, humidity, mold, and other agents of potential harm all interact to determine the longevity of these documents. As well, architectural reprographic drawings are often in very large formats, making storage and handling decisions especially complex.
With the rise of the professionalized practice of western architecture in the second half of the 19th century, the field of architectural reprography—and the corresponding developments of photography and mass-produced wood-pulp paper—saw significant experiments and advances in technology. Beginning with major refinements in blueprinting processes in the 1840s, through the widespread adoption of diazotype printing after World War II, the design profession turned to analog architectural reprography to create accurate, to-scale reproductions of original drawings created on tracing paper, vellum, and linen supports. These copies were typically used throughout the architect’s own design process and also for distribution to clients, contractors, governmental agencies, and other interested parties. However, the integration of CAD—or Computer-Aided Design—over the last twenty-five years of design practice has made analog reprography far less common in the profession and more ephemeral in nature. For archivists, curators, librarians and other custodians of architectural records, traditional reprographic formats are now often seen as historic documents, with attendant needs for long-term care and conservation.
Both the underlying support—paper or plastic—and the image type are used to identify the specific processes used in architectural reprography. Between the late 19th century and the late 20th century, several processes emerged as the preferred methods, used for decades, while other less common processes were employed for shorter periods of time.
First developed in 1725, blueprinting uses a wet process to produce an image of white lines on a cyan or Prussian blue ground. To make a blueprint, a heavy paper (or more rarely drafting linen) support is impregnated with potassium ferricyanide and ferric ammonium, placed under a translucent original drawing, weighted with glass, and exposed to ultraviolet light. After sufficient light exposure, the glass and original drawing are removed and the blueprint paper is washed to reveal a negative image. This same process, using an intermediary reprographic drawing, could also be used to produce a positive blueprint—blue lines on a white ground—however, this more expensive and time-intensive method was far less commonly employed.
The major disadvantages of the blueprint process, however, included paper distortions caused by the wet process which might render scale drawings less accurately, as well as the inability to make further copies from the blueprints. Nonetheless, for its efficiency and low cost, the blueprint process, further simplified and mechanized by the turn of the 20th century, became the most widely used reprographic process between the mid-19th century and the latter half of the 20th century.