Posted on August 03, 2016
Linen postcards were produced in great quantity from 1931 to 1959. Despite the name, linen postcards were not produced on a linen fabric, but used newer printing processes that used an inexpensive card stock with a high rag content, and were then finished with a pattern which resembled linen. The face of the cards is distinguished by a textured cloth appearance which makes them easily recognizable. The reverse of the card is smooth, like earlier postcards. The rag content in the card stock allowed a much more colorful and vibrant image to be printed than the earlier "white border" style. Due to the inexpensive production and bright realistic images they became popular.
One of the better known linen era postcard manufacturers was Curt Teich and Company, who first produced the immensely popular "large letter linen" postcards (among many others). The card design featured a large letter spelling of a state or place with smaller photos inside the letters. The design can still be found in many places today. Other manufacturers include Tichnor and Company, Haynes, Stanley Piltz, E.C Kropp, and the Asheville Postcard Company.
By the late 1920s new colorants had been developed that were very enticing to the printing industry. Though they were best used as dyes to show off their brightness, this proved to be problematic. Where traditional pigment based inks would lie on a paper's surface, these thinner watery dyes had a tendency to be absorbed into a paper's fibers, where it lost its advantage of higher color density, leaving behind a dull blurry finish. To experience the rich colors of dyes light must be able to pass through them to excite their electrons. A partial solution was to combine these dyes with petroleum distillates, leading to faster drying heatset inks. But it was Curt Teich who finally solved the problem by embossing paper with a linen texture before printing. The embossing created more surface area, which allowed the new heatset inks to dry even faster. The quicker drying time allowed these dyes to remain on the paper's surface, thus retaining their superior strength, which give Linens their telltale bright colors. In addition to printing with the usual CYMK colors, a lighter blue was sometimes used to give the images extra punch. Higher speed presses could also accommodate this method, leading to its widespread use. Although first introduced in 1931, their growing popularity was interrupted by the outbreak of war. They were not to be printed in numbers again until the later 1940s, when the war effort ceased consuming most of the country’s resources. Even though the images on linen cards were based on photographs, they contained much handwork of the artists who brought them into production. There is of course nothing new in this; what it notable is that they were to be the last postcards to show any touch of the human hand on them. In their last days, many were published to look more like photo-based chrome cards that began to dominate the market. Textured papers for postcards had been manufactured ever since the turn of the century. But since this procedure was not then a necessary step in aiding card production, its added cost kept the process limited to a handful of publishers. Its original use most likely came from attempts to simulate the texture of canvas, thus relating the postcard to a painted work of fine art.