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The principle of lithography

Lithography uses simple chemical processes to create an image. For instance, the positive part of an image is a water-repelling ("hydrophobic") substance, while the negative image would be water-retaining ("hydrophilic"). Thus, when the plate is introduced to a compatible printing ink and water mixture, the ink will adhere to the positive image and the water will clean the negative image. This allows a flat print plate to be used, enabling much longer and more detailed print runs than the older physical methods of printing (e.g., intaglio printing, letterpress printing).

Lithography was invented by Alois Senefelder¹⁰ in the Electorate of Bavaria in 1796. In the early days of lithography, a smooth piece of limestone was used (hence the name "lithography": "lithos" (λιθος) is the Ancient Greek word for "stone"). After the oil-based image was put on the surface, a solution of gum arabic in water was applied, the gum sticking only to the non-oily surface. During printing, water adhered to the gum arabic surfaces and was repelled by the oily parts, while the oily ink used for printing did the opposite.

Lithography on limestone

Lithography works because of the mutual repulsion of oil and water. The image is drawn on the surface of the print plate with a fat or oil-based medium (hydrophobic) such as a wax crayon, which may be pigmented to make the drawing visible. A wide range of oil-based media is available, but the durability of the image on the stone depends on the lipid content of the material being used, and its ability to withstand water and acid. After the drawing of the image, an aqueous solution of gum arabic, weakly acidified with nitric acid (HNO3) is applied to the stone. The function of this solution is to create a hydrophilic layer of calcium nitrate salt, Ca(NO3)2, and gum arabic on all non-image surfaces.¹¹ The gum solution penetrates into the pores of the stone, completely surrounding the original image with a hydrophilic layer that will not accept the printing ink. Using lithographic turpentine, the printer then removes any excess of the greasy drawing material, but a hydrophobic molecular film of it remains tightly bonded to the surface of the stone, rejecting the gum arabic and water, but ready to accept the oily ink.¹²¹³

When printing, the stone is kept wet with water. The water is naturally attracted to the layer of gum and salt created by the acid wash. Printing ink based on drying oils such as linseed oil and varnish loaded with pigment is then rolled over the surface. The water repels the greasy ink but the hydrophobic areas left by the original drawing material accept it. When the hydrophobic image is loaded with ink, the stone and paper are run through a press that applies even pressure over the surface, transferring the ink to the paper and off the stone.¹⁴

Senefelder had experimented during the early 19th century with multicolor lithography; in his 1819 book, he predicted that the process would eventually be perfected and used to reproduce paintings.¹⁵ Multi-color printing was introduced by a new process developed by Godefroy Engelmann (France) in 1837 known as chromolithography.¹⁶ A separate stone was used for each color, and a print went through the press separately for each stone. The main challenge was to keep the images aligned (in register). This method lent itself to images consisting of large areas of flat color, and resulted in the characteristic poster designs of this period.¹⁷

"Lithography, or printing from soft stone, largely took the place of engraving in the production of English commercial maps after about 1852. It was a quick, cheap process and had been used to print British army maps during the Peninsular War. Most of the commercial maps of the second half of the 19th century were lithographed and unattractive, though accurate enough."¹⁸

Modern lithographic process

Main article: Offset printing

High-volume lithography is used to produce posters, maps, books, newspapers, and packaging—just about any smooth, mass-produced item with print and graphics on it. Most books, indeed all types of high-volume text, are printed using offset lithography.¹⁹

For offset lithography, which depends on photographic processes, flexible aluminum, polyester, mylar or paper printing plates are used instead of stone tablets. Modern printing plates have a brushed or roughened texture and are covered with a photosensitive emulsion. A photographic negative of the desired image is placed in contact with the emulsion and the plate is exposed to ultraviolet light. After development, the emulsion shows a reverse of the negative image, which is thus a duplicate of the original (positive) image. The image on the plate emulsion can also be created by direct laser imaging in a CTP (computer-to-plate) device known as a platesetter. The positive image is the emulsion that remains after imaging. Non-image portions of the emulsion have traditionally been removed by a chemical process, though in recent times, plates have become available that do not require such processing.²⁰

The plate is affixed to a cylinder on a printing press. Dampening rollers apply water, which covers the blank portions of the plate but is repelled by the emulsion of the image area. Hydrophobic ink, which is repelled by the water and only adheres to the emulsion of the image area, is then applied by the inking rollers.

If this image were transferred directly to paper, it would create a mirror-type image and the paper would become too wet. Instead, the plate rolls against a cylinder covered with a rubber blanket, which squeezes away the water, picks up the ink and transfers it to the paper with uniform pressure. The paper passes between the blanket cylinder and a counter-pressure or impression cylinder and the image is transferred to the paper. Because the image is first transferred, or offset to the rubber blanket cylinder, this reproduction method is known as offset lithography or offset printing.²¹

Many innovations and technical refinements have been made in printing processes and presses over the years, including the development of presses with multiple units (each containing one printing plate) that can print multi-color images in one pass on both sides of the sheet, and presses that accommodate continuous rolls (webs) of paper, known as web presses. Another innovation was the continuous dampening system first introduced by Dahlgren, instead of the old method (conventional dampening) which is still used on older presses, using rollers covered with molleton (cloth) that absorbs the water. This increased control of the water flow to the plate and allowed for better ink and water balance. Recent dampening systems include a "delta effect or vario", which slows the roller in contact with the plate, thus creating a sweeping movement over the ink image to clean impurities known as "hickies".

This press is also called an ink pyramid because the ink is transferred through several layers of rollers with different purposes. Fast lithographic 'web' printing presses are commonly used in newspaper production.

The advent of desktop publishing made it possible for type and images to be modified easily on personal computers for eventual printing by desktop or commercial presses. The development of digital imagesetters enabled print shops to produce negatives for platemaking directly from digital input, skipping the intermediate step of photographing an actual page layout. The development of the digital platesetter during the late 20th century eliminated film negatives altogether by exposing printing plates directly from digital input, a process known as computer-to-plate printing.

Lithography as an artistic medium

Further information: List of printmakers

During the early years of the 19th century, lithography had only a limited effect on printmaking, mainly because technical difficulties remained to be overcome. Germany was the main center of production in this period. Godefroy Engelmann, who moved his press from Mulhouse to Paris in 1816, largely succeeded in resolving the technical problems, and during the 1820s lithography was adopted by artists such as Delacroix and Géricault. After early experiments such as Specimens of Polyautography (1803),²² which had experimental works by a number of British artists including Benjamin West, Henry Fuseli, James Barry, Thomas Barker of Bath, Thomas Stothard, Henry Richard Greville, Richard Cooper, Henry Singleton, and William Henry Pyne, London also became a center, and some of Géricault's prints were in fact produced there. Goya in Bordeaux produced his last series of prints by lithography—The Bulls of Bordeaux of 1828. By the mid-century the initial enthusiasm had somewhat diminished in both countries, although the use of lithography was increasingly favored for commercial applications, which included the prints of Daumier, published in newspapers. Rodolphe Bresdin and Jean-François Millet also continued to practice the medium in France, and Adolph Menzel in Germany. In 1862 the publisher Cadart tried to initiate a portfolio of lithographs by various artists, which was not successful but included several prints by Manet. The revival began during the 1870s, especially in France with artists such as Odilon Redon, Henri Fantin-Latour and Degas producing much of their work in this manner. The need for strictly limited editions to maintain the price had now been realized, and the medium became more accepted.²³²⁴

In the 1890s, color lithography gained success in part by the emergence of Jules Chéret, known as the father of the modern poster, whose work went on to inspire a new generation of poster designers and painters, most notably Toulouse-Lautrec, and former student of Chéret, Georges de Feure. By 1900 the medium in both color and monotone was an accepted part of printmaking.²⁵

During the 20th century, a group of artists, including Braque, Calder, Chagall, Dufy, Léger, Matisse, Miró, and Picasso, rediscovered the largely undeveloped artform of lithography thanks to the Mourlot Studios, also known as Atelier Mourlot, a Parisian printshop founded in 1852 by the Mourlot family. The Atelier Mourlot originally specialized in the printing of wallpaper; but it was transformed when the founder's grandson, Fernand Mourlot, invited a number of 20th-century artists to explore the complexities of fine art printing. Mourlot encouraged the painters to work directly on lithographic stones in order to create original artworks that could then be executed under the direction of master printers in small editions. The combination of modern artist and master printer resulted in lithographs that were used as posters to promote the artists' work.²⁶²⁷

Grant Wood, George Bellows, Alphonse Mucha, Max Kahn, Pablo Picasso, Eleanor Coen, Jasper Johns, David Hockney, Susan Dorothea White, and Robert Rauschenberg are a few of the artists who have produced most of their prints in the medium. M. C. Escher is considered a master of lithography, and many of his prints were created using this process. More than other printmaking techniques, printmakers in lithography still largely depend on access to good printers, and the development of the medium has been greatly influenced by when and where these have been established. An American scene for lithography was founded by Robert Blackburn in New York City.²⁸

As a special form of lithography, the serilith or seriolithograph process is sometimes used. Seriliths are mixed-media original prints created in a process in which an artist uses the lithograph and serigraph (screen printing). Fine art prints of this type are published by artists and publishers worldwide, and are widely accepted and collected. The separations for both processes are hand-drawn by the artist. The serilith technique is used primarily to create fine art limited print editions.²⁹

See also

• Block printing
• Color printing
• Electron-beam lithography
• Flexography
• German inventors and discoverers
• History of graphic design
• Lineography
• List of art techniques
• Proton beam writing, lithography using MeV ions
• Photochrom
• Photogravure
• Photolithography
• Theodore Regensteiner, inventor of the four-color lithographic press
• Rotogravure
• Stencil lithography
• Stereolithography
• Typography

External links

• About Lithography
• Twyman, Michael. Early Lithographed Books. Pinner, Middlesex: Private Libraries Association, 1990
• Museum of Modern Art information on printing techniques and examples of prints
• The Invention of Lithography, Aloys Senefelder, (Eng. trans. 1911) (a searchable facsimile at the University of Georgia Libraries; DjVu and layered PDF format)
• Theo De Smedt's website, author of "What's lithography"
• Extensive information on Honoré Daumier and his life and work, including his entire output of lithographs
• Digital work catalog to 4000 lithographs and 1000 wood engravings
• Detailed examination of the processes involved in the creation of a typical scholarly lithographic illustration in the 19th century
• Nederlands Steendrukmuseum
• Delacroix's Faust lithographs at the Davison Art Center, Wesleyan University
• A brief historic overview of Lithography. University of Delaware Library. Includes citations for 19th century books using early lithographic illustrations.
• Philadelphia on Stone: The First Fifty Years of Commercial Lithography in Philadelphia. Library Company of Philadelphia. Provides an historic overview of the commercial trade in Philadelphia and links to a biographical dictionary of over 500 Philadelphia lithographers and catalog of more than 1300 lithographs documenting Philadelphia.
• Prints & People: A Social History of Printed Pictures, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on lithography

References

1. Brooks, Frederick Vincent (1911). "Lithography" . In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 16 (11th ed.). Cambridge University Press. pp. 785–789. https://en.wikisource.org/wiki/1911_Encyclop%C3%A6dia_Britannica/Lithography ↩

2. Weaver, Peter. (1964) The Technique of Lithography. London: B.T. Batsford, p. 49. /wiki/B.T._Batsford ↩

3. Meggs, Philip B. A History of Graphic Design. (1998) John Wiley & Sons, Inc. p 146, ISBN 0-471-29198-6. /wiki/ISBN_(identifier) ↩

4. Carter, Rob, Ben Day, Philip Meggs. Typographic Design: Form and Communication, Third Edition. (2002) John Wiley & Sons, Inc. p. 11. ISBN 978-0471383413 /wiki/ISBN_(identifier) ↩

5. Pennell, Elizabeth Robbins, ed. (1915). Lithography and Lithographers. London: T. Fisher Unwin Publisher. ISBN 9781330310847. LCCN 15017116. {{cite book}}: ISBN / Date incompatibility (help) 9781330310847 ↩

6. Peterdi, Gabor F. (2021): "Lithography" section of "Printmaking" article. Encyclopedia Britannica online. Accessed 23 November 2021. https://www.britannica.com/art/printmaking/Lithography ↩

7. Hill, James. "Digital & Photographic". St Barnabas Press. http://www.stbarnabaspress.co.uk/digital-photographic.html ↩

8. Hannavy, John. editor. Encyclopedia of nineteenth-century photography: A-I, index, Volume 1. Taylor & Francis (2008). ISBN 9780415972352. page 865. /wiki/ISBN_(identifier) ↩

9. Mansuripur, Masud. Classical Optics and Its Applications. Cambridge University Press (2002) ISBN 9780521804998. page 416 /wiki/ISBN_(identifier) ↩

10. Brooks, Frederick Vincent (1911). "Lithography" . In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 16 (11th ed.). Cambridge University Press. pp. 785–789. https://en.wikisource.org/wiki/1911_Encyclop%C3%A6dia_Britannica/Lithography ↩

11. Brooks, Frederick Vincent (1911). "Lithography" . In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 16 (11th ed.). Cambridge University Press. pp. 785–789. https://en.wikisource.org/wiki/1911_Encyclop%C3%A6dia_Britannica/Lithography ↩

12. A. B. Hoen, Discussion of the Requisite Qualities of Lithographic Limestone, with Report on Tests of the Lithographic Stone of Mitchell County, Iowa, Iowa Geological Survey Annual Report, 1902, Des Moines, 1903; pages 339–352. /wiki/A._Hoen_%26_Co. ↩

13. Gascoigne, Bamber (1988). How to Identify Prints: a complete guide to manual and mechanical processes from woodcut to ink jet. Spain: Thames and Hudson. p. 1c. ISBN 978-0500234549. 978-0500234549 ↩

14. "Lithograph". The Metropolitan Museum of Art. Retrieved 19 March 2025. https://www.metmuseum.org/about-the-met/collection-areas/drawings-and-prints/materials-and-techniques/printmaking/lithograph ↩

15. Meggs, Philip B. A History of Graphic Design. (1998) John Wiley & Sons, Inc. p 146, ISBN 0-471-29198-6. /wiki/ISBN_(identifier) ↩

16. Meggs, Philip B. A History of Graphic Design. (1998) John Wiley & Sons, Inc. p 146, ISBN 0-471-29198-6. /wiki/ISBN_(identifier) ↩

17. Meyer, Isabella (16 June 2022). "Lithography - Understanding the Art of Lithography Printmaking". Art in Context. Retrieved 19 March 2025. https://artincontext.org/lithography/ ↩

18. Lynam, Edward. 1944. British Maps and Map Makers. London: W. Collins. Page 46. ↩

19. Meyer, Isabella (16 June 2022). "Lithography - Understanding the Art of Lithography Printmaking". Art in Context. Retrieved 19 March 2025. https://artincontext.org/lithography/ ↩

20. Meyer, Isabella (16 June 2022). "Lithography - Understanding the Art of Lithography Printmaking". Art in Context. Retrieved 19 March 2025. https://artincontext.org/lithography/ ↩

21. see diagram at compassrose.com http://www.compassrose.com/static/Offset.jpg ↩

22. Specimens of Polyautography, Consisting of Impressions taken from Original Drawings, Made on Stone purposely for this Work. London: Philipp André. 1803. http://primo.getty.edu/GRI:GETTY_ALMA21118663020001551 ↩

23. Huyser-Honig, Steven (1 October 2024). "The Pros and Cons of Limited Editions". Grand River Giclée. Retrieved 20 March 2025. https://www.grandrivergiclee.com/the-pros-and-cons-of-limited-editions/ ↩

24. "4 Things to Know About Limited Editions". medium.com. 27 April 2022. Retrieved 20 March 2025. https://medium.com/@Emergeast/4-things-to-know-about-limited-editions-2d6c802d5aeb ↩

25. "Lithography | History, Process & Applications | Britannica". www.britannica.com. 29 January 2025. Retrieved 20 March 2025. https://www.britannica.com/technology/lithography ↩

26. History of 20th century lithography by Picasso, Matisse, Chagall, Braque, Leger at Atelier Mourlot, French Institute Alliance Française Archived July 23, 2012, at the Wayback Machine http://www.fiaf.org/laboutique/mourlot ↩

27. Mourlot, Fernand. Twentieth Century Posters. Wellfleet Press: Secaucus, New Jersey, 1989 ISBN 1555213855 /wiki/ISBN_(identifier) ↩

28. "Master Printmaker Robert Blackburn Honored in Exhibition at Library of Congress". Library of Congress, Washington, D.C. 20540 USA. Retrieved 19 March 2025. https://www.loc.gov/item/prn-03-004/ ↩

29. "What is a Serilith?". Archived from the original on 9 November 2007. Retrieved 2 November 2007. https://web.archive.org/web/20071109132626/http://countrysideart.com/serigraphy.htm ↩