751:
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901:) 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".
858:
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616:") 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).
1113:, 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.
868:
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
746:
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
637:
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
576:
plate or cylinder, rather than by direct contact of the two. This technique keeps the paper dry and allows high speed fully automated operation. It has mostly replaced traditional lithography for medium- and high-volume printing: since the 1960s, most books and magazines, especially when
1182:(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.
777:
876:, 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
545:(water attracting). For printing, the stone was first moistened. The water only adhered to the gum-treated parts, making them even more oil-repellant. An oil-based ink was then applied, and would stick only to the original drawing. The ink would finally be transferred to a blank
846:) 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.
758:
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. Multi-color printing was introduced by a new process developed by
814:
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.
1670:. 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.
723:, 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.
784:"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
719:, and gum arabic on all non-image surfaces. 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
842:. 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 (
750:
912:
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.
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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
924:
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
872:
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
1109:, 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,
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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 (
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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.
920:
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
1027:
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
1167:, 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
666:, 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
440:
830:
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
767:. 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 (
1307:
773:). This method lent itself to images consisting of large areas of flat color, and resulted in the characteristic poster designs of this period.
1463:, Discussion of the Requisite Qualities of Lithographic Limestone, with Report on Tests of the Lithographic Stone of Mitchell County, Iowa,
1652:
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to Paris in 1816, largely succeeded in resolving the technical problems, and during the 1820s lithography was adopted by artists such as
893:
Many innovations and technical refinements have been made in printing processes and presses over the years, including the development of
726:
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.
1360:
Carter, Rob, Ben Day, Philip Meggs. Typographic Design: Form and
Communication, Third Edition. (2002) John Wiley & Sons, Inc. p. 11.
987:
1529:
History of 20th century lithography by
Picasso, Matisse, Chagall, Braque, Leger at Atelier Mourlot, French Institute Alliance Française
1159:
is considered a master of lithography, and many of his prints were created using this process. More than other printmaking techniques,
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Originally, the image to be printed was drawn with a greasy substance, such as oil, fat, or wax onto the surface of a smooth and flat
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process is sometimes used. Seriliths are mixed-media original prints created in a process in which an artist uses the lithograph and
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1427:
1348:
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1676:, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on lithography
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Detailed examination of the processes involved in the creation of a typical scholarly lithographic illustration in the 19th century
612:
Lithography uses simple chemical processes to create an image. For instance, the positive part of an image is a water-repelling ("
572:
or "offset lithography" is an elaboration of lithography in which the ink is transferred from the plate to the paper by means of a
788:. Most of the commercial maps of the second half of the 19th century were lithographed and unattractive, though accurate enough."
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946:, mainly because technical difficulties remained to be overcome. Germany was the main center of production in this period.
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Specimens of
Polyautography, Consisting of Impressions taken from Original Drawings, Made on Stone purposely for this Work
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in 1796. In the early days of lithography, a smooth piece of limestone was used (hence the name "lithography": "lithos" (
43:
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coating applied to a flexible plastic or metal plate. The printing plates, whether stone or metal, can be created by a
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process, a method that may be referred to as "photolithography" (although the term usually refers to a vaguely similar
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This very early colour lithograph from 1835 uses large washes of orange and cyan with black ink providing the details.
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content of the material being used, and its ability to withstand water and acid. After the drawing of the image, an
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1664:. University of Delaware Library. Includes citations for 19th century books using early lithographic illustrations.
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662:. The image is drawn on the surface of the print plate with a fat or oil-based medium (hydrophobic) such as a
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and some other, mostly older, types of printed matter, not for those made by modern commercial lithography.
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Extensive information on Honoré Daumier and his life and work, including his entire output of lithographs
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1613:, Aloys Senefelder, (Eng. trans. 1911) (a searchable facsimile at the University of Georgia Libraries;
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illustrated in colour, are printed with offset lithography from photographically created metal plates.
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How to
Identify Prints: a complete guide to manual and mechanical processes from woodcut to ink jet
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and maps. Lithography can be used to print text or images onto paper or other suitable material. A
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510:) or a metal plate with a smooth surface. It was invented in 1796 by the German author and actor
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1002:, London also became a center, and some of Géricault's prints were in fact produced there.
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Meggs, Philip B. A History of
Graphic Design. (1998) John Wiley & Sons, Inc. p 146,
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of the desired image is placed in contact with the emulsion and the plate is exposed to
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Philadelphia on Stone: The First Fifty Years of
Commercial Lithography in Philadelphia
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1066:. By 1900 the medium in both color and monotone was an accepted part of printmaking.
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During the early years of the 19th century, lithography had only a limited effect on
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In modern commercial lithography, the image is transferred or created as a patterned
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to maintain the price had now been realized, and the medium became more accepted.
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1031:. The revival began during the 1870s, especially in France with artists such as
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are a few of the artists who have produced most of their prints in the medium.
966:(1803), which had experimental works by a number of British artists including
810:. Original size 33 cm × 24 cm (13.0 in × 9.4 in).
549:
sheet, producing a printed page. This traditional technique is still used for
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1606:
Museum of Modern Art information on printing techniques and examples of prints
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Lynam, Edward. 1944. British Maps and Map Makers. London: W. Collins. Page 46.
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1311:. Vol. 16 (11th ed.). Cambridge University Press. pp. 785–789.
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In the 1890s, color lithography gained success in part by the emergence of
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producing much of their work in this manner. The need for strictly limited
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For offset lithography, which depends on photographic processes, flexible
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Encyclopedia of nineteenth-century photography: A-I, index, Volume 1.
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to the rubber blanket cylinder, this reproduction method is known as
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is something printed by lithography, but this term is only used for
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Digital work catalog to 4000 lithographs and 1000 wood engravings
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in
Bordeaux produced his last series of prints by lithography—
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This article is about a printing method. For rock types, see
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lithographs at the
Davison Art Center, Wesleyan University
1674:
Prints & People: A Social
History of Printed Pictures
1632:
580:
As a printing technology, lithography is different from
1069:
During the 20th century, a group of artists, including
806:
1902 Polish lithograph map of the western parts of the
55:(1903), with the range of tones fading toward the edges
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in lithography still largely depend on access to good
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also continued to practice the medium in France, and
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plate. The stone was then treated with a mixture of
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1174:As a special form of lithography, the serilith or
506:of oil and water. The printing is from a stone (
1251:, inventor of the four-color lithographic press
1339:
1337:
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853:Lithography press for printing maps in Munich
434:
8:
1550:Wellfleet Press: Secaucus, New Jersey, 1989
1465:Iowa Geological Survey Annual Report, 1902
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427:
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1662:A brief historic overview of Lithography
1290:
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908:Archive of lithographic stones in Munich
658:Lithography works because of the mutual
34:. For the microfabrication process, see
1481:. Spain: Thames and Hudson. p. 1c.
1282:
66:
566:microelectronics manufacturing process
88:
1441:Classical Optics and Its Applications
7:
1443:. Cambridge University Press (2002)
1390:" section of "Printmaking" article.
1376:. London: T. Fisher Unwin Publisher.
1625:Theo De Smedt's website, author of
1467:, Des Moines, 1903; pages 339–352.
1394:online. Accessed 23 November 2021.
1295:Brooks, Frederick Vincent (1911).
962:. After early experiments such as
514:and was initially used mostly for
25:
932:Lithography as an artistic medium
1208:German inventors and discoverers
1062:, and former student of Chéret,
1518:. London: Philipp André. 1803.
584:(gravure), wherein a plate is
1:
1600:Private Libraries Association
1422:Taylor & Francis (2008).
1373:Lithography and Lithographers
747:the paper and off the stone.
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142:
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1611:The Invention of Lithography
1406:"Digital & Photographic"
1323:The Technique of Lithography
1230:, lithography using MeV ions
780:A lithographer at work, 1880
619:Lithography was invented by
608:The principle of lithography
1386:Peterdi, Gabor F. (2021): "
1056:father of the modern poster
1015:, published in newspapers.
964:Specimens of Polyautography
950:, who moved his press from
792:Modern lithographic process
1742:
1648:Nederlands Steendrukmuseum
1548:Twentieth Century Posters.
1477:Gascoigne, Bamber (1988).
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763:(France) in 1837 known as
660:repulsion of oil and water
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477: 'stone' and
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1213:History of graphic design
388:Thermal-transfer printing
1596:Early Lithographed Books
678:, weakly acidified with
654:print of a map of Munich
642:Lithography on limestone
502:originally based on the
263:Photostat and rectigraph
1418:Hannavy, John. editor.
1392:Encyclopedia Britannica
1370:Pennel ER, ed. (1915).
1308:Encyclopædia Britannica
863:Bibliotheca Alexandrina
861:Lithography machine in
494: 'to write') is a
62:Part of a series on the
1534:July 23, 2012, at the
1321:Weaver, Peter. (1964)
1223:List of art techniques
988:Henry Richard Greville
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113:Intaglio (printmaking)
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49:Charles Marion Russell
1716:Planographic printing
1598:. Pinner, Middlesex:
1561:"What is a Serilith?"
1249:Theodore Regensteiner
1008:The Bulls of Bordeaux
980:Thomas Barker of Bath
936:Further information:
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836:photographic negative
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233:Hot metal typesetting
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1706:Communication design
1627:"What's lithography"
1408:. St Barnabas Press.
1149:Susan Dorothea White
1021:Jean-François Millet
869:the inking rollers.
602:letterpress printing
253:Daisy wheel printing
1439:Mansuripur, Masud.
1298:"Lithography"
1260:Stencil lithography
1228:Proton beam writing
1153:Robert Rauschenberg
1037:Henri Fantin-Latour
938:List of printmakers
293:Dot matrix printing
68:History of printing
1701:1796 introductions
1567:on 9 November 2007
1546:Mourlot, Fernand.
1171:in New York City.
1000:William Henry Pyne
948:Godefroy Engelmann
918:desktop publishing
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882:offset lithography
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761:Godefroy Engelmann
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625:Kingdom of Bavaria
598:woodblock printing
378:Solid ink printing
93:Woodblock printing
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27:Printing technique
1726:Visual arts media
1594:Twyman, Michael.
1590:About Lithography
1265:Stereolithography
844:computer-to-plate
840:ultraviolet light
765:chromolithography
582:intaglio printing
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283:Spirit duplicator
193:Chromolithography
16:(Redirected from
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984:Thomas Stothard
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1569:. Retrieved
1565:the original
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1141:Jasper Johns
1137:Eleanor Coen
1115:
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1052:Jules Chéret
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1033:Odilon Redon
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972:Henry Fuseli
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103:Movable type
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1721:Printmaking
1696:Lithography
1681:lithography
1619:layered PDF
1430:. page 865.
1388:Lithography
1255:Rotogravure
1218:Lineography
1203:Flexography
1161:printmakers
976:James Barry
944:printmaking
926:platesetter
770:in register
736:linseed oil
732:drying oils
680:nitric acid
614:hydrophobic
543:hydrophilic
454:Lithography
398:3D printing
371: 1972
183:Lithography
146: 1515
131: 1440
18:Lithographs
1690:Categories
1571:2 November
1461:A. B. Hoen
1451:. page 416
1325:. London:
1277:References
1270:Typography
1234:Photochrom
1117:Grant Wood
721:turpentine
676:gum arabic
664:wax crayon
539:gum arabic
520:lithograph
498:method of
456:(from
303:Xerography
243:Mimeograph
213:Hectograph
85:Techniques
1180:serigraph
960:Géricault
956:Delacroix
824:polyester
730:based on
633:) is the
535:weak acid
531:limestone
153:Mezzotint
32:Lithology
1532:Archived
1329:, p. 49.
1186:See also
1165:printers
1129:Max Kahn
1045:editions
952:Mulhouse
832:emulsion
820:aluminum
734:such as
594:stippled
586:engraved
551:fine art
500:printing
173:Aquatint
1621:format)
1305:(ed.).
1099:Picasso
1091:Matisse
1079:Chagall
1013:Daumier
998:, and
895:presses
874:blanket
744:pigment
740:varnish
623:in the
558:polymer
138:Etching
1602:, 1990
1447:
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1151:, and
1097:, and
1075:Calder
1071:Braque
878:offset
698:salt,
590:etched
574:rubber
489:gráphō
472:líthos
1655:Faust
1301:. In
1087:Léger
1041:Degas
1029:Manet
834:. A
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700:Ca(NO
668:lipid
630:λιθος
592:, or
547:paper
482:γράφω
465:λίθος
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1617:and
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1573:2007
1445:ISBN
1424:ISBN
1345:ISBN
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1083:Dufy
1039:and
1019:and
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958:and
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537:and
412:1991
402:1986
392:1981
382:1972
357:1969
347:1957
337:1950
327:1949
317:1940
307:1938
297:1925
287:1923
277:1911
267:1907
257:1889
247:1885
237:1884
227:1875
217:1860
207:1843
197:1837
187:1796
177:1772
167:1690
157:1642
117:1430
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884:or
684:HNO
674:of
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