Lithography stands as a fascinating planographic printmaking technique, distinguished by its unique process of utilizing chemical reactions to create art. In essence, the design is meticulously drawn onto a smooth surface, traditionally a limestone slab, but also adaptable to metal plates of zinc or aluminum. This design is then chemically fixed onto the surface, paving the way for the printmaking process.
The journey of creating a Lithograph Print begins with the artist directly applying a design onto a meticulously polished limestone surface. This is achieved using a specialized oil-based lithographic crayon or ink, allowing for rich and varied marks.
Once the artwork is drawn, the lithographic stone undergoes a crucial processing stage known as etching. Initially, powdered rosin is gently rubbed across the stone, followed by a layer of talc.
Next, gum arabic, often combined with a mild acid solution, is applied to the stone. This solution triggers a chemical reaction that firmly sets the oil-based design onto the stone. Simultaneously, this process ensures that the undrawn areas of the stone become receptive to water and, conversely, repellent to printing ink.
The original drawing is then carefully removed using a solvent, typically lithotine. This action leaves a faint, ghost-like impression of the image on the stone, ready for the next steps.
To prepare the stone for inking, a layer of asphaltum is meticulously buffed over its entire surface and allowed to dry completely. This provides an ideal base for the ink to adhere to.
Just before inking, the lithographic stone is dampened with water. Due to the earlier chemical treatment, the water is absorbed only by the blank areas of the stone, while the drawn image repels it. Printing ink, which is oil-based, is then rolled onto the stone. The ink adheres to the greasy image areas and is repelled by the damp, blank areas, perfectly inverting the water’s action. This dampening and inking process is repeated until the image is fully saturated with ink.
With the image now inked, the stone is positioned face up on a flatbed lithographic press. A dampened sheet of paper is laid on top of the stone, ready to receive the print.
The stone and paper are then covered with a tympan, often with layers of newsprint padding to ensure even pressure. A pressure bar, a key component of the flatbed press, is lowered onto the tympan and stone. As the stone passes through the press, this bar applies consistent pressure across the surface, transferring the inked image onto the paper.
Upon passing through the press, the paper reveals a reverse image of the original design drawn on the stone – the lithograph print.
Creating multicolor lithograph prints necessitates the use of separate stones or printing plates for each color. The same sheet of paper is meticulously run through the press multiple times, each time adding a different color. Precise registration, or alignment, of the stones is crucial for accurate and vibrant multicolor lithographs.
Lithograph prints offer a rich history and continue to be a valued form of artistic expression, appreciated for their unique aesthetic and the intricate process behind their creation.
