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When lithography appears only
two processes are known to reproduce text and illustrations :
relief and intaglio
engraving.
The first one, the oldest, uses
wood engraving and typographic
block letters. Ink is laid on the upper surface of the wood or the letter
and by pressure prints the paper. Intaglio engraving
appeared later on. It consists of laying ink in the furrows incised on a metal
plate and of bringing the paper into contact with the ink when both pass between
two metal rollers. In 1796 a printer from Prague settled in
Munich,
Aloys
SENEFELDER, invents lithography (from the
greek lithos: stone) or "
flat engraving ".
This
process is based on the incompatibility between grease and water: ink, which is
a greasy substance, does not settle on a moistened surface but is
attracted by a greasy one.
Drawing with ink or soft lead pencil
directly on stone, the artist greases the stone in some places. Once the
theme has been drawn he uses different products (nitric acid solution, gum
arabic, turpentine) to fix the drawing on the one hand, and to obtain a better
hydrophily from the uncovered parts on the other hand. After having cleaned the
stone with a moistened sponge, an ink roller is passed.Ink
settles on the drawings without touching the encovered parts.
Then one just has to lay a sheet of
paper on the inked stone to print the drawing.
SENEFELDER also looked for a metal with
the same properties as stone. After some testing he selected zinc. Both
materials are still used nowadays. As for the other engraving processes it is
necessary to draw on as many stones or zinc plates as there are colors.
This is what is called the " lithography color
breakdown " which is illustrated here. Lithography immediatly caught the interest of
painters as it allows them to use their brushes, pencils and nibs whereas
engraving requires the learning of a technique and the mastering of specific
tools.
Artists as different as Goya, Gericault,
Delacroix, Daumier, Toulouse-Lautrec, Steinlen ... have ennobled it.
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