Fine art lithography is based on the principle that grease and water don't mix.
Invented in the 1700's, lithography makes use of greasy ink on a flat surface that has been specially ground and polished. The artist draws the image with a greasy substance such as a grease pencil or tusche (a greasy ink) on a flat surface that has been specially ground and polished. Then, the plate is 'set' by a chemical process.
After the chemical process has been completed, the greasy areas of the stone or plate will accept ink and repel water. At the same time, the bare areas of the plate repel ink and accept water. The paper is then placed on the inked and washed plate where the areas of greasy ink will release the image onto the paper.
An original lithograph is an artistic creation. Instead of creating a painting with brush and oils, the artist had to master the technique and temperament of the plate and inks as 'tools' to create his work of art.
A hand-pulled lithograph begins by first being conceived by the artist as something to be printed. The image is created directly on a printing stone or plate. Depending on the artist's plan, a fine art lithograph may have just one color or many. The lithograph is drawn one color at a time, each color on a separate plate.
Each print in the edition must then be run through the press—one color at a time. The registering (aligning) and blending of the inks takes place on the paper—purely a product of the artist's original intent and technique.
For many years, Carl Hoffner has drawn and printed his own lithographs. Due to the increased demand for his work, he is now working in collaboration with ateliers (hand-printing workshops) that specialize in the printing of fine art lithographs.
The photos on this page are from the studio of Tamarind master printer, Timothy Sheesley, of Corridor Press located in Otego, New York.
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The flatbed lithography press, shown in this picture, was designed to print either stones or flat metal lithograph plates.
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The artist or master printmaker mixes each ink color to the artist's specifications. Shown here is the master printer 'charging' his rubber roller with ink. 'Charging' is a term used to indicate that the roller is covered with a smooth and continuous layer of ink.
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During the entire printing process, the printer needs to keep the printing plate damp by wiping it with a moistened sponge so the non-image area which absorbs water will repel the oil-based ink while the greasy image area will attract the oil-based ink.
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The printer carefully inks the image on the plate. Each plate is inked and wiped with a moistened sponge two or three times before each sheet of paper is printed.
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The printing paper is carefully aligned with registration pins and holes on the paper. This ensures 'perfect' placement of the color image.
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A blotter sheet is placed over the printing paper. A lever on the press lowers a wooden and leather scraper bar that applies pressure. The print is then fed through the press on a sliding bed that moves under the scraper bar. The pressure causes the ink to transfer from the printing plate to the printing paper.
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Here the printer pulls the just printed paper away from the stone or plate to inspect the results.
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The artist carefully inspects the progress of the printing process to ensure the desired results are being achieved.
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After each color is printed, the edition is placed on a drying rack where the ink is allowed to completely dry before the next color is printed.
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Graphic art refers to any of the specialized processes which produce multiple impressions, ie. Serigraphs, etchings, intaglio prints. Of the several techniques utilized, one thing remains constant—they are all original works handmade in a pre-determined edition size. Creating a graphic is a slow, painstaking process. Each impression must be run through a hand-generated press once for each color. The plate must be inked and wiped each time and the registration must be perfect. The artist chooses the graphic medium because each has features, which permit him to achieve specific calculated results. Private collections and art museums worldwide pride themselves on their collections of original graphics by both the old masters and contemporary printmakers.
Graphics are in no sense copies or reproductions. A reproduction is made by photographing an original work, such as an oil painting, then printing it photo mechanically using high-speed commercial presses or computer printers. A reproduction is always inferior in quality to the original it copies and has virtually no investment value.
Original graphics are created in limited editions and are usually pencil signed and numbered by the artist. After each original is 'pulled' in whatever quantity the artist pre-determines, the blocks, stones, plates, or screens are destroyed so they cannot be used again.
You should always invest in quality conservation framing to protect your lithograph. Conservation framing by a skilled and reputable framer is a necessity to preserve a lithograph properly for its investment, sentiment and decorative value. By neglecting to have it framed properly, you almost certainly will find that the resale value of this original work will deteriorate along with its looks.
Keep these important points in mind and discuss them with your framer:
Never cut or fold the edges of the lithograph or allow a framer to do so. The paper size and margins have been selected by the artist and are an integral part of the work.
Do not permanently mount the lithograph. Ask the framer to use complete conservation techniques and materials. Use mulberry or rice-paper hinges to secure the top of the lithograph to 100% acid-free ragboard or foam core. The art should be secured to the board with wheat- or rice-starch paste. Paper flanges or corners are also acceptable to use as long as they are acid free. These are only a few of the options available today—discuss the best options with your framer.
Mats will enhance the appearance of fine art and protect it. Mats hold the artwork away from the surface of the glass. If the lithograph touches the glass, moisture inside the frame could stain the work or cause mold growth. If you prefer not to use mats, ask the framer to use spacers to hold the glass from the surface of the lithograph.
Consider conservation glass or acrylic to provide protection from ultra-violet light rays. Glass also protects lithographs from dust, moisture, and insects.
Use acid-free backing boards. Corrugated cardboard and other acidic boards must be avoided. Acids in the backing board can migrate to the lithograph causing damage.
A paper dust cover should be attached to the back of the frame. It is necessary to protect the print from pollution and keep it clean. Make sure the framer also adds small bumper pads on the bottom back edge of your frame to keep the frame away from the wall to allow air circulation and prevent dust from settling on the back of the frame.
Artist's proof
- A/P or Artist Proof may be penciled at the bottom of a print. This indicates that it is one of the first impressions printed as the artist experimented with the colors and registration of the lithograph.
Canceling
- To prevent further use of a printing plate after an edition has been printed, the artist often 'cancels' the plates by defacing it in some way.
Chop mark
- An uninked, embossed stamp on the lithographs which identifies the printer, artist, or workshop.
Documentation
- Information available on the edition of a print stating the artist's name, the printer's name, the location of the workshop, the number of prints in the edition, date created and any other pertinent information. Although the documentation is somewhat important in print collecting, the artist value and the condition of the print are more important.
Edition
- The total number of prints made of a specific image.
Graphic
- A term for any 'multiple image' work of art on paper. The fine art lithograph is a graphic as are pieces in other media such as serigraphs, etchings and intaglio prints.
Limited edition
- A pre-determined number of impressions to be made from a plate.
Signed and numbered
- At the bottom of each print in an edition, the artist pencils in his signature and numbers the print. The numbering appears as one number over another, for example, 15/150. This indicates that this was the 15th print to be signed and that there are 150 prints in the edition.
Tusche
- A greasy ink used in drawing on the metal or stone lithographic plate. Tusche can be applied in almost any drawing method to produce many types of drawing textures.
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