L lithography

ithography (from Greek λίθος - lithos, 'stone' + γράφειν -graphein, 'to write') is a method for printing using

a stone (lithographic limestone) or a metal plate with a completely smooth surface. Invented in 1796 by
Bavarian author Alois Senefelder as a low-cost method of publishing theatrical works,[1][2] lithography can
be used to print text or artwork onto paper or another suitable material.

Contents
 [hide]

1 Introduction

2 The principle of lithography

o 2.1 Lithography on

limestone

o 2.2 The modern

lithographic process

3 Microlithography and

nanolithography

4 Lithography as an artistic medium

5 Gallery

6 See also

7 References

8 External links

[edit]Introduction

Lithography has also been used for various filmography and other visual things. Lithography originally
used an image drawn in wax or other oily substance applied to a lithographic stone as the medium to
transfer ink to the printed sheet. In modern times, the image is often made of polymer applied to a flexible
aluminum plate. The flat surface of the plate or stone is slightly roughened, or etched, and divided
into hydrophilic regions that accept a film of water and thereby repel the greasy ink,
and hydrophobic regions that repel water and accept ink because the surface tension is higher on the
greasier image area which remains dry. The image may be printed directly from the stone or plate (in
which case it is reversed from the original image) or may be offset by transfer to a flexible sheet, usually
rubber, for transfer to the printed article.
This process is different from gravure or intaglio printing where a plate is engraved, etched or stippled to
make cavities to contain the printing ink, and in woodblock printing and letterpress where ink is applied to
the raised surfaces of letters or images.

Most books, indeed all types of high-volume text, are now printed using offset lithography, the most
common form of printing production. The word "lithography" also refers to photolithography,
a microfabrication technique used to make integrated circuits and microelectromechanical systems,
although those techniques have more in common with etching than with lithography.

[edit]The principle of lithography

Lithography uses simple chemical processes to create an image. For instance, the positive part of an
image is a hydrophobic, or "water hating" substance, while the negative image would be hydrophilic or
"water loving". 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 Senefelder in Bohemia 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 avoided the oily parts, while the oily ink used for printing did the opposite.

[edit]Lithography on limestone

Lithography stone and mirror-image print of a map of Munich.

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. Following 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. 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.[3]

When printing, the stone is kept wet with water. Naturally the water is 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 which applies even pressure over the surface, transferring the ink to
the paper and off the stone.

Senefelder had experimented in 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.[1] Multi-color
printing was introduced through a new process developed by Godefroy Engelmann (France) in 1837
known as chromolithography.[1] A separate stone was used for each color, and a print went through the
press separately for each stone. The main challenge was of course to keep the images aligned (in
register). This method lent itself to images consisting of large areas of flat color, and led to the
characteristic poster designs of this period.

[edit]The modern lithographic process

A 1902 lithograph map (original size 33×24 cm)

The earliest regular use of lithography for text was in countries using Arabic, Turkish and similar scripts,
where books, especially the Qur'an, were sometimes printed by lithography in the 19th century, as the
links between the characters require compromises when movable type is used which were considered
inappropriate for sacred texts.

High-volume lithography is used today 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 now printed using offset lithography.

In offset lithography, which depends on photographic processes, flexible aluminum, polyester, mylar or
paper printing plates are used in place 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 through direct laser
imaging in a CTP (Computer-To-Plate) device called a platesetter. The positive image is the emulsion that
remains after imaging. For many years, chemicals have been used to remove the non-image emulsion,
but now plates are available that do not require chemical processing.

Lithography press for printing maps in Munich

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. Ink, which is hydrophobic, is
then applied by the inking rollers, which is repelled by the water and only adheres to the emulsion of the
image area—such as the type and photographs on a newspaper page.

If this image were directly transferred to paper, it would create a mirror 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 rolls
across the blanket drum and the image is transferred to the paper. Because the image is first transferred,
or offset to the rubber drum, this reproduction method is known as offset lithography or offset printing.[4]

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 which is still used today on
older presses (conventional dampening), which are rollers covered in molleton (cloth) which absorbs the
water. This increased control over the water flow to the plate and allowed for better ink and water
balance. Current 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".

The advent of desktop publishing made it possible for type and images to be manipulated easily on
personal computers for eventual printing on 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 in the late 20th century eliminated film negatives altogether by exposing printing plates
directly from digital input, a process known as computer to plateprinting.

[edit]Microlithography and nanolithography

Main article:  Photolithography
'City of Words', lithograph by Vito Acconci, 1999

Microlithography and nanolithography refer specifically to lithographic patterning methods capable of

structuring material on a fine scale. Typically features smaller than 10micrometers are considered
microlithographic, and features smaller than 100 nanometers are considered
nanolithographic. Photolithography is one of these methods, often applied tosemiconductor manufacturing
of microchips. Photolithography is also commonly used in fabricating MEMS devices. Photolithography
generally uses a pre-fabricated photomask or reticle as a master from which the final pattern is derived.

Although photolithographic technology is the most commercially advanced form of nanolithography, other
techniques are also used. Some, for example electron beam lithography, are capable of much higher
patterning resolution (sometime as small as a few nanometers). Electron beam lithography is also
commercially important, primarily for its use in the manufacture of photomasks. Electron beam lithography
as it is usually practiced is a form of maskless lithography, in that no mask is required to generate the final
pattern. Instead, the final pattern is created directly from a digital representation on a computer, by
controlling an electron beam as it scans across a resist-coated substrate. Electron beam lithography has
the disadvantage of being much slower than photolithography.

In addition to these commercially well-established techniques, a large number of promising

microlithographic and nanolithographic technologies exist or are emerging, includingnanoimprint
lithography, interference lithography, X-ray lithography, extreme ultraviolet
lithography, magnetolithography and scanning probe lithography. Some of these emerging techniques
have been used successfully in small-scale commercial and important research applications. Surface-
charge lithography, in fact PDMS can be directly patterned on polar dielectric crystals via pyroelectric
effect,[5] Diffraction lithography.[6]

[edit]Lithography as an artistic medium

Smiling Spider by Odilon Redon

During the first years of the 19th century, lithography made only a limited impact on printmaking, mainly
because technical difficulties remained to be overcome. Germany was the main center of production
during this period. Godefroy Engelmann, who moved his press from Mulhouse to Paris in 1816, largely
succeeded in resolving the technical problems, and in the 1820s lithography was taken up by artists such
as Delacroix and Géricault. 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 in lithography—The Bulls of
Bordeaux of 1828. By the mid-century the initial enthusiasm had somewhat died down in both countries,
although lithography continued to gain ground in commercial applications, which included the great prints
of Daumier, published in newspapers.Rodolphe Bresdin and Jean-Francois Millet also continued to
practice the medium in France, andAdolf Menzel in Germany. In 1862 the publisher Cadart tried to launch
a portfolio of lithographs by various artists which flopped, but included several superb prints by Manet.
The revival began in the 1870s, especially in France with artists such as Odilon Redon, Henri Fantin-
Latour and Degasproducing much of their work in this way. The need for strictly limited editions to
maintain the price had now been realized, and the medium become more accepted.
Self Portrait with Skeleton Arm (Lithograph) -Edvard Munch

In the 1890s color lithography became enormously popular with French artists, Toulouse-Lautrecmost
notably of all, and by 1900 the medium in both color and monotone was an accepted part of printmaking,
although France and the US have used it more than other countries.

During the 20th century, a group of celebrated artists,

including Calder, Chagall, Dufy, Léger,Matisse, Miró, and Picasso, rediscovered the largely unexplored
art form 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 was transformed when the founder's grandson, Fernand Mourlot, invited a number of 20th-
century artists to explore the complexities of fine art printing. Fernand 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 gave
rise to unique and visually striking lithographs, which were used as posters to promote the artists' work.[7]
[8]

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 in 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 a good printer, and the development of the medium has
been greatly influenced by when and where these have been established. See the List of Printmakers for
more practitioners.

As a special form of lithography, the Serilith process is sometimes used. Serilith are mixed media original
prints created in a process where an artist uses the lithograph and serigraph process. The separations for
both processes are hand drawn by the artist. The serilith technique is used primarily to create fine art
limited print editions.[9]

[edit]Gallery

"Washington's Residence, High An 1836 lithograph

Street, Philadelphia. 1830 ofMexican women

An example of a 19th century Sea anemones from Ernst
lithograph by William L. makingtortillas by Carl Nebel.
lithograph depicting Haeckel's Kunstformen der
Breton.
royal Afghansoldiers of Natur (Artforms of Nature) of
the Durrani 1904.
Empire in Afghanistan.

[edit]See also

 Block printing
 Color printing
 Etching
 Flexography
 History of graphic design
 Letterpress printing
 Lineography
 Photochrom
 Rotogravure
 Seriolithograph
 Stereolithography
 Typography
 Lithography using MeV ions - Proton Beam Writing
[edit]References
 1. ^ a b c Meggs, Philip B. A History of Graphic Design. (1998) John Wiley & Sons, Inc. p 146 ISBN 0-471-291-
98-6

2. ^ Carter, Rob, Ben Day, Philip Meggs. Typographic Design: Form and Communication, Third Edition. (2002)
John Wiley & Sons, Inc. p 11

3. ^ 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.

4. ^ see diagram at compassrose.com

5. ^ Surface-charge lithography for direct pdms micro-patterning S. Grilli, V. Vespini, P. Ferraro, Langmuir 24,
13262-13265 (2008).http://dx.doi.org/10.1021/la803046j

6. ^ Flexible coherent diffraction lithography by tunable phase arrays in lithium niobate crystals M. Paturzo, S.
Grilli, S. Mailis, G. Coppola, M. Iodice, M. Gioffré and P. Ferraro Optics Communications 281, 1950-1953

(2008). http://dx.doi.org/10.1016/j.optcom.2007.12.056

7. ^ History of 20th century lithography by Picasso, Matisse, Chagall, Braque, Leger at Atelier Mourlot, French
Institute Alliance Française

8. ^ Mourlot, Fernand. Twentieth Century Posters. Wellfleet Press: Secaucus, NJ, 1989

9. ^ What is a Serilith?
[edit]External links

Wikimedia Commons has

media related to: Lithography

 Lithography and other printmaking definitions

 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 over 1300
lithographs documenting Philadelphia.
 Swiss Cities