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LITHOGRAPHY is a printing process that uses a flat stone or metal plate on which the image areas are worked using a greasy substance so that the ink will adhere to them by, while the non-image areas are made ink-repellent.

A printing process based on the fact that grease and water do not mix. The image is applied to a grained surface (traditionally stone but now usually aluminium) using a greasy medium: such as a special greasy ink – called tusche, crayon, pencils, lacquer, or synthetic materials. Photochemical or transfer processes can also be used. A solution of gum arabic and nitric acid is then applied over the surface, producing water-receptive non-printing areas and grease-receptive image areas. The printing surface is kept wet so that a roller charged with oil-based ink can be rolled over the surface, and ink will only stick to the grease-receptive image area. Paper is then placed against the surface, and the plate is run through a press.

Lithography was invented in the late eighteenth century, initially using Bavarian limestone as the printing surface. Its invention made it possible to print a much wider range of marks and areas of tone than possible with earlier printmaking relief intaglio methods. It also made colour printing easier: areas of different colours can be applied to separate stones and overprinted onto the same sheet.

Offset lithography involves printing the image onto an intermediate surface before the final sheet. The process is ‘offset’ because the plate does not come in direct contact with the paper, which preserves the quality of the plate. With offset lithography, the image is reversed twice and appears on the final sheet the same way round as on the stone or plate.

ETCHING is a printmaking technique that uses chemical action to produce incised lines in a metal printing plate which then hold the applied ink and form the image

The plate, traditionally copper but now usually zinc, is prepared with an acid-resistant ground. Lines are drawn through the ground, exposing the metal. The plate is then immersed in acid, and the exposed metal is ‘bitten’, producing incised lines. Stronger acid and longer exposure produce more deeply bitten lines. The resist is removed, and ink applied to the sunken lines but wiped from the surface. The plate is then placed against the paper and passed through a printing press with great pressure to transfer the ink from the recessed lines. Sometimes ink may be left on the plate surface to provide a background tone.

Etching was used for decorating metal from the fourteenth century but was probably not used for printmaking much before the early sixteenth century. Since then many etching techniques have been developed, which are often used in conjunction with each other: soft-ground etching uses a non-drying resist or ground, to produce softer lines; spit bite involves painting or splashing acid onto the plate; open bite in which areas of the plate are exposed to acid with no resistance; photo-etching (also called photogravure or heliogravure) is produced by coating the printing plate with a light-sensitive acid-resist ground and then exposing this to light to reproduce a photographic image. Foul biting results from accidental or unintentional erosion of the acid resist.

Like engraving, etching is an intaglio technique. Intaglio refers to all printing and printmaking techniques that involve making indents or incisions into a plate or print surface which hold the ink when ink is applied to the surface and then wiped clean.

Disclaimer - Our prints/original art are purchased from various dealers, auctions, sales, antique shops, markets, and art collectors and are sold by us as such. However, in the unlikely event that you do not like the article, we will make an immediate and full refund, without hesitation, if the item is returned to us in the same condition it was received, with no damage, marks or folds, within 14 days of receipt.

Edvard Munch was a Norwegian painter whose Expressionist works harnessed emotional discord to create mysterious and symbolic scenes. Working in style characterised by swirling shapes and otherworldly colours, his haunting painting, The Scream (1893), is among the most iconic works of art history. “For as long as I can remember I have suffered from a deep feeling of anxiety, which I have tried to express in my art,” Munch once reflected. “Without anxiety and illness, I should have been like a ship without a rudder.” Born on December 12 1863, in Løten, Norway, the artist’s childhood was darkened by the death of his mother and sister from tuberculosis as wells as his father’s mental illness. Enrolling at the Royal School of Art and Design in Oslo in 1880, after initially studying engineering for a year, he adopted a naturalist style influenced by the Impressionists. During a visit to Paris in 1889, he saw the works of Vincent van Gogh and Georges Seurat, both of whom influenced Munch’s use of colour and paint application. Troubled by his mental health for many years, the artist suffered a breakdown in 1908 that left him hospitalised. Munch was able to recover slowly and lived out the rest of his life in quiet contemplation in his native country, his works going on to become a major influence on Ernst Ludwig Kirchner and other German Expressionists. He died on 23 January 1944, in Ekely, Norway at the age of 80. In 1963, the Munch Museet in Oslo opened, housing an extensive collection of the artist’s paintings, prints, and drawings. Today, his works are held in the collections of the J. Paul Getty Museum in Los Angeles, the Tate Gallery in London, the Rijksmuseum in Amsterdam, and The Museum of Modern Art in New York, among others.