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Tools and Techniques of Lithography
Lithography was invented at the end of the eighteenth century, the process has an immediacy and affinity to straight drawing techniques making it popular with artists who have a strong graphic style, early practitioners included Degas, Delacroix, Goya, Toulouse-Lautrec and Manet. Due to the technical difficulties and the equipment required, few Aboriginal artists practice lithography as opposed to other printing techniques such as screen-printing or linocuts, however there are some notable exceptions (link to Artprint lithographs) , in particular Judy Watson, Arone Meekes, Peter Narbarlambarl and Andrew Margalulu have all at one time or another produced highly accomplished Lithographs.
Lithography's main differentiation from other printmaking mediums is that rather than the plate having a design incised into the surface to hold ink, Lithography is based on the mutual antipathy between grease and water.
The print is produced from a stone or plate with a smooth porus surface that has been drawn or painted on with a greasy medium such as an oil crayon or lithographic ink (tusche). Tusche is applied using pens or brushes, and can be diluted to create wash effects. Once the drawing is finished it is fixed to the surface using Gum Arabic mixed with a small amount of acid. The Gum Arabic protects the surface from any more grease, and the acid opens up the pores of the stone or plate allowing it to penetrate.
During the print process, the plate or stone is first dampened with water; this water is repelled from the greasy areas created by the drawing mediums. The ink, applied to the stone using a roller is attracted to the oily drawing while being simultaneously repelled from the damp un-drawn areas. Thus the ink only falls where the artist intends. Paper is then overlaid and a thin metal plate or 'tyman' placed on top. It is then rolled through a special press that uses a scraper to apply downward pressure to the 'tyman', producing the print.
Lithography was initially practiced using limestone slabs; nowadays specially prepared zinc or aluminium plates can also be used. There are notable differences between the two, stone is more absorbent than metal and tends to lend itself to more subtle wash or Mezzotint techniques. Stone also has the advantage of being more forgiving than metal in that alterations to the design can be made simply by grinding back the unwanted area and reapplying the crayon or lithographic ink.
Aboriginal Artists and Lithography
Aboriginal artists in remote regions rarely practice lithographic techniques. The process and materials required are highly impractical for their environment. Obviously the transport of special lithographic stones to desert and Arnhem Land communities would be a logistical nightmare though their are notable exceptions to this rule. Workshops have been set up in Aboriginal communities by printmakers such as Theo Tremblay, who from 1989 has taken a lithographic press to the Tiwi Islands, Central Arnhem Land and South Australia.
Below is a list of Aboriginal artists, who have used lithography techniques; we hope you enjoy these fine limited edition prints.
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