Lithography Making

The process starts with drawing the image on the stone by using a greasy black lithographic pencil. These usually take three to twelve days, depending on the size and complexity of the image. The main problem is that mistakes cannot be erased. Small corrections can be made with a sharp knife, but major corrections are needed, it is necessary to start again on a new stone. This is important to keep in mind when recreating the process digitally.

The technique of lithography (from the Greek for "stone drawing") relies on "the principle of the antipathy of grease and water." Generally, the stone on which the image is initially created is limestone. The image is drawn on the stone with some greasy material. After the image is drawn, the stone is dampened and ink is applied with a roller. The greasy image repels the water and holds the oily ink while the rest of the stone's surface does the opposite. The stone is chemically treated after the image is created in order to enhance this effect. Some materials for drawing the image are litho crayons and pencils (containing wax, pigment, soap and shellac), liquid tusche (similar in composition to the crayons but water soluble), stick tusche (a solid form), conte crayons, pens and graphite pencils to name a few.

The finished stone is placed on a bed that carries it through the press. The paper is placed on top of the stone with some backing papers to protect it. A sheet of metal or plastic is placed on top of all the materials and they are braced together. A roller underneath that is turned by a handle moves the bed. This is similar to the intaglio press except that a scraper bar instead of a roller applies the pressure from above. The scraper bar slides along the greased metal plate pressing the paper against the stone so that it lifts the ink from where the greasy drawing material holds it on the stone.

Color lithography is a more complex process that usually involves multiple pressings, one for each color in the image. This requires an extensive knowledge of color theory because the process requires the mixing of colors on the final image itself. According to one book on lithography technique, "The original color drawing should be treated as a guide for the final print, not as a finished work to be duplicated exactly." Different stones are sometimes used for each color but the same stone can be used for multiple colors.

Marks are greasy or oily when drawing on the stone, and the use of the threshold effect and layer masks are normally used when making digital lithographs.

Charles Marion Russell (http://www.art.com/gallery/id--a427/charles-marion-russell-posters.htm) used lithography to make images of the West.

Bernard Buffet (http://www.artexpertswebsite.com/pages/artists/buffet.php) used lithography for portraits and animal sketches.

Vito Acconci (http://en.wikipedia.org/wiki/File:%27City_of_Words%27,_lithograph_by_Vito_Acconci,_1999.jpg) used text as a means to make lithography.

Angler: The Fairy Eater

My Impasto piece

Angler: The Fairy Eater. A glowing female fairy tantilizes a male fairy sitting in the grass; unbeknownst to him, the female is a lure attached to a creature hiding in the shadows waiting to pounce its prey.

This piece took approx. 60 layers to paint. The most I've ever had to use.

Impasto Thick Painting

Italian for "dough or paste," impasto denotes a painting technique in which undiluted paint is applied thickly like toothpaste onto a canvas so that it stands out from the surface. Color is mixed on the canvas itself to achieve a required color.

Oil is most suited for this method due to its viscosity, slow drying time, and thickness. Impasto offers some advantages, such as the reflection of light in new ways that the artist can control. Also, it can convey feelings and emotions such as in Van Gogh's paintings. Thirdly, it can convey a three dimensional impression, such as wrinkles.

To mimic this process digitally, one needs to be familiar with styles. Using styles to give a lift to the brush will allow for layers to applied to each stroke as if done on a real canvas. Bevel and boss are great tools to encorporate this technique onto the brush stroke itself. One can also underpaint in order to create a more in depth feel to the artwork. To keep away from a mechanical look, apply variety and various stroke directions to give the feel of a real brush.

Willem de Kooning (www.visual-arts-cork.com/famous-artists/de-kooning-willem.html) was an abstract expressionalist who used impasto.

Frank Auerbach (www.visual-arts-cork.com/famous-artists/frank-auerbach.html) was a German impastoist.

Jackson Pollock (www.jacksonpollock.org) was an impasto impressionalist who would abstract in extreme ways.

Turelyn: The Giraffe

Scumble and dry brush technique to create a giraffe centaur in Africa

Dry Brush and Scumbling

Scumbling is the application of a fine layer of paint with a very dry brush. Rather than the pigments being dispersed in a transparent medium, it creates a fine mesh of opaque pigment. This method is usually used when painting scenes of nature, water, atmospheric effects, or different types of lighting. Opaque colors are placed over in thin layers over darker colors to create a softening effect.

This technique has been in existence since the 1600s, Rembrandt being the most famous user. This method is effective in building depth adding layers and textures.

Scumbling is similar to glazing, except that the coat is opaque, and is painted very thinly to allow bits of paint to shine through.

To recreate this effect digitally, one needs a textured surface and natural brush tools. Using multiply and subtract brush techniques, one can scumble on photoshop. The lines, being almost scratchy and fading, give the illusion of a natural painting. Textures can be of great help to give off a realistic feel and assist with a brush stroke looking effect. Blend using the texture and play with the opacity level to give an extra touch of authenticity. Light strokes on dark texture background help with highlights and gives a three-dimensional look to form.

Rembrandt (www.rembrandtpainting.net/famous_works.html) is one of the most famous painters to encorporate this technique in his most well known and realistic works. He is known as the master of light, and scumbling helped him get there.

Francis Bacon (www.nytimes.com/2009/05/22/arts/design/22baco.html) uses scumbling for abstract images.

Diego Velazquez (www.ibiblio.org/wm/paint/auth/velazquez/) was a 17th Century Spanish painter who encorporated scumbling similar to Rembrandt.

For a detailed description on how this can be accomplished on photoshop, go to (www.joshruff.com/dptutorial/index.html)