Chromolithography


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chromolithography

[¦krō·mō·li′thäg·rə·fē]
(graphic arts)
Lithographic printing with several colors, requiring a stone for each color.

Chromolithography

 

a method of lithographic reproduction of multicolored images, in which a separate printing image is prepared by hand on a stone or zinc plate for each color; an outline is applied initially on the surface of each stone. Chromolithography has been replaced almost entirely by the photomechanical methods used in planographic printing to produce plates.

References in periodicals archive ?
Finally, even though Weeden's extant color prints were created during the early and perhaps unrefined stages of his experimentation, one can see that they lack the tonal nuances, resolution, and the plain beauty of all those other processes, including chromolithography. Weeden's specimens exhibit color saturation in small fields and lines, almost like a child's paint-by-numbers watercolor.
Stone lithography (known as chromolithography when varied colors were used), a very exacting and beautiful form of printing, was popular between 1895 and 1915.
The new printing techniques of chromolithography allowed the forms to grow more solid and tactile, even as the colours and settings became more heavy and loud.
The same is true of many other public figures, and in the middle of the nineteenth century a new British society magazine, Vanity Fair, began to publish weekly colour caricature portraits of 'Men of the Day', 'Statesmen' and so on, using the new process of high-quality chromolithography. It led the field for more than forty years and eventually published more than 2,300 portraits, a third of which were of politicians.
This piece is knowledgeable, but gappy, omitting the growing popularity of lithography and its typographical successor chromolithography, as well as the impact of technological innovations such as electrotyping and the gravure processes.
The Lenox Library owned not only the original elephant folio edition of ornithologist John James Audubon's Birds of America (1827-38), but a full set of the never-completed American reprint, made by printer Julius Bien using the process of chromolithography (1860-61).
As the nineteenth century progressed, sheet music acquired title pages, these title pages acquired illustrations, the illustrations in turn acquired color (applied by hand at first, then by chromolithography), and later, photography made its contribution to title-page illustration.
The enterprise term in the subtitle attains significance through the author's investigation of Bierstadt's promotion of his large landscapes through the use of theatrical presentations, and through his use of emerging technological advances in photography and chromolithography in the reproduction and marketing of prints of his paintings.
In the last century, only 10 major exhibitions were held on images that were printed in colour before mass production was introduced with chromolithography around 1830; today, 10 are planned in the next five years.
These might include an introduction to the lithographic process itself; evaluating the Kelloggs' accomplishments against the productions of other lithographers of the period; and explaining why the Kelloggs did not employ chromolithography as this technology became available.
Till the time chromolithography and colour printing came into vogue, manuscript maps were sold uncoloured.