An Introduction to Tusche Lithography Techniques, Process and Tips

An Introduction to Tusche Lithography

Lithography is a printmaking technique that utilizes the principle that oil and water do not mix. The tusche lithography process, sometimes called grease crayon lithography, is one of the easiest lithographic techniques to get started with as a beginner. Tusche is an opaque, greasy medium that can be applied to lithographic limestone or metal plates to create images. When used in combination with other lithographic chemicals and papers, tusche allows artists to make multiple impressions from a single matrix.

The History of Tusche Lithography

Lithography was invented by Alois Senefelder in the late 18th century as a means for reproducing theatrical works cheaply. Senefelder experimented with using greasy crayons to draw on limestone slabs, which he found could then be inked and used to print images onto paper. This technique formed the foundation of lithography as we know it.

In the mid-19th century, artists began adopting lithography as a fine art medium. The tusche lithographic technique became popular with expressionists like Edvard Munch, who used it to create brooding works charged with emotion. Other pioneering tusche lithographers include Henri de Toulouse-Lautrec and Emil Nolde.

How Tusche Lithography Works

Tusche is a greasy, opaque substance made from carbon pigments suspended in a binder. It comes in cakes, sticks, and liquid form. The most common color used in lithography is black, but colored tusche is also available.

In tusche lithography, the artist draws directly onto a limestone or metal plate using a grease crayon or brush. The grease in the tusche adheres to the bare sections of the plate. Next, the surface is dampened with water. Then, an oily ink is rolled over the surface - this ink adheres only to the greasy tusche drawing and not to the damp background.

Finally, paper is placed over the plate and run through a lithography press. The image transfers to the paper, creating a print. The plate can be re-inked many times to create multiple identical impressions with consistent quality.

Tusche Lithography Techniques

There are many ways to work with tusche in lithography:

• Crayon: Grease crayons allow bold, textured, spontaneous marks.
• Brush: Using brushes with liquid tusche allows for expressive, gestural strokes.
• Wash: Dilute tusche can be washed over plates to create tonality.
• Spatter: Flicking a stiff brush loaded with tusche creates speckled textures.
• Stippling: Dotting tusche into the stone with a stiff brush makes velvety dark tones.

Artists may use a combination of these techniques in one image. It's also common to combine lithographic crayon with other mediums like pencil, or to draw on lithographic transfer paper.

The Process Step-By-Step

Here is an overview of the tusche lithography process from start to finish:

1. Prepare the matrix: Grind and polish a limestone or zinc plate so the surface is smooth. Treat the stone with a weak etching solution.
2. Draw the image: Use tusche crayons, brushes, or liquid tusche to draw the image onto the prepared matrix.
3. Chemically process: Treat the surface with solutions that will seal the grease drawing and allow it to attract printing ink.
4. Ink the plate: Roll an oily lithographic ink over the matrix so it sticks to the greasy drawing.
5. Print: Place paper over the plate and run it through the press under pressure to transfer the image.

After printing, the plate must be thoroughly cleaned so new images can be created or editions continued. Each color requires a separate matrix and printing.

The Appearance of Tusche Lithographs

Tusche has a creamy consistency that produces a characteristic velvety or crayon-like texture when printed. Lines and strokes have a lively, organic quality. Areas of solid tusche create rich blacks with slight texture.

The limestone also imparts a subtle graininess to the overall print. Printed areas tend to have softly fuzzed edges as the tusche bleeds slighting into the damp stone.

These qualities make tusche lithography perfect for creating energetic, expressive works with spontaneity and graphic impact. The varied mark-making possibilities allow for great freedom and directness in the drawing process.

Tusche Lithography Tips for Beginners

Here are some helpful tips for those wanting to explore tusche lithography:

• Use lithographic pencils and crayons designed for the process - oil-based art materials won't work.
• Start on aluminum plates if working outside a print studio - they are durable and easy to use.
• Do small editions of 10 prints or less to begin with so you can master registration and printing.
• Print on quality papers with good absorbency, such as Rives BFK, to achieve clean impressions.
• Wear gloves when handling plates to prevent oils on hands from interfering with the chemistry.
• Add gum arabic or methylethyl ketone (MEK) to liquid tusche for better adhesion and stroke-making.
• Clean the plate carefully after printing so the matrix can be reused.

With its direct drawing approach and flexibility, tusche lithography is a great option for beginning printmakers. Mastering the balance between ink and water allows for an endless variety of rich effects and imagery.

FAQs

What materials do I need to get started with tusche lithography?

You'll need lithographic stones or plates, tusche in crayon or liquid form, gum arabic, lithographic pencils and crayons, processing chemicals like nitric acid and gum, brayers and ink, papers, and a printing press if possible. Aluminum plates, beginner's litho kits, and craft station presses are affordable options.

What is the difference between lithographic crayon and standard crayon?

Lithographic crayons are made with a greasy, opaque tusche formula specifically designed for the printing process. They have an oily, waxy quality. Standard crayons use wax or oil binders that will repel lithographic inks and chemicals.

Can I hand print lithographs without a press?

Yes, but your editions will be very limited. You can achieve hand transfers from stone to paper using hand burnishing tools. But you'll get the best impressions and largest editions using an etching press which applies even, consistent pressure.

What paper works best for lithography?

Heavyweight papers with a neutral pH and smooth finish are ideal. Papers sized with an acid-free gelatin internal sizing help achieve sharp details. Rives BFK and Somerset are good options. Avoid very rough or soft papers.

How long does it take to make a lithograph edition?

The preparation, drawing, processing, and printing involved means creating a small lithograph edition is a multi-day process. Ten quality prints could take a week or two working every step carefully. Larger editions with multiple colors take much longer.