for axd dors)
ay, o07.26/343
seven convolutions
original lithegrophs by
herbert bayer
apl s
Lithographs are prints taken from stones on which drawings have been
made with lithograph crayons, tusche, or ink containing grease. Crayons,
tusche and ink are black, but the prints can be made any color in printing
by the use of colored inks.
When lithographs are to be printed in more than one color, more than
one stone must be used. The "Convolutions" are two-color lithographs; two
stones were uscd in their making, one for the black which carries the dark
masses, shapes, and lines, and one for the color which carries the tones and
the high lights.
It is not necessary to use regular lithograph crayons to make drawings on
stones for lithographs. Any substance containing grease will do. The ink
used for printing lithographs can be used also for drawing on the stone. The
inking roller, used to roll up stones for printing, may serve to apply ink to
the entire surface of a stone to obtain an all-over middle tone. Such a tone
brings out the rich texture of the grained surface of lithograph stones.
This technique, using the inking roller to apply a thin coating of ink to
the stone prior to drawing on it, is useful when an artist wishes to draw
darker shapes into a middle bone-to delincate shadows and outlines-or to
scrape out middle tones to obtain high lights.
In the "Seven Convolutioes" series of two-color lithographs, all of the
first stones, which were the key stones, were printed in black. Some were
drawn with lithograph crayons; some were drawn with a brush and tusche
which is similar to crayon in liquid form,.
The second stones were made to print the middle tones and high lights.
In cach subject the middle tone was printed in the appropriate color accord-
ing to the artist's conception of the design.
Herbert Bayer wanted the lithographs to be drawn on stone in a direct
manner so that the quality and texture of the stones would not be destroyed.
He was apathetic to the harsh effect that is so often the result of scraping and
scratching out high lights. Therefore, it was necessary to discover a new
medium for drawing on stone before the color stones could be made.
The solution to our problem was simple although it required practice to
perfect the technique: on the second stones, which were printed in color,
the artist drew the high lights with chalk, and immediately turned them over
to the printer who inked the printing roller lightly with black lithograph
ink and used it to lay a thin film of ink on the entire surface of the stones,
except those parts of the stones which were protected by the chalk and were
to be the high lights. Thus, for each subject two stones were drawn upon and
prepared for printing-one with black ink, the other with colored ink.
In 1797 Alois Senefelder, a German, invented a process of printing which
he called "Lithography," meaning "to draw on stone." Until that time all
printing was done from plates or blocks of wood or metal having either raised
lines or surfaces such as the raised surfaces of type from which books are
printed, or from plates with incised lines such as engravings and etchings
In lithography, stones from which prints are made have neither raised nor
incised lines. Lithography is posible because of the antipathy of grease and
water each for the other. The drawing on stone is made with greasy crayon or
ink and the stone is printed with greasy ink. The stone is kept moist during
printing so that only the drawing, or areas which were greased, receive ink.
Thus, the ink from the inking roller is transferred again to the paper when the
impression is made. Lithographs are printed by a special kind of hand press.
Lausence Baratt
Calenado Springe Fne Ats Cantar