| White Rabbit Press | A Historical Look at Chromolithography |
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 Plate 1: Flesh [skin] tone underlies the entire image, e.g., (in different gradations) with the exception of the areas that are intended to appear in pure blue or where the yellow with the [later] application of blue is to appear as a fresh green. Plate 2: Yellow is required in all parts that must appear with a yellow colour in the finished image; then all those parts that appear green because the green is produced by superimposing yellow and blue and, depending on the density of the points, is created in different gradations, unless the particular element of the image requires a particular green. Moreover, yellow is applied underneath areas where the red must make an orangish impression and create the warm shaded parts in skin. Plate 3: Brown is the principle drawing plate of the image and more strongly delineates off all central parts that produce shadows and foreground elements than the latter, but is omitted entirely in individual light and background elements, because in virtue of the application of the subsequent grey drawing and contours, these elements are replaced. Plate 4: First Blue is a primary colour where it is applied unadulterated; it produces the sky colouration in fine, variegated point gradations, produces a green colour when applied over yellow, and must also be applied underneath areas where red is overprinted to produce the shades of violet; it also produces grey basic shades where the first blue is applied over the flesh [skin] tones. Plate 5: First Red (also called "pink") is a primary colour where it is applied unadulterated on the affected item of apparel or element. It is applied before being overprinted in all brown and orange-yellow shades and is a principal colour for delineating flesh [skin] elements, depending on the type and density of the dots. First red applied on a first blue produces gradations of violet; applied on green shades it produces warm greenish, terra-sienna coloured nuances. Plate 6: Second Blue produces all darker and shadow elements on the first blue; analogously all different dark green shadowing on which the lighter green has been produced by the yellow and first blue as well as deeper delineations. Plate 7: First Gray can generally be applied completely over the entire image —with the exception of the brightest lights and brilliant pure colours — in that it only slightly compromises the colours but produces a sereneness and smoothness in the chromolithograph and confers to the entire composition a picturesque assembly of the different colour nuances |
A
Historical Look at Chromolithography Commentary The plate [page right] illustrates the creation of a colour print using nine superimposed lithographic imprints. A tracing, contour lithograph is required for creating it and is used as a reference for executing the individual plates; this is clearly illustrated here in the contours of the colours. It [the tracing] is not incorporated into the image itself.
Plate 8: Second Red. This colour produces all brighter shadow elements on the first red and the principle delineation areas in the skin; when overprinted on brown it creates the lush brown areas and where overprinted on yellow it produces the vermilion colouration. The second red enlivens and embellishes the image. Plate 9: Second Gray (also called neutral gray). This is a principle colour in chromolithography; it is applied to the shadow areas of all colours and its dots must be properly rarified up to the middle elements. It is sometimes used as auxiliary shadowing and as an effect plate and ultimately conveys a finished appearance to the image. The colour plates in the Brockhaus Conversation Lexicon, 14th Ed., are generally produced in 12–21 colours for creating an artistic, natural and finely nuanced reproduction. |
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