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Browse the storePlanographic printing prints from a flat surface using chemical separation, not carved depth. From lithography to offset, learn how it works and why it matters.
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Hold a relief print and an intaglio print side by side and you can feel the difference. The relief print has ink sitting on top of the paper in a thin, even layer. The intaglio print has a pressed-in rectangle, a platemark, where the metal plate forced the paper into inked grooves under high pressure. Now hold a lithograph. The surface is flat. There is no platemark. The ink sits on the paper in a thin film, but it does not come from a raised surface or a recessed line. It comes from a flat surface treated chemically so that some areas accept ink and others repel it. You cannot tell how the image was made by looking at the depth of the ink. The surface tells you nothing about the process. That is the defining characteristic of planographic printing: the matrix is flat.
Planographic printing is a category of printmaking in which the image is printed from a flat surface, with no raised or recessed areas. The image and non-image areas sit on the same physical plane and are separated by chemical properties rather than physical depth. Ink adheres to the image areas and is repelled from the non-image areas, typically through the interaction of oil-based ink and water. Lithography is the primary planographic printmaking technique, invented in 1796 by Alois Senefelder. The category also includes offset lithography, the commercial printing process that produces most books, magazines, and packaging in the world today.
This entry covers how planographic printing works, where it came from, how it differs from other printmaking families, and how to identify a planographic print in a museum or gallery.
The principle behind all planographic printing is simple: oil and water do not mix. The printing surface, traditionally a slab of Bavarian limestone for fine art lithography or a metal plate for commercial offset printing, is treated so that image areas attract oil-based ink and non-image areas attract water and repel ink. No material is carved away. No lines are incised. The surface remains physically flat throughout the process.
In traditional stone lithography, the artist draws directly on the prepared limestone surface using greasy materials: lithographic crayons, pencils, or tusche (a liquid greasy ink applied with brush or pen). The drawing is then chemically fixed to the stone with a solution of gum arabic and a small amount of nitric acid. This etching process does not remove material. It desensitizes the non-image areas so they become water-attracting (hydrophilic) and reinforces the image areas so they remain ink-attracting (oleophilic). The original drawing is washed away with solvent, leaving behind an invisible chemical pattern that determines where ink will stick.
Before each impression, the stone is dampened with water and rolled with oil-based ink. The ink adheres only to the greasy image areas. The water on the non-image areas repels the ink. Paper is placed on the stone and run through a press, transferring the inked image to the paper. Because the surface is flat, no platemark is produced, and the pressure required is far less than in intaglio printing.
The Yale University Art Gallery's Printed Picture project explains: "The surface of the stone is neither raised nor incised. The image is drawn with greasy materials on a flat surface, then chemically treated so that the drawn areas accept ink while the undrawn areas, when dampened with water, reject it." Read the full explanation at Yale University Art Gallery.
Planographic printing was invented by Alois Senefelder in Munich in 1796. Senefelder was a playwright who needed a cheap way to reproduce his scripts. He experimented with a greasy crayon on Bavarian limestone and discovered that the greasy marks attracted ink while the rest of the stone, when dampened, repelled it. He called the process "chemical printing" (chemischer Druck), though the name lithography, from the Greek "lithos" (stone) and "graphein" (to write), became standard.
Senefelder patented the process in 1799 and published a manual in 1818. Lithography spread rapidly across Europe because it offered something no other printmaking technique could: the ability to print images that looked like drawings. An artist could draw on the stone with the same freedom as drawing on paper, without the physical resistance of carving wood or the technical demands of etching metal. This directness made lithography attractive to painters who had never trained as printmakers.
By the 1820s, lithography was the dominant medium for commercial illustration, sheet music, maps, and posters. The ability to print large editions quickly and cheaply made it the preferred medium for mass communication. Goya produced his Bulls of Bordeaux lithographs in 1824 and 1825, demonstrating the medium's artistic potential. Daumier used lithography for thousands of political caricatures published in French newspapers from the 1830s onward.
In the late 19th century, color lithography became the medium of the poster. Toulouse-Lautrec's posters from the 1890s, including Moulin Rouge: La Goulue (1891), used multiple stones for different colors, producing prints of extraordinary vibrancy. The medium suited the bold, flat shapes and strong outlines of the Art Nouveau and ukiyo-e-influenced style of the period.
In the 20th century, fine art lithography was transformed by the workshop system. The Tamarind Lithography Workshop, founded in Los Angeles in 1960 by June Wayne, trained master printers and paired them with artists who had never worked in the medium. This model spread to workshops including Gemini G.E.L. in Los Angeles and ULAE (Universal Limited Art Editions) in New York. Artists like Jasper Johns, Robert Rauschenberg, and Pop Art figures produced lithographs that expanded the technical and conceptual range of the medium.
On the commercial side, offset lithography, developed in the early 20th century, became the dominant industrial printing process. In offset printing, the image is transferred from a metal plate to a rubber blanket and then to paper, rather than printing directly from plate to paper. This indirect transfer protects the plate and produces consistent results at high speed. By the mid-20th century, offset lithography had replaced letterpress as the standard method for printing books, magazines, newspapers, and packaging. It remains the most widely used printing process in the world.
Goya produced his Bulls of Bordeaux series in 1824 and 1825, among the first fine art lithographs ever made. Goya was in his late seventies, deaf, and living in exile in France when he made these prints. They show the medium's capacity for tonal richness and dramatic contrast, using tusche washes alongside crayon lines. The Bulls of Bordeaux are held at the Metropolitan Museum of Art and the Prado.
Daumier produced approximately 4,000 lithographs for Parisian newspapers between 1830 and 1872. His political caricatures, printed by Aubert and Galerie Vero-Dodat, used the speed and directness of lithography to respond to current events within days. Daumier's lithographs, including Rue Transnonain, le 15 Avril 1834 (1834), demonstrate the medium's capacity for both brutal social commentary and delicate tonal modeling.
Toulouse-Lautrec's color lithograph posters from the 1890s are among the most recognizable prints in art history. Moulin Rouge: La Goulue (1891) used four colors, each printed from a separate stone. The flat, bold shapes of his posters drew on the influence of Japanese woodblock prints and demonstrated that lithography could produce images of graphic power equal to any painting.
Johns worked extensively with ULAE and later Gemini G.E.L. to produce lithographs that pushed the medium's technical limits. His False Start lithographs (1959 onward) used color separations and registration marks as part of the image, making the printing process itself the subject. Johns's lithographs are held at MoMA and the National Gallery of Art.
Catlett used lithography for politically engaged prints addressing race, labor, and women's rights. Her I Am the Black Woman series (1946-1947), produced at the Taller de Grafica Popular in Mexico City, used lithography's direct drawing quality to create images of clarity and force. Catlett's work demonstrates the medium's accessibility and its suitability for art aimed at broad audiences rather than collectors.
Planographic prints do not have a platemark. The surface is flat because the matrix is flat. The ink sits on the paper in a thin, even layer, similar to a relief print but without the raised-surface characteristics of woodcut or linocut.
The most reliable way to identify a lithograph is to look for the quality of the mark. Because the artist draws directly on the stone or plate, lithographic marks have the spontaneity and variation of drawing. Lines can be smooth, broken, textured, or washed, depending on the material used. There is no evidence of carving tools, as in relief printing, or of acid biting, as in etching. The image looks like it was drawn, because it was.
Color lithographs made with multiple stones may show slight misregistration between color layers, visible as thin gaps or overlaps at the edges of color areas. In well-printed works, the registration is precise, but it is rarely as mechanically perfect as commercial offset printing. If the colors are perfectly aligned with no visible variation, the print may be an offset reproduction rather than an original lithograph.
The distinction between an original lithograph and an offset reproduction is important for collectors. An original lithograph is drawn by the artist on the stone or plate and printed by hand. An offset reproduction is a photographic copy of an existing artwork, printed by machine. Both are planographic, but only the first is an original print. Look for an edition number and artist signature, which indicate an original print, and check whether the surface shows the slight texture of hand-printing versus the flat perfection of machine printing.
Planographic printing is one of the four major families of printmaking. Relief printing (woodcut, wood engraving, linocut) prints from raised surfaces. Intaglio (engraving, etching, drypoint, aquatint, mezzotint) prints from recessed lines. Screen printing pushes ink through mesh. Planographic printing alone uses a flat surface with chemical separation, and it alone produces prints with no platemark and no physical evidence of the matrix's structure.
For more on individual planographic techniques, read our entry on lithography. For the broader context of printmaking, explore our entries on intaglio and relief printing, or read our post on how to read a painting to learn more about identifying printmaking techniques in museums.
The Metropolitan Museum of Art holds Goya's Bulls of Bordeaux and Daumier's lithographs in the Department of Drawings and Prints. The Museum of Modern Art has Toulouse-Lautrec posters and Jasper Johns lithographs. The Tamarind Institute at the University of New Mexico maintains a collection of contemporary lithographs and offers public demonstrations of the process.
If you want to trace the history of planographic printing, start with Goya's late lithographs at the Met, move to Daumier's newspaper caricatures at the Bibliotheque nationale de France, look at Toulouse-Lautrec's posters at MoMA or the Musee Toulouse-Lautrec in Albi, and end with contemporary lithographs from Tamarind or Gemini G.E.L. You will see two centuries of printmaking from a flat surface, all based on the same principle Senefelder discovered in 1796: oil and water do not mix. For more on the broader context, read our entries on lithography and screen printing, or explore our guide to chiaroscuro and dramatic contrast to see how planographic printmakers created tonal effects through chemical separation rather than physical depth.
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