An historically common medium for printmaking is lithography, writing on stone. The artist creates the image with a waxy crayon on a stone slab. The stone is sometimes placed in acid which bites at the areas without crayon. The result is a subtle relief surface with the drawn waxy image as the hills. The stone is then soaked in water which repels the oily grease of the crayon lines which then attract the oil-based ink. The paper picks up the ink from the slightly raised crayon lines.


A good example is Henri Toulouse-Lautrecís The Seated Clowness, from Elles. The image looks as if crayoned due to the rougher, grainier texture. Multiple colors can be introduced either through multiple stones with different series of hills or by the artist carefully applying different color inks to different crayoned lines. Also typical of crayoning, the density of color may vary. Denser areas of crayon lines will produce areas of flatter, more consistent color. Areas with light or sketchier applications of lines will not print as well and reveal more of the paper underneath. However in the case of Toulouse-Lautrec, the crayon lines are light in touch and organic in direction. The image looks sketchy as if created with furia and sprezzatura.