Crescens Robinson's unusual name was a family name: his uncle Crescens had a firm called "Crescens Robinson & Co" in Islington, London, which acted as an agent for his uncle Philip who was the founder of Robinson & Co in Singapore and later became a lithographic printing company which specialised in fine printing of posters, with London Transport among its customers.
Filmed at the eponymous Idem Paris, a fine art printing studio in Paris, France, and "virtually wordless", it documents the lithographic process.
During the 1930s to 1950s, hyperrealist poster artists such as Hans Handschin, Herbert Leupin, Peter Birkhäuser, Fritz Bühler, Max Dalang and Donald Brun produced a great number of lithographic posters depicting products created by Basel manufacturers, and whose works were characterised by a rich palette of colours and flawless printing.
Twenty-five hand-colored lithographic plates of birds were included in the volume Zoology of the Boundary, edited by Spencer Fullerton Baird.
Flora's Feast, A Masque of Flowers had lithographic reproductions of Crane's line drawings washed in with watercolour; he also decorated in colour The Wonder Book of Nathaniel Hawthorne, and Margaret Deland's Old Garden.