He produced a number of works in German and other languages, including the first regarding the nature printing process.

He invented a new photographic process for nature printing.

This form of nature printing may have been used by fishermen to record their catches, but has also become an artform on its own.

Nature printing is a printing process, developed in the 18th century, that uses the plants, animals, rocks and other natural subjects to produce an image.

What is a bit unnerving about the book is the way the illustrations were produced, using a form of what was called nature printing.

Staying, for the moment, with coloured illustrations, an interesting collection could be made of so-called 'nature printing', which had a short life in the nineteenth century.

For recording the microstructures he used three different methods available at the time: drawings, "nature printing" and microphotography.

Apart from the volumes and plates produced by the nature printing process, he also produced some of the earliest books to incorporate photographs.

This technique struck a good balance between the accurate detail achieved by nature printing, and the artistic effect brought about by the lithographic process.

In the 1880s, Thomas Honywood was perfecting his technique of "Nature Printing".

More than 200 wildflowers and ferns will be displayed, and origami, nature printing and other activities will entertain children.

Another printer, the Englishman Henry Bradbury, immediately used Auer's 'nature printing' process to publish work of his own.

The botanical work, The Ferns of Great Britain and Ireland, is a notable example of this type of nature printing.

The first published work on 'nature printing' (German: Naturselbstdruck), was The Discovery of the Nature Printing-Process (1853).

Nature printing is a very good example of a field of collecting in which the serious student can come to command a knowledge and expertise that the general bookseller is unlikely to match.

They were glued into collectors' albums, affixed to three dimensional objects, used as stencils for "spatter-work", inked and pressed into surfaces for nature printing, and so forth.

Along with William Grosart Johnstone's The Nature-Printed British Seaweeds (London, 1859-1860), the book featured Bradbury's innovative nature printing process.

Eventually, Honywood patented his "Nature Printing" process for "producing designs direct from natural objects on all kinds of Fabrics, Pottery, Dados, Panelling, &c, &c".

Eric P. Newman, "Newly Discovered Franklin Invention: Nature Printing on Colonial and Continental Currency," The Numismatist (1964)