Print types

What is an Open Edition?

An edition issued without limit, individual number, or artists signature.

What is a Limited Edition?

A limited edition is a series of identical prints, which are limited to a certain number of pieces. The artist determines the size of the edition, and usually signs and numbers each individual piece. Following publication the printing plates are destroyed.

What is an Artist's Proof

An old tradition of reserving a quantity of prints for the artist's use, usually equal to about 10% of the edition. In the early days of printing, these prints were the only remuneration the poor artist received. Proofs are signed by the artist and numbered showing the quantity of Artist's Proofs issued in the edition and generally marked a/p. Because of their highly restricted number, Artist's Proofs are sold at a higher value than the regular prints in the edition.

What is a Publishers Proof?

A quantity of prints, not always announced or issued at the time of publication, usually equal to no more than 10% of the edition. These are reserved for the publisher's use, mostly for donation to Museums, Service establishments, Service Associations, and the like. Quantities of Publishers Proofs, sometimes issued with a supplementary print, may be made available to collectors either at the time of publication, or at a later date, depending upon availability.

What is a Remarqued Print?

A print issued with an original pencil drawing by the artist in the margin, each numbered out of the quantity of individually remarqued prints in the edition. The quantity of remarqued prints in any one edition generally is between 25 and 50. Each remarque drawing made by the artist is slightly different, thus making each print totally unique. Remarqued prints may be available at the time of publication, or announced at a later date, depending upon the artist's work load at the time. An artist remarqued print is the ultimate collector item in terms of reproduced work.

What is a Canvas Transfer?

A canvas transfer, which is the most widely used method of reproducing an artist's painting on canvas is an old technology which has been around for many years. A print on paper is utilized in the transfer process, and the inks are "transferred" to the canvas. While reasonable in cost, disadvantages include a limited life due to fading, cracking, or peeling, and the fact that only one size is available (the same as the print used in the process.) Also, modifications of canvas transfers by the artist are more noticeable than those made to a giclée.

What is a Companion Print?

An additional print, usually issued with smaller dimensions, published to compliment a limited edition, and usually issued at the same time.

What is an Original Drawing?

An original work individually drawn by the artist, completed in pencil, ink, or other medium, and personally signed by the artist. Being an original work each drawing is unique and different.

Different printing methods

What is Giclée?

Giclée (pronounced jhee-clay) is derived from the French verb gicler, meaning “to squirt”. Giclée’s are produced one at a time using a very expensive sophisticated machine that operates similarly to an ink jet printer on a personal computer. An extensive proofing process is done to make sure each image is acceptable to the artist, and then the correct settings are stored digitally. This allows giclée’s to be produced one at a time. This has advantages to the publisher (limited inventory) and to the customer (multiple number of size combinations or output medium.)

Giclée canvases are stretched on wooden stretcher bars (identical to an original painting), and then are framed just like an original. No glass or mounting/matting is used. giclée’s printed on 200 pound watercolor paper are framed like lithographs to protect the surface. In either case, there is absolutely no grainy appearance such as what you get when enlarging a photograph. Unlike canvas transfers giclée’s can be produced in many sizes.

Although more expensive than prints on paper, giclée’s sell for a small fraction of the cost of an original painting.

Giclée printing offers one of the highest degrees of accuracy and richness of colour available in any reproduction technique. The prints provide a luminosity and brilliance that represents the artist’s original work better than any fine art reproduction technique available today.

What is a Lithograph?

Lithography is based on the principle that oil and water do not mix. Using oil-based ink or a grease crayon, an image is drawn on a flat stone or metal plate. Next, water is applied to the surface and is repelled by the areas where oil-based images have been drawn. The entire surface is then coated with an oil-based ink that adheres only to the areas drawn in oil, ink, or crayon. The image is then printed on paper. The popularity of this process grew because thousands of exact replicas could be made that were like drawings on paper, without degradation of the image.

What is a colour lithograph?

Color lithography is essentially the same process as basic lithography. In this process, however, the application of each colour is printed separately through careful alignment or registration. This process is typically done by a computer analysis, and is most frequently used in the production of posters and open edition prints.

What is an offset lithograph?

Offset lithography transfers the image to paper from a "positive" drawing (rather than from reverse or relief images used in other methods). A large rubber roller picks up the image from the plate and then rolls it onto the paper surface. Thus, the paper never actually touches the original plate image. Offset lithography largely replaced direct lithography once the technology was perfected. It made possible much larger print runs of commercial images, such as posters.

About Editions

Why are edition prints so much more expensive?

The premium price of editions is a function of the limited supply of each product, and the exceptionally high quality of these prints. Typically, the more manually intensive the process is, the more each edition fine art print will cost.

Certificate of Authenticity

A certificate issued by the publisher stating the total quantity of prints issued in the edition, confirming authenticity of the signatures, and in the case of a limited edition, inscribed with the matching unique number inscribed on the individual print. Collectors are advised to keep certificates safely as a future means of provenance.

Sold-Out Prints

Where a print is shown as "sold out", this means sold-out at the publisher. "Sold-out" prints are sometimes available from galleries at the original publisher's price, depending upon the length of time elapsed following publication. Prints in strong demand often appear on the secondary market at increased prices quite quickly after becoming sold out at the publisher.

Secondary Market

A market, largely operated by retail galleries, where limited edition prints are bought and sold by collectors after the edition is sold out at the publisher. Generally prints offered for sale on the secondary market are at values above the original published price. Prices are governed by supply and demand on the open market, and are not set by the publisher. Prints in strong demand can change hands at many times the original published price.

Will the value of an edition increase like other collector's items?

Being limited in number, demand for certain edition prints can be greater than the number of reproductions produced for the edition. Once an edition is sold out from the publisher, which means that the print is no longer available from the publisher, but they may still be available from an authorized dealer, the prints are considered to be on the Secondary Market. This means that the print can be bought and sold by any dealer or individual, often above issue price, depending on supply and demand.

What does 'S/N' mean?

S/N is a symbol used to indicate that a limited edition has been signed and numbered by the artist himself/herself.

What do the numbers on the prints mean?

Usually there are two numbers separated by a slash, for example: 62/495. The bottom number tells you how many impressions there are in the numbered edition; the top number is simply the specific designation for that impression.

Are some prints in the edition more valuable or better than others?

No. In contemporary print editions, an impression with a lower number is no more valuable or better than an impression with a higher number. This popular misconception probably stems from the time when very large editions of prints were made and impressions were sometimes pulled after the printing element began to wear out, resulting in impressions that were not as "crisp" as the first few printed.

What does A/P mean?

Proofs are signed by the artist numbered showing the quantity of Artist's Proofs issued in the edition and generally marked a/p. Because of their highly restricted number, Artist's Proofs are sold at a higher value than the regular prints in the edition.

Does documentation guarantee a print's originality?

Not necessarily. Unfortunately, documentation papers can be misleading. Read the papers carefully and ask questions about anything that is unclear. If you are in doubt about a print's authenticity or value, it's best to check with a reputable dealer (such as one belonging to the International Fine Print Dealers Association) or a museum print department.

How do you define originality?

Originality is difficult to define; it is a complex concept and has become almost meaningless with respect to prints because it has come into such broad and general use. The term is often used in order to imply that the print is more valuable than it may actually be. An important consideration is the degree to which the artist has participated in the concept and execution of the image.

Framing and Mounting/Mating

If I buy a fine art print, where would I go to get it framed properly?

Ask for references from knowledgeable friends, print dealers, or museums. Since improper framing can permanently damage your print, it's important that you find a professional framer who uses archival materials.

What is meant by the term 'archival' and 'acid-free'?

Paper or canvas treated to neutralize its natural acidity in order to protect fine art and photographic prints from discoloration and deterioration. Nothing in the framing materials will alter or destroy the paper or inks of the lithograph. This protects prints from discoloration and deterioration.

Why is it important that my framing materials be acid-free?

Mount/matboard which is not chemically inert and free of acid, transfers its acidity to the paper which over time causes it to turn brown (known as mount/mat burn), become brittle, and even to disintegrate when removed from the mount/mat. Museums recommend that mounts/mats be made from 100-percent cotton rag mountboard/matboard, at least two-ply in thickness.

A less expensive alternative is "conservamat" or conservation board, which is made from highly purified pH neutral wood pulp. Some fabrics like linen, cotton, and silk are also safe to use.

Do I need to have a mount/mat around my print?

No. A window mount/mat is a matter of personal taste. Often a print with a large border is simply hinged to a backing-this is called "floating the print". This technique requires a spacer, hidden by the edges of the frame, to keep the print from touching the glass in the same way that a window mat does. A window mat may cover the edges of the paper if you prefer (although the edges are considered to be an integral part of the print) or the print may float within the window.

What are hinges?

Prints are never glued or taped directly to a backing with pressure-sensitive tapes; hinges made of linen or fine Japanese paper hold the print to the backing with non-acidic, non-staining, reversible adhesives.

Why shouldn't my print touch the glass?

Both glass and acrylic sheeting (plexiglas) condense moisture from the air; if your print touches either, it may actually stick to the surface and be ruined.

Which is better: glass, or plexiglas?

Both will protect your print and filter some of the harmful rays of light. Glass is cheaper, but it breaks easily. Since glass is heavier than plastic, it may be impractical for very large prints. Ultraviolet filtering is available at a higher cost. Plexiglas, although lighter, is more expensive than ordinary glass and scratches more easily.

Can light hurt my print?

Bright daylight and even bright artificial light can cause colors to fade and papers to discolor and become brittle. Too much light is harmful even when ultraviolet rays are filtered out, so make sure your print is exposed to moderate light for limited hours at a time. Consider rotating your prints from time to time to give them a rest.

What if I want to store my prints?

When handling unframed prints, make sure you work with gloves or very clean hands. Finger smudges, dirt, or dents and tears caused by carelessness will affect the value of your print. If you must handle your print, lift it by diagonally opposite corners to avoid creasing.

Prints should be stored flat, either in or out of mats, layered between sheets of non-acidic interleaving tissue. Never put your prints on surfaces like corrugated board or wood; not only are the materials acidic, they also have textures that can can imprint themselves on your artwork.

Your storage area should be clean, dry, and protected from insects and vermin. Roaches, silverfish, and mice are common despoilers of paper. Simple, relatively inexpensive non-acidic boxes will protect your prints from environmental damage; they are avail able from art and preservation suppliers.