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PRINTS LEGENDS AND ODDITIES

Print History
In 1440, German inventor Johannes Gutenberg invented a printing press process that, with refinements and increased mechanization, remained the principal means of printing until the late 20th century. The inventor's method of printing from movable type, including the use of metal molds and alloys, a special press, and oil-based inks, allowed for the first time the mass production of printed books.

The first use of copper engravings for illustration occurred in 1476. Early experiments in using engraving for illustrations were not successful because the two different methods of printing not only required two operations; they required different types of equipment. As a result registration problems occurred. The solution was to print the images on separate sheets of paper and bind them into the book or to print on thin paper and cut out and paste the images in place.

The new printing presses had spread like brush fire through Europe. By 1499 print-houses had become established in more than 2500 cities in Europe. Fifteen million books had been flung into a world where scholars would travel miles to visit a library stocked with twenty hand-written volumes. Scholars argue about the number. It could've been as few as eight million or as many as twenty four. But the output of new books had been staggering by any reasonable estimate. The people had suddenly come into possession of some thirty thousand new book titles.

Click "Floral" Painting to view Max Gatrhings' Limited Edition Prints.

Printmaking
Sometimes called graphic arts "designates all processes for the production of multiple-proof pictures on paper on a handmade basis, the work being done either wholly or in most part by the original artist, and editions limited. Prints are made either in black and white or in multiple color impressions and the individual copies or proofs may be signed and numbered by the artist in pencil on the lower margins. Making an impression is called pulling a proof. The term 'graphic art' excludes all forms of mechanically reproduced works photographed or redrawn on plates; all processes in which the artist did not participate to his fullest capacity are reproductions."

Originally, printmaking was a mechanical technique for the making of multiple impressions for written materials and images for mass distribution, as opposed to copying by hand. Several artists eventually picked up on the idea of using this new technology for the creation of multiple originals. As printing technology progressed, so did the artists use of it.

Today, many artists are involved in using the computer as a tool for printmaking. Purists, however, are still debating over whether or not photography is a true artistic medium. The debate with purists on printmaking hinges on the use of mechanical techniques, and artist involvement in creating the multiples. However, the purists' point of view is quite moot with the acceptance of many new techniques by both artists and collectors.

Edition
The authorized number of impressions produced. The edition includes all numbered pieces artist's proofs (a.p.) hors de commerce examples (H.C., i.e. outside of usual commerce) and printers proofs (P.P.).

Limited Edition Prints
A limited edition prints is an original image limited to a predetermined quantity to retain it's integrity and value. The edition is individually signed and numbered by the artist. The numbers denote the individual piece number in the edition over the total edition size (written as a fraction).

In addition to the numbered prints in an edition, there are usually an additional 20-25% of signed proofs produced for the artist and publisher. Artist's Proofs ( AP ) are reserved for the artist and are used for personal use. They are not part of the regular edition. Printer's Proofs ( PP ) are proofs presented to the printer upon completion of printing. Sales Proofs ( SP ) are kept by the Publisher and are generally used as sales samples.

Limited editions usually are accompanied by a Certificate of Authenticity. This certifies that your print is an authentic limited edition print. The certificate should detail the exact number of numbered prints, artist proofs and sales proofs created. The studio where the print was produced, the type of paper used, the number of color plates, the date the edition was signed, the date the plates were cancelled are also mentioned.

Artist Proof (AP)
Often numbered, these copies of a limited edition print are signed and typically titled "Artist Proof." Artist proofs originally were the first copies printed and were used to indicate the artist’s approval of color reproduction and other mechanical aspects of the printing process. Once prized as best quality copies. Artist proofs now exist solely as part of the printmaking tradition and are of a quality similar to the standard edition print. Artist's proofs are distinguished by the abbreviation AP and are numbered separately; they often represent 10 percent of an edition and are slightly more expensive and usually more valuable than prints in the regular edition.

Press Proof (PP)
Off press proofing can be useful in predicting quality of materials prior to production printing. Small quantities of ink and small sheet sizes can be studied quickly for physical and optical performance properties.

Signature
The artist's signature applied to the original work as it appears in a print - or more frequently, the artist's signature in pencil on each copy of a print.

Numbered
Each copy of a limited edition print is marked with two numbers separated by a slash mark. The first number identifies the particular copy and the second indicates edition size: 42/950, for instance, identifies print number 42 of a 950-copy edition.

Signed and Numbered (s/n)
A print bearing an original signature and copy/edition numbers.

Signed Only (SO)
A print signed by the artist but not numbered.

Click "Judy Garland & Mickey Rooney" Print to view People Art Open Editions.

What Makes Limited Edition art Valuable?
Limited edition art is simply what the name implies. An artist agrees with a printer or publisher to produce an image in a certain size and edition number for sale to the public (for example 300 signed and numbered and 100 artist proofs). When the artist, publisher or sales/marketing firm has sold all of the available prints to individuals, retailers or galleries, the edition is considered sold out. Depending on the subject matter, the popularity of the artist, and the medium utilized, the prints will then go up or down in value according to supply and demand. Generally smaller edition sizes are more desirable to collectors. When a print is released in several image sizes and mediums (paper, canvas, serigraphs, giclée , etc.) the print may not seem as rare to collectors, this will generally but not always drive the price down on the secondary market. In the recent years many artist have begun to reduce their edition sizes to help collectors realize more value in their art purchases. Limited edition prints are signed by the artist and sequentially numbered so the art buyer may be assured his piece is authentic. A certificate of authenticity is usually included with the print and should be kept by the art buyer for insurance purposes.

Certificate of Authenticity
A warranty card or statement of authenticity of a limited edition print that records the title of the work, the artist’s name, the edition size and the print's number within the edition, the number of artist's proofs and the release date. It is a guarantee that the edition is limited and that the image will not be published again in the same form.

Issue Price
The original price of a limited edition print when first offered for retail sale.

Secondary Market Value
The value of a print, determined by supply and demand, after all copies have been sold at original issue price.

Open Edition Prints (Hand Signed)
Prints produced with no predetermined limit to the number of copies that might be made. Open edition prints may be hand signed by the artist producing a possible increase in value to the owner and certainly personalizing it.

Open Edition Prints
Prints produced with no predetermined limit to the number of copies that might be made. Open edition prints may or may not be signed by the artist.

Proofing
Sometimes the original art scanned files comes to the printer in less than perfect condition. The printer can edit and manipulate images in photo shop and other imaging programs to eliminate flaws and upgrade color balance to reflect the condition of the original art. After the image is corrected of flaws and balanced for color the initial proof will be viewed by the artist and if excepted will be printed.

Click "Love Elephants" Painting to view Max Gathings' Open Edition Prints.

Digital Print
A reproduction in which a digital file of an original painting or drawing is printed by a special inkjet printer that sprays ink directly onto the surface of a substrate. These digital prints, sometimes called giclées or iris prints, can match the colors of the original with millions of possible hues.

Chromolithograph Print
A color-printing process in which separate printing plates are used to apply each component color. Often called "four-color printing because the full range of color tones are achieved with only four plates - red, blue, yellow and black.

The Giclee Printing Process

• Digitized: To create art prints the image of an original art needs to be digitized. This can be accomplished by taking a photo of the work and scanning or scanning the original art.
• Correct: Once digitized by scanning, the image file is analyzed for color balance, contrast, brightness and many other criteria. If scratches or dust specks are found, they are removed at this stage.
• Enlarge: (Optional) If the digital image is low resolution, it can enlarge it in most cases and retain image quality through using a powerful software-driven process.
• Proof: Proofing is simply a way of running test strips or small examples of the print to determine if the setup phase needs tweaking. It's important the Color Master have a good eye for color and value (levels of gray). When satisfied with the proof, it is presented to the artist and additional changes are made or, if approved by the artist, it is moved on to the final phase. Now, the final art prints are sized and printed. It's interesting to note that the giclée can be reprinted any number of times at different sizes and always appear the same as the first.
• Satisfaction: Finally, the art prints or giclées are ready for the artist to market and sell.

Lithography
Originally, a method of printing using a smooth slab of porous stone upon which an image is drawn with a grease crayon. After the drawing is made, the artist or printer treats the entire surface with solutions of gum arabic and nitric acid. The gum arabic surrounds the grease and at the same time chemically prevents ink from adhering to the undrawn areas; the nitric acid helps the grease and the gum arabic penetrate the pores of the stone. The plate is then wiped down with a solvent such as turpentine to remove all grease from the surface.

To print a lithograph, the printer flushes the surface with water, which is absorbed by the undrawn area but the greasy drawn area rejects. The printer then applies oil-base ink with a roller, and since water will not unite with oil the ink sticks only to the grease and thereby forms the image that can be pressure transferred to paper.
In a more modern, mechanized process called "Offset lithography," the image to be printed is photographically applied to a metal plate that is then mounted onto the roller of a printing press. Ink is applied to the plate, transferred to a rubber roller called a "blanket" and from the blanket onto paper. Offset lithography is today the most widely used method of printing.

Because the older method brings paper and printing plate into direct contact with one another, the plate suffers a certain degree of wear as each copy is pulled and this is why low-number prints and artist proofs traditionally have been more desirable than copies made toward the end of the press run. Plate-wear is not a significant factor in offset lithography so there is no longer any actual difference in quality between the first print of an edition and the last one.

Offset Lithograph
A special photomechanical technique in which the image to be printed is transferred to the negative plates and printed onto papers. Offset lithography is very well adapted to color printing. A photomechanical reproduction created by the separation of colors in the original and then the recombining of those colors on a printing press. Most posters and open-edition prints and many limited-edition prints are offset lithographs.

Canvas Transfers
Are essentially offset lithographs where the image has literally been lifted off the paper and placed on canvas. The image looks as though it was painted on the canvas because of the texture of the canvas. Again, the edition sizes are usually quite large.

Etchings
The process of rendering an image upon a metal plate by using nitric or other acid to dissolve portions of the metal surface. The image is transferred to paper in much the same manner as a dry point. Properly called a "print" or "proof" the resulting copy is more commonly called an etching.

Engravings
Are produced by gouging the surface of a metal plate with tools specifically made for this technique. Grooves are left that will hold the ink when printed. As opposed to drypoint, the burrs left by the gouging of the metal plate are removed. The printing is similar to etching.

Linocut
An image cut into the surface of linoleum, usually, mounted on a block of wood. The surface is then inked, wiped, and the image transferred to paper by pressure.

Serigraph
A print created by using the process of using stencils made on tightly stretched silk. Ink is forced through the silk and onto paper to make copies of the image. The process frequently is called "Silksreening" and the prints are called "serigraphs" or "silkscreens." Because each color requires a separate screen and a separate step in the printing process, serigraphs often come in small editions.

Woodcut
Print made from an image carved into the surface of a wooden block. Blocks used for woodcuts normally are sawn parallel to the grain of the wood. A woodcut made from a block sawn across the grain - providing a hard, dense surface into which very fine lines may be cut - is often called a wood engraving.

Click "Mardi Gras" Painting to view Limited Edition Prints.

Life Expectancy and Care Of Prints
The most important fact to remember is that all color fades. While the predicted display life depends on many variables, under typical home or office lighting, and depending on the papers used, prints made with modern high quality fade-resistant inks and archival neutral-PH papers are estimated to last 35-100 years without noticeable fade. These estimates are based on laboratory simulations of aging. All of the testing information comes from independent testing labs and based on the materials used in the inks and papers. But all prints need to be protected from water and should not be place in direct sunlight. Prints should be frame mounted behind glass or, if on Arches paper, may be mounted on a panel and varnished. Improper handling or exposure to extreme environmental conditions will be major factors in longevity of any print.

Please be aware that no matter what the ink longevity is estimated at the best way to ensure you print stays in good condition is to have it matted (thus keeping it away from the glass) and framed behind glass which is UV reflective. This is particularly important if you then intend to spotlight the prints the glass will slow the aging. However you will note that most galleries no longer spotlight the paintings and indeed the more valuable a painting or print the lower the light allowed to reach it. Bear this in mind when hanging your prints.

Conservation Framing
Methods of mounting and framing that preserve a print in original mint condition and gives it a much longer display life expectancy. One important aspect of conservation framing is that all material in actual contact with the print contains no chemicals that might eventually damage the paper or the inked image: these materials are usually described as "acid-free". UV protection is also considered in conservation framing.

Click "Lawn Party" Painting to view all Caddylak Maxy's Original Paintings.

If you'll send ol' Caddylak Maxy a short Art Prints joke, Art Prints history, Art Printed legends or Art Prints facts he will make you Art Prints famous by giving you all the credit and will place it on this Art Prints Legends and Oddities page! "That's if he likes it and it ain't already listed and I like it!" -Says, Caddylak Maxy.

Sources: Usual Gang of Idiots at Caddylak Graffix Greeting Cards Caption Writing Think Tank Room.

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Prints Legends And Oddities is constantly being updated.
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Last Updated: Tuesday June 19, 2007 1:47 P.M.

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