Art Terminology

Originals are painted utilizing acrylic, oil, airbrush, watercolor paints, or various other kinds of media which are hand-brushed onto the canvas. They will generally cost the most money, but the payoff is the one - of - a - kind value! All limited editions and even posters must start out as an original. But, not every original is created into an edition.

Printing technique capable of producing unlimited tonal gradations to re-create the broad flat tints of ink wash or watercolor drawings by etching microscopic cracks and pits into the image on a master plate, typically made of copper or zinc.

Printing technique of intaglio engraving in which a hard, steel needle incises lines on a metal plate, creating a burr that yields a characteristically soft and velvety line in the final print.

Printing technique in which an intaglio image is produced by cutting a metal plate or box directly with a sharp engraving tool. The incised lines are inked and printed with heavy pressure.

Printing technique in which a metal plate is first covered with an acid-resistant material, then worked with an etching needle to create an intaglio image. The exposed metal is eaten away in an acid bath, creating depressed lines that are later inked for printing.

A computerized reproduction technique in which the image and topography are generated from a digital file and printed by a special ink jet printer, using ink, acrylic or oil paints. Giclée printing offers one of the highest degree of accuracy and richness of color available in any reproduction techniques.

As a printing process lithography is probably the most unrestricted. It produces tones ranging from intense black to the most delicate gray as well as a full range of colors. It also simulates with equal facility the effects of pencil, pen, crayon, or brush drawing. For the commercial reproduction of art works, photolithography has played an increasingly important role. In this process a photographic negative is exposed to light over a gelatin-covered paper. Wherever the light does not strike the gelatin, the latter remains soluble while the other parts are rendered insoluble. When the soluble portions are washed away, the pattern to be printed can be inked and transferred to a plate. Color lithography requires as many plates as the number of colors employed. Several hundred fine proofs can be taken from one plate. The commercial printing applications of the lithographic process are vast in scope and almost unlimited in number.

A mixed media print is a combination of a serigraph and an offset lithograph. This type of printing is known for its three-dimensional quality and less expensive price tag.

A special photo-mechanical technique in which the image to be printed is transferred to the negative plates and printed onto paper. Offset lithography is very well adapted to color printing.

Inexpensive offset prints primarily for commemorative purposes. Prices can range from $20 to $60.

These are very special prints as they are each hand-pulled and hand-detailed. Each edition takes three to four months to produce. Each color to be printed requires a plate that is the screen itself painted by hand with tusche, a substance soluble to solvent. The remaining area of the screen is blocked out with glue (which is unaffected by solvent). After the tusche has been washed out with solvent, the screen is ready to print one color. Paper is placed, within registration marks, under the screen. Paint, placed on the screen, is forced by a squeegee pushed from one end of the screen to the other through the screen onto the paper. The operation is repeated for each color. Each color is mixed prior to each run. The process is repeated for the total number of prints in the edition. An edition of serigraphs (like any other graphic medium) additionally includes Artist's Proofs (usually 10 % of the edition), which help obtain the right registration, the correct color, the best paint consistency, and all the other qualities that create fine graphic art.

Printing technique in which the printing surface has been carved from a block of wood. The traditional wood block is seasoned hardwood such as apple, beech or sycamore. Woodcut is one of the oldest forms of printing dating back to the 12th century.

Paper or canvas treated to neutralize it's natural acidity in order to protect fine art and photographic prints from discoloration and deterioration.

Art reproduction on canvas which is created by a process such as serigraphy, photomechanical or giclée printing. Some processes can even recreate the texture, brush strokes and aged appearance of the original work.

These are separate sheets of paper included with every limited edition print that serve to authenticate the work for insurance and valuation purposes. Please read Certificates of Authenticity for more information.

Set of identical prints numbered in succession and signed by the artist. The total number of prints if fixed or "limited" by the artist who supervises the printing. All additional prints have been destroyed.

One-of-a-kind print conceived by the artist and printed by or under the artist's supervision.

An artwork comprising of portions of various existing images such as from photographs or prints and arranged so that they join, overlap or blend to create a new image.

A series of prints or objects in an art edition that has an unlimited number of copies.

One-of-a-kind print in which the artist personally conceived the image, created the master plates and executed the entire printing process.

Any edition released after the death of the artist.

Record of ownership for a work of art, ideally from the time it left the artist's studio to it's present location, thus creating an unbroken ownership history.

Small sketch in the margin of an art print or additional enhancements by the artist on some or all of the final prints within an edition.

Additional prints made from a master plate, block, lithograph stone, etc. after the original edition has been exhausted.

In a limited edition, the artist writes his/her signature and a number on the bottom of the print. The number appears as a fraction, such as 10/75. This indicates that the work is the 10th print signed in this edition of 75 prints.

In this process, the image is printed directly onto the canvas. In all fine art limited editions the canvas version is generally much more expensive because it is a closer medium to the original oil. This product matches the original painting in both the look and feel. The sides are painted as well. No framing is needed! Simply take it out of the box and hang it up.

Proofs are prints authorized by the artist in addition to the limited signed and numbered edition. The total size of an art edition consists of the signed and numbered prints plus all outstanding proofs. If a set of proofs consists of more than one print, numbers are inscribed to indicate the number of the prints within the total number of the particular type of proof, (e.g., AP 5/20 means the fifth print in a set of twenty identical prints authorized as artist proofs). Proofs are generally signed by the artist as validation of the prints.

Print intended for the artist's personal use. It is common practice to reserve approximately ten percent of an edition as artist's proofs, although this figure can be higher. The artist's proof is sometimes referred to by it's French épreuve d'artist (abbreviation E.A.). Artist's proofs can be distinguished by the abbreviation AP or E.A., commonly on the lower left of the work.

Print identical to the edition print intended to be used as samples to show to dealers and galleries. Hors d'Commerce (abbreviated to H.C.) proofs may or may not be signed by the artist.

Print retained by the printer as a reference. Artists often sign these prints as a gesture of appreciation.

Second edition: prints of the same image as the original edition but altered in some way (as in change of color, paper or printing process).

Artist's Proof (see definition)

(French, épreuve d'artist) An artist's proof (see definition).

(French, Hors d'Commerce) Prints from an edition intended to be used as samples to show to dealers and galleries.

Printer's proof (see definition)

Unframed pieces should be handled as little as possible. Make sure hands are clean and free of grease, lotions or moisturizers. Never, ever touch the art surface with wet hands. Unframed art can be protected best with rigid mylar sleeves for storage.

Unframed art can stay rolled in the shipping tube for a few months. For longer storage, invest in an acid free opaque plastic tube with end caps, or look into light-proof flat boxes from an archival storage company.

Well-preserved art retains its value better! Insure your purchase against accidents (especially water damage) with your renters or homeowners insurance. A small investment now may prevent a big loss in the future! Keep a copy of your Certificate of Authenticity with your insurance company. Use our website to keep track of the current value of your art. Inform your insurance company of any changes to the value.

Most framers are aware of the importance of using preservation-quality materials. Ask for acid free mats, museum mounting, and consider UV glass for the best possible light protection. In some cases, extreme temperature or humidity differences create the need to have your framed art restretched, or ironed and re-set into the mats.

Please do not hang or store your art where sunlight can affect it. Ultraviolet light is one of the biggest reasons that art fades. Light damage is cumulative and irreversible. Close your blinds or curtains during the day to minimize exposure. Consider having your art framed with UV glass. It is a bit more expensive, but worth it in the long run. If you display many pieces of art in your home, it may be less expensive to have your windows covered with UV film.

Display or store the art in areas that the temperature does not change drastically from hot to cold. A bad place to hang valuable art would be over a fireplace! Temperature and relative humidity should remain constant. Climatic fluctuations cause expansion and contraction, which can lead to structural damage in paper or canvas, weaken the attachment of media (which looks like the paint is cracking), and cause distortions such as rippling of paper. Do not allow heating or air-conditioning vents to blow directly on stored or displayed art. If you are located in a humid or coastal area of the country, make efforts to reduce the amount of moisture in the air where your art is stored or displayed. This can be accomplished with a portable de-humidifier. If you are considering long-term storage of your art, invest in a climate control room system.

If you live in an urban area, you know exactly what surface grime from exhaust looks like. And those of you in dry, dusty areas of the country know just how often you need to dust. Make sure not to forget the art! Art behind plexiglass or glass can be gently wiped with a damp soft cloth. What about those unframed or unglassed pieces? If you can keep them AWAY from exposure to dirt, dust and pollutants, that is the safest way to protect them. A portable air cleaner can be used to attract and trap dust particles. A little surface dust can be gently brushed off with a dry cloth, but anything that "sticks" might need professional cleaning.

Although hurricanes and earthquakes may be rare, water accidents are common. Even a small amount of water from a leaky roof or pipes can do significant damage to piece. If objects get wet, call a paper conservator or a museum immediately. It is important to dry paper right away before mold sets in. Wet objects in frames must be removed from their frames. If you are hesitant to handle the damp paper, expose the object by removing the backing from the frame. Your renters or homeowners insurance should cover accidents, but it is a good idea to check with them about such things BEFORE it is necessary!