LIMITED EDITION PRINTS

Buying original limited edition prints is one of the best ways of acquiring modern art at affordable prices. Original prints are not reproductions. They are original works of art conceived and created by an artist who is deliberately using a chosen medium to create an effect that could not be achieved in any other way. When the edition is complete the plates or screens are destroyed or cancelled and the prints inspected, numbered and signed by the artist. In addition to the declared number of prints in an edition, the artist and publisher may print a limited number of further copies, generally not more that 10% of the edition. These are known as Artist's Proofs (A/P or E/A) or Hors Commerce Proofs (H/C). If signed (and in some cases separately numbered) these prints have exactly the same value as the others in the edition. All prints go through printing and drying processes and are not necessarily numbered or signed in chronological sequence, so No. 1 is, in practice very seldom the first one printed.

There are many different techniques used to make a print, the following explanations will help you to gain some insight into these methods.

ETCHING

An etching is a print taken from a sheet of metal, usually copper, zinc or steel, into which the image has been bitten with acid. The metal plate is initially covered with a 'ground'. The artist then draws the image through this ground, thus exposing the metal surface. The print is then immersed into an acid bath. The acid etches away the unprotected metal, creating grooves, which can hold ink. An etching is an intaglio print, from the Latin word meaning to carve or incise.

The plate when ready is placed on a press under tremendous pressure forcing the ink contained in the grooves onto the paper.

SCREENPRINT

Screenprints, also known as serigraphs or silk-screen prints, are printed using a screen made from fine fabric, generally silk, stretched over a frame. The non-printing areas are blocked off with a filler or stencil using a hand-painted or photographic image. The open areas of the mesh will print the image. The paper is placed beneath the screen and the ink is pulled across the screen using a rubber blade. The ink, passing through the open mesh of the screen is deposited on the paper below.

COLLOGRAPH

A collagraph, which is derived from the French word ‘coller’ meaning ‘to stick’, is the printed result of a variety of materials glued together on a base made usually of metal or card. This is then inked up and printed.

LITHOGRAPH

A lithographic image is created with a waxy utensil on a zinc plate or on limestone. The surface is wetted and rolled up with ink. The ink adheres to the waxed surface but not the dampened areas surrounding it. As the image lies on the surface and not in grooves, little pressure is needed during printing. Lithographs consequently do not normally have platemarks.

DRYPOINT

The image is scratched on the plate surface with a sharp needle. Depending on the force and angle used, fine, sharp pieces of metal are thrown up on either side of the line. This ‘burr’ holds ink, as does the furrow created by the needle. The result is a warm, almost blurred line. Because burr wears quickly its presence can indicate an early impression.

GICLEE PRINT

Pronounced zheeclay. A superior type of ink jet print using lightfast inks (tested to 70 years), often on high quality acid free paper to prevent disintegration, with exceptional colour reproduction and excellent definition. Can be used on many surfaces including canvas.