Demystifying the Print
by
Michael Trant, for Fine Art Registry™
Is it real? That is the most commonly asked, and eluded, question in the art world. But what does it mean? It may relate to a potential forgery, a work not authentic to the artist. But more likely it has to do with determining whether a painting is an original or reproduction. It may seem straightforward, but advances in printing techniques and embellishment practices have clouded the distinction. If you are searching for a one-of-a-kind original, it is wise to educate yourself on reproductions to avoid inadvertently buying one.
Prints are an excellent alternative for those with limited funds or no desire to collect originals. The issue arises when a print is sold as an original, or the language is twisted to mislead the buyer. Take the hand-embellished print for example. If the artist adds a small amount of paint to an existing reproduction, it does, in fact, make that print unique. But it began as a reproduction, not a blank canvas. Too often these "unique" works are sold to buyers who are given to believe that they are "original." The good news is that the vast majority of reproductions sold today are honestly represented as such, and proliferation breeds knowledge.
Print Basics
There have been many printing techniques over the years, some requiring direct artist involvement. Reproductions created entirely by the artist’s hand are referred to as "original prints" and are often more valuable. But modern reproduction techniques are mechanical. Prints can be on a variety of surfaces including fine art paper, wood, and canvas. Price is typically based on print quality, with secondary value added through the use of limited editions, signatures, and embellishments. These "extras" are found on higher quality prints and serve to make them rare.
Limited editions contain a predetermined number of reproductions that, once sold out, will never be offered again. There have been some cases of corruption, and the controversial "after death" editions walk that line, but edition sizes usually remain fixed. Well-known artists often create subsets to further facilitate sales. For example, an artist wishing to sell 750 reproductions might offer a more palatable breakdown of 350 regular prints, 75 Printer's Proofs, and 75 Artist's Proofs, all on paper. A more expensive set on canvas (perhaps with embellishment) might contain 150 regular prints, 50 PP (Printer's Proofs), and 50 AP (Artist’s Proofs), for a grand total of 750. In the past, these "proofs" were byproducts of the printing process and thus rare. Over time, they began to refer to prints, identical to the finished product, that were given to the artist and printer as gifts. Today, if they are offered as part of the entire edition, they simply exploit collector perception. There is no real difference in value.
"Hand signed" means the artist actually signed the print. "Signed in the plate," means the signature is part of the print and not real. It may sometimes be referred to as "signed in the stone" with lithographs. A hand-embellished print is a reproduction that has been modified, by the artist, through additional artwork layered on top of the print, often in paint or ink. Pay close attention to language when purchasing these types of prints. A common trick is to leave the word "the" out of the phrase "embellishment by artist", which means anyone could have painted it.
Common Print Types
The most popular “fine art” prints today are lithographs, serigraphs, seriolithographs, and giclées.
The lithograph is a high-resolution print that can be inexpensively produced in large quantities. Normally on heavier paper stock, it has a smooth printed surface. Limited editions are often large and, in many cases, signed in the plate.
The serigraph is a screenprint that can be produced on a number of surfaces, including paper and canvas. The surface is raised, and the color intensity is better than with a lithograph. The life span is also longer. Because paint is pushed through the screen, the texture is somewhat similar to that of a painting, but there will always be an overall evenness. Hand embellishments can be added to give it a "real" look and feel.
The seriolithograph is a combination of the two methods. Basically, it is a lithograph with screened details. To the touch, there are occasional raised areas on an otherwise smooth surface.
The newest method is the giclée, pronounced "zhee-clay." It begins with a digital image and is created by spraying ink onto a surface with a special printer. Giclées can be on paper or canvas, and are generally more expensive to produce. Color quality and resolution are extremely high. Depending upon the amount of ink, the surface might be slightly raised and colors can be somewhat blended on the paper itself. Artists like to use giclées since they can be created on-demand from digital sources.
Educate Yourself
The most effective way to spot a print is to know what an original looks like. Familiarize yourself with trusted original works by visiting museums or, better yet, start your own collection with artwork from known sources. Collect a variety of media and continue to build. Soon you will have the ability to tell the difference for yourself. And when someone asks about your collection, you can say yes it is!
— by Michael Trant
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February 20, 2008
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