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Joy Reed Belt
Ever since Warhol's Campbell's Soup images hit the press in the 1980's the market for 20th century prints has gotten increasingly more robust. Prints are a good way of acquiring art because they are usually available at less cost than work by artists in other mediums. Consequently whether you are interested in work by signature or emerging artists, prints offer a less risky way to invest in art.
Often there appears to be some confusion about what is a print. A simple definition is an impression or proof taken from a block or plate which has been prepared for that purpose. The artist creates an image on a suitable surface to be used (i.e. a lithographic stone for a lithograph, a copper plate for an etching, etc.). Limited edition fine art prints are not to be equated with reproductions of existing works that are reproduced photomechanically. Photocopies are unsigned and not numbered, but can appear to be signed if the signature of the artist was also reproduced. Posters usually fall into this category.
Original prints are most often categorically labeled according to the printing technique was used to produce them. For instance there are woodcuts, linocuts, engravings, aquatints, screenprints, lithographs, and monoprints.
Woodcut. One of the oldest and simplest forms of printmaking. Various implements (both hand tools and power tools) can be used to cut the image into a block of wood. Paper is placed over the inked block and rubbed by hand or passed through a press to transfer the ink from block to paper to create the image.
Linocut. The lino block consists of a thin layer of linoleum mounted on wood. The material is easily carved using simple knives and gouges. The image is then transferred to paper as with a woodcut.
Engraving. Engraving techniques were used by the Greeks and Romans for decorating objects but were not used for printmaking until the mid 15th century in Germany. For this technique a metal plate in incised with a tool called a burin. Engraved images are comprised of a lot of fine, crisp lines. Shading is traditionally rendered by cross-hatching or similar marks.
Aquatint. A method introduced in the mid-17th century, aquatints are designed to give a more subtle tonal range than can be achieved with a straight etching technique. Powdered resin is made to adhere to a metal plate; the metal that remains exposed in the tiny drops of resin is bitten in the acid bath creating a pitted, grainy surface. These textured areas hold a thin layer of ink which prints as an area of tone.
Screenprint. A screenprint is created by using a stencil to adhere to a material such as silk or a synthetic nylon and stretched tightly over a frame. The image areas are open fabric through which ink or paint is forced with a squeegee. Screenprints are sometimes called Serigraphs or Silkscreens.
Lithograph. In creating a lithograph the image is drawn on a smooth stone or plate using pencils, crayons, grease or lacquer. After the image is drawn, the stone or plate is dampened and the ink is applied with a roller. The greasy image repels the water and holds the oily ink while the rest of the stone's surface does the opposite.
Monoprint/Monotype. The key characteristic of a monoprint or monotype is that no two prints are identical, though many of the same elements may be present. All or part of a monoprint is created from printed elements whereas a monotype image is painted directly onto a smooth plate and then transferred to paper in a press. These prints are often hand colored after they are printed.
Paper is to print making what water is to coffee. The choice of paper for artist's image is an important element in the finished product. To be archival, it is imperative that the paper be "acid free." Papers come in a variety of weights or thicknesses. The paper can be smooth or rough depending on how it is pressed. Some papers are sized, that is, they are treated with moisture-resistant substance to keep the paper from absorbing too much water and pigment and keep the colors vibrant.
Most of the time the artist's signature is placed at the bottom of the print along with the impression number. The number is expressed as a fraction along with the date of publication. The denominator (bottom number) equals the total number of prints in the edition; the numerator (top number) represents the specific number within the total edition. For instance, 5/25 means there are 25 prints in the edition and that this particular one is the 5th impression. One of the biggest myths prevalent is the notion that the lower the print number in the edition, the more it is worth. This is not true. Number one is often not the first print off the press, but the last--the sheet that lands on top of the pile.
Whether you are interested in old masters or contemporary artists, consider acquiring prints. Many art lovers enjoy the thrill of knowing when they buy a multiple or print they could own the same work as museum or another discerning collector.
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