A Basic Glossary of Print Media
(Lina Vincent Sunish)

 

 

Relief Method: The surface from which the image is printed stands ‘in relief’ above the rest of the block. The ink is applied on this surface and is transferred to paper under light pressure. The five main relief methods are explained below... 

Woodcut: The wood surface surrounding forms or lines to be printed are cut below the surface so that the areas or lines stan
d out in relief, and can take ink from a roller.

Linocut: A relief technique exactly like woodcut but using linoleum rather than wood.

Collograph: A process by which a textured surface is created on a rigid base by layering of material. This low-relief surface can be inked and the image transferred to paper.

Wood Engraving: The burin cuts into the end grain of a hardwood to create the desired image. The surface of the block is inked and printed, and can produce white lines on a coloured background. 

 

 

Intaglio method: The image is printed from a recessed design incised or etched into the surface of a plate. The ink lies below the surface of the plate and is transferred to the paper under pressure. The printed lines of an intaglio print stand in relief on the paper. Five main intaglio methods are explained below...

Engraving: Lines are directly incised into a copper plate with a sharp pointed tool called burin. The curls of copper displaced at the sides of the furrows are cleaned away with a scraper, leaving a clear printable surface.

Drypoint: The drawing is made directly on the metal plate with a sharp point, creating a rough ridge of metal called burr along the furrow. When the plate is inked, the burr catches the ink, producing typically dark, velvety lines.

Etching: A metal plate is coated with varnish-like "ground" that is acid resistant. The drawing is made by scratching through this layer with a needle tool, exposing areas of metal. The plate is immersed in acid until the exposed lines are sufficiently bitten, producing grooves in the metal that will hold the ink. The ground is removed, and the plate is ready to be inked and printed. 

Aquatint: Fine particles of acid-resistant resin are deposited on the plate and heated so they stick on to the surface. The plate is submerged in acid which bites into the plate around each particle. The tiny depressions retain the ink and when printed give the effect of a soft grain comparable to watercolour. 

Mezzotint: The surface of the metal plate is systematically roughened with a spiked tool called ‘rocker’. If inked in this state it will print a solid black. A scraper is used to smooth out areas and produce graduated highlights. The smoother the area, the less ink it will hold, creating an image in a range of tones. 

Viscosity: A multi-colour printmaking technique using principles of intaglio, relief and planographic printing. It is based on the principle that inks of different viscosity or thickness will not mix. Rollers of varied density and softness are used to apply ink on different levels of the etched plate.

 

 

Surface method: In planographic printing, as opposed to relief or intaglio printing, there is no difference of levels between the inked and non-inked surface. The three main surface methods are explained below...

Lithograph: A method based on the principle that water and grease repel each other. The image is drawn on a stone (or certain types of plates) with a greasy crayon or ink. Water adheres to the bare stone and not the greasy areas, while the printing ink rolled on sticks to the greasy areas and not the wet stone--reproducing the image on paper when put through the press with it. ked and non-inked surface. The three main surface methods are explained below...

Stencil: Prints that are hand-coloured through specially cut stencils. Silkscreen:Silk or synthetic mesh is stretched tightly over a frame. A stencil or a liquid blocker is adhered to the fabric blocking the nonprinting areas. Ink is smoothed over the mesh and forced through unblocked areas with a squeegee, recreating the image on paper or other material.Digital method:Images printed using a digital printer instead of a traditional printing press. Common technologies used to produce digital prints include inkjet, electrophotography, thermal transfer, and laser imaging (digital photo printing) on photographic paper. These images are usually processed through a computer can be printed to a variety of substrates including paper, cloth, plastic or canvas.

Offset Lithography: The image is transferred from the stone or plate to a roller on the press which then prints the inked image onto the paper.

 

A Note on Reproductions and Editions
(Waswo X. Waswo)

There is much confusion as to what constitutes a print and what constitutes a reproduction, and astute collectors ought to be aware of the differences. Some of this confusion has been caused by the ramifications of digital technology, whereas most has been caused by ill-informed and/or unscrupulous marketing schemes. Prints that have value are most often prints that have had a high degree of personal input from the artist, such as woodcuts that have been hand-carved and printed by the artist, or etchings produced with a plate the artist has personally hand-worked and pressed. Such "original artist prints", as they are called, are produced by the artist explicitly and solely to exist in the medium of printmaking.  

Printed reproductions, on the other hand, are generally photo-mechanical or digital recreations of images that exist in a prior form...say, as an oil painting or a drawing. Artists are seldom involved in the physical making of reproductions. Rather, the task is jobbed-out to technicians who copy the pre-existing work with varying degrees of skill. Certainly old etchings and aquatints made by highly-skilled technicians as copies of paintings have now become collector's items, but modern-day reproductions (most often done digitally) generally have no real value (though some dealers may wish to convince you otherwise). A photo-mechanical reproduction may fulfil a niche market of indiscriminating buyers, but, even though such reproductions may be "signed and numbered", they seldom hold value or appreciate.

To put is precisely, original artist prints are the culmination of a creative exercise undertook by the artist in the very process of making the print. A printed reproductionis a copy of a creative work that has a prior marketable existence in a different medium. I am sure these definitions might cause some quibbling; nonetheless, they serve a purpose as a general guide.

Of late there has been the particularly disturbing development of digital reproductions being marketed as "serigraphs"...serigraph being another word for silkscreen. A good eye can detect the difference, with the serigraph generally putting down a far thicker layer of ink than a digital print. Reproduction by serigraph is more difficult, time-consuming, and craft-oriented, causing a reproduction by serigraphy to be more valuable than a reproduction through digital photography. But only serigraphs produced by artists as a specific creative exercise have the possibility to be valued as original artist prints.

Original artist prints are limited to an edition, with a fraction such as 5/30 marked below the image to indicate the edition size. The bottom number states the number of prints in the edition, and the top indicates the number the particular print has been given in the series. So in the preceding example, a print numbered 5/30 would tell you that there are 30 prints in the edition, and that the one you are looking at is number 5 in the series. This all sounds well and good, but one must be aware of several loopholes, one of which is the Artist Proof.

Traditionally an "A/P" has been limited to a small fraction of the stated edition. Many novice collectors make the mistake of thinking a print signed "Artist's Proof" means that it has been "approved by the artist". In olden times this was actually often correct. The signifier "A/P" (artist's proof) was added to the first good print taken from a press. This "master" print was then used as the template from which all further prints in the edition were matched for quality. Artists often kept A/Ps for themselves, and thus they came to be seen by collectors as a desirable item to possess. Unfortunately, in modern times (especially it seems here in India) the "A/P" has been used as a loophole. Knowing the desirability of the A/P, artists have been tempted to create far more Artist Proofs than what has been traditionally accepted. In fact they have at times created series with each print individually labelled "A/P" and no numbered edition at all! Add to this the designation "H/C" ("Hors de Commerce", meaning a print that is generally gifted and not for sale), "second editions" (which ethically ought to be marked as such) and the true number of any given print might far exceed the denominator of the fraction marked in its lower left-hand corner.  But it is also good to remember that many prints disappear from circulation through neglect, damage and loss. So it is equally possible that the actual number of existing prints may actually be less than the stated edition size.

Ethical printmakers keep a strict limit to editions and do not abuse the "A/P loophole", and I would say such printmakers create a reputation that in the end makes their work more valuable. Conversely, some printmakers feel that to artificially limit the number of prints produced "before the plate wears thin" is just a marketing strategy.  I've nothing against open-edition printmaking by an artist, and in fact some of my most prized prints (such as Chittaprosad's) are just that. But to claim a limited edition and then to not adhere to that is plainly unethical. In making a limited edition the proper practice is for the printmaker to "cross out" or otherwise destroy the plate, woodblock, etc when finished. 

In the final analysis original prints (not reproductions) are valued for their imagery, quality, cultural association, historical relevance, prestige of the artist, and scarcity...or any combination of these. It is up to the collector to discern that value.