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Printing Terms / Glossary of Materials / Framing Terms / |
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Acid-free Paper : Paper
is actually a misnomer. There is no wood product in this paper, so it is
lignite free. This is important because it is the
lignite in wood pulp papers that cause them to discolor and deteriorate. This is what we
use
along with fade resistant inks creating the basis
for a museum quality limited edition print. |
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| Artist Proofs: Artist's Proofs are
vestiges from the earliest traditions of printmaking. These proofs were considered the
most valuable of an edition of original prints, as these were printed first, before the
printing medium, such as Bavarian limestone in an edition of stone lithographs, began to
wear; these first prints would have the clearest impressions of the edition. In modern
offset lithography, wherein the prints are photomechanically reproduced, all of the prints
in the edition are of equal quality. The same is true of giclée prints, as the giclée
printing process involves no plates or films. An Artist's Proof is no different in quality
than other prints in the edition. Following tradition, Artist's Proofs usually total about
than 10% of the numbered regular edition. Each artist proof print is designated with an AP
written before the number, such as AP 6/25 (the 6 refers to the number of the print and
the 25 refers to the entire artist proofs edition size). Any Artist's Proofs
available for sale are offered at a 20% premium over the issue price of the
signed/numbered edition. Some collectors prefer to collect Artist Proofs because of their
tradition, or because they are more rare, a smaller edition making them more valuable. |
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| Canvas Reproduction
Enhanced by the artist or retouched— A limited edition canvas
which has been embellished by the artist with actually brush strokes of paint onto the
canvas reproduction. Framed without glass, enhanced canvas has added dimension
and the appearance of an artist’s original painting. The artist's original
brush strokes also adds value to the reproduction. |
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| Certificate Of Authenticity
— A certificate authenticating the printing of the limited edition and other
pertinent information signed by the artist. |
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Giclée —
(Pronounced Zhee-Clay) derived from the The French term meaning "fine
spray"; no printing film or plates are involved in the giclée printing process. A
computer directly scans the artist’s original painting or transparency of the
original painting. This information is used to control the tiny ink jets on a digital
printer. The jets spray millions of water-based printing ink droplets per second onto a
sheet spinning rapidly on a drum to create thousands of shades of rich color. The end
result is a lush and velvety art print; one that has the look and texture of a fine
original. The process is completed by applying UV light resistant coatings on top
of the digital reproduction.Our images are printed on 100% rag somerset velvet paper and
have been tested for a display life of @75 years without any noticeable fading with proper
care. For more on Giclee click HERE
Canvas Giclée
— The above-described process on canvas
Paper Giclée — The above-described process on fine art paper
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| Limited Edition Print
or Reproduction— A limited edition is one whose size is determined
in advance by the artist or publisher hence limited. The limited editions are a set of
identical prints.. Each print in the edition is signed by the artist and then
individually numbered (s/n). The number of the print is example 50/500. The 50
designates the print number over the entire edition size of 500. |
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| Offset lithographic print
— (or offset photomechanical reproduction). The original image or a photograph of the
image is scanned into a computer to produce color separations, one for each color used in
the printing process: cyan, yellow, magenta and black. These separations are then output
to film with dot patterns that represent the values of each of the four process colors.
The films are exposed to printing plates, one for each color. The plates transfer the ink
to a rubber blanket, which in turn offsets the ink onto paper or canvas. Once an
edition size is determined and signed & numbered it becomes a limited edition print. |
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| Open Edition: A series of artwork in an
art edition that has an unlimited number of copies. Can be signed or unsigned, but
not numbered. |
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| Regular Edition —
A limited edition is one whose size is determined in advance by the artist or publisher
hence limited. The limited editions are a set of identical prints. Each print in the
edition is signed by the artist and then individually numbered (s/n).Regular edition
Print The main edition of a print. |
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| Remarque: A small sketch or additional
enhancement in the margin of an art print by the artist on some or all of the final prints
within an edition. Can be thought of as an original on a print which increased the
value. |
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| Glossary of Materials |
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| Acrylic Painting: "Acrylic" is a
specific type of manmade polymer that is an especially popular medium in the artwork of
the mid-20th century. The term is also used as a generic term for any synthetic paint
medium. Acrylics have good adhesive and elastic properties, and they resist ultraviolet
light and chemical degradation. |
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| Acrylic Painting: "Acrylic" is a
specific type of manmade polymer that is an especially popular medium in the artwork of
the mid-20th century. The term is also used as a generic term for any synthetic paint
medium. Acrylics have good adhesive and elastic properties, and they resist ultraviolet
light and chemical degradation. |
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| Artist's Acrylic Gouache: The
medium Stephen paints with. A very versatile paint with vibrant colors, yet, it has
the ability to do washes for creating mood like fog, dust. The paint gets its
brilliant color from the pigments of gouache. The clear acrylic binds the gouache
making it permanent, yet not interfering with the colors. The paint texture is
creamy and has a wonderful flow to it and can pull crisp clean lines unlike straight
acrylic which is elastic and snaps back. The paint also does not clog the brush as
acrylic does. It rinses clean from the brushes. The paint dries within
seconds of applying which can initially be a challenging to work with. You have to
work with a wet pallet and keep it wet while working. Stephen has worked with
most paints and enjoys this one the most. |
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| Brush: A brush is made of a handle, a
metal ferrule, and hair. The quality of the hair, real hair or synthetic, determines the
brush’s quality and cost. Each type of brush has a specific purpose, and different
fibers are used for different mediums. |
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| Canvas: A generic name given to any fabric
used as a painting surface. Most commonly used are cotton and linen. The canvas comes in
various weaves such as course, medium, and fine. The canvas is either stretched on a
wooden frame or glued and stretched on a board. |
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| Composition Board: Masonite
board coated with gesso. Stephen coats the board eight times. Each coat of
gesso is wet sanded (wet fine sandpaper in circular motion) to create a smooth
surface. Each coat is dried and then wet sanded again. The smooth board lends
itself to fine detail rather than the textured canvas. Another positive with
composition board is that you do not have problems with future cracking and it is also
more durable for a long life. |
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| Gesso: White milky substance
used in coating. A sealer to prepare a surface for painting.. |
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| Glaze: A transparent or semi-transparent
paint layer that is applied to create greater contrast between colors, highlights and
shadows. The colors of the paint or ground under the glaze are modified or enhanced,
contributing to a final optical effect; A protective interface between the
environment and the work of art including glass and acrylic sheets. |
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| Gouache: A type of watercolor paint that
is opaque, made by adding chalk to pigments. They can be mixed with transparent
watercolors to make them less dense.Gouache paints are most commonly used for commercial
illustration and popular works. The origins of these paints, however, stem from medieval
manuscript illumination, and they are used in 16th and 18th century miniature painting. |
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| Gouache: A type of watercolor paint that
is opaque, made by adding chalk to pigments. They can be mixed with transparent
watercolors to make them less dense.Gouache paints are most commonly used for commercial
illustration and popular works. The origins of these paints, however, stem from medieval
manuscript illumination, and they are used in 16th and 18th century miniature painting. |
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| Original: One of a kind
unique piece of artwork, on that can not be exactly duplicated, e.g., an oil painting on
canvas, while the image may be duplicated as a print, the reproduction is not oil paint on
canvas by the artist's hand. More value than a reproduction. |
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| Palette: The surface on which paints are
mixed and prepared for use. The traditional palette is the oval or rectangle thumbhole
palette. These were made of wood and held in one hand while painting with the other.
Modern palettes are usually either plastic or paper pads. Picasso reportedly used
newspaper for a palette and Matisse used dinner plates. |
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| Framing Terms: |
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| Acrylic Sheet: A
thermoplastic synthetic resin made by the polymerization of acrylic acid
derivatives. A plastic noted for transparencay, light weight , weather resistance,
color fastness, and rigidity. It is stable and resistant to chemical changes.
Generally used in frameing as galzing and to construct boxes. |
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| Bottom Mat: In multiple mat
combinations, that mat which is nearest the art. |
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| Conservation Mounting:
Attaching a print in a way so that it can be reversed without damaging the print.
This type of mounting allows the print to stay in good shape so it holds its value
and so it can be reframed without destroying the print or value.. Example of methods
are linen tape or clear acid free corners. This type of framing is time consuming
and more expensive, but is well worth it |
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| Filet: smaller frame inside of a
frame. Nice finishing touch in framing a painting. Used to Accent the
painting. Not a necessity. |
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| Frame:For design as well as
protection and a way to hang a painting on a wall. A frame supports the entire
painting. |
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| Glass or Glaze: Especially
needed to Protect delicate , watercolor paintings, graphite sketches, and prints from the
environment. Not used on canvases because the canvas fabric needs to breath.
We prefer clear glass for Stephen's work in order to show off the fine detail. |
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| Liner:Wood covered with linen
and used as a mat inside the frame. Linen creates a protective acid free barier.
Adds needed support on large paintings and canvases. |
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| Mat: The main purpose of the
top mat is to keep the cover glass from coming into contact with the artwork. This also
provides an area where air can circulate. Differences in temperature between the outside
and inside of the frame can cause moisture to condense behind the glass. This moisture may
damage the inks and colors and can serve as a breeding ground for mold, mildew and fungi.
Placing the material directly against the glass would result in buckles, wrinkles, mold
formations and "sticking" to the glass. A mat will prevent this from happening
and usually two mats are needed. Artwork on canvas needs exposure to air and should
not be encased behind glass. For this reason, we do not offer matting or glass for canvas
pieces. |
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| Plexiglas: A trademark
name. See acrylic sheeting. |
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| Stretched Canvas: When a canvas
is stretched over a wooden frame and attached. Stretched canvases are traditionally
not glassed. |
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| Top Mat: The mat furthest
away from the original work of art |
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| Type of mat fabric :Mat board
covered with fabrics like, silk, suede, & linen. Come in a variety of colors. |
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| Type of mat paper:Mat boards
covered with paper. Come in a variety of colors. Usually less expensive than
fabric. |
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