Corn Field I Linocut Print by Maureen Warren

An original fine art print is a work of art, by an artist, in the print medium. What distinguishes it from printed reproductions is the artist’s direct participation in the creation of the image. It differs dramatically from a poster, which is a mechanical reproduction of an original work of art. And although there are examples of posters that can be considered works of art because of the artist’s involvement in the reproduction process, most posters are executed without the participation of the artists, or even produced posthumously. This will never be the case with original prints. They are new works created by the artist and, for that reason, they are considered within the larger body of the artist’s work.

Because the various printmaking processes have intrinsic visual characteristics, each technique can be identified by a distinct look. Printmaking techniques can be grouped into four basic categories: relief, intaglio, lithography, and screenprint.

Relief printing is a process whereby areas are cut away from the flat surface, leaving the raised images to be printed. Included in this category are woodcuts, wood engravings, and linocuts.

Intaglio process, including aquatint, drypoint, engraving, etching, mezzotint, and photogravure, employ the reverse approach: the images are incised or etched into the surface of metal plates.

Lithography is a process in which the printed and non-printed areas of the plate lie on the same plane. The image is drawn on a smooth surface and the print is created through direct pressure.

Screenprint images (also referred to as serigraphs and silkscreen) are created as parts of a screen are blocked out so that ink prints only on selected areas of the paper.

A fifth category, known as “giclée” or “Iris” prints, has become popular over the last few years. Giclée technology employs high-resolution ink-jet printers to reproduce scanned images; most giclées are made with archival inks and papers. The resulting images, often archived after many trial runs, have exceptional texture, clarity, and tonal gradation.

Original prints made with the four “fine art” printmaking techniques are pulled by hand and should be thought of not as copies, but as original works existing in multiple impressions. Each print within the edition is signed and numbered by the artist.

Edgartown Sparrow Giclee Print by Rachel Paxton

Direct sun, heat extremes, and moist air all pose threats to framed works of art. Avoid hanging framed artwork in direct sunlight or in unventilated bathrooms or other spaces prone to fluctuating heat and humidity.

Works on Canvas
Works on canvas are usually framed without glass. In the case of oil paintings, glass can actually cause damage. Oil paints emit fumes for years; the ventilation afforded by an exposed surface keeps the fumes from harming the painting.

Paintings in oil and acrylic – the mediums most commonly used on canvas – have durable surfaces that can be cleaned directly, with care. Use a soft, clean brush and a gentle motion to dust your paintings (including painted frames), working your way down from the top. At the same time, check for cracks, punctures, and fading. If you notice a problem, consult your local picture framer for advice on what action to take. Be careful not to touch the painted surface, as oils from your skin can actually cause it to deteriorate.

Works on Paper
Watercolors, prints, and other works on paper are generally more delicate than works on canvas, and should be framed under glass. Store unframed works on paper flat (horizontally), in large, acid-free folders cushioned with acid-free tissue. Avoid storing works on paper in cardboard tubes for any length of time. Although sturdy tubes are often a good choice for shipping works on paper, the acid in the cardboard – as well as the curved surface of the tube – can harm the artwork within a matter of weeks.

Photography
The general guidelines outlined above are particularly important in the case of photographs. Avoiding direct sunlight and extreme heat is absolutely necessary with the light-sensitive paper and chemical emulsions used in photography.

Glass and Plexiglass
It’s worth the small additional cost to protect photographs and works on paper from fading by using glass and plexiglass with ultraviolet protection. Conservation glass is the best option for most works, but consider plexiglass – which is both lighter and less fragile – for large framed works.

Storage
When not on display, framed artwork should be stored in a cool, dry area. Avoid stacking pieces on top of one another. Instead, stand them on end separated with sheets of acid-free board, available through art supply stores or frame shops. Don’t use standard cardboard, which is highly acidic and can ruin artwork.

Pony Beach Pigment Print by Charles Munch

The last structural layer in a framed artwork is the backing, which is usually made of pH-neutral foam core. Tyvek, which is waterproof as well as tear- and puncture-resistant, is also used as a backing material; the extra expense is worth considering for important artwork purchases. A sheet of nonacid paper adhered to the back of the frame seals the framing components against dust.

I hope you’ve enjoyed this series of posts on framing.