. . . and their value

The whole idea of prints and printmaking was turned on its ear when modern, high-speed printing presses came into play.

Today, photo reproductions of original oil paintings and other art techniques are often churned out on high speed presses and sold as "prints."

 

Prints made in this fashion can no longer be considered "multiple originals." They are simply reproductions, and often not very good ones at that.

 

The very best reproductions are made in small specialty print shops and are the exact size of the original.

 

Even so, numbering of these prints has lost its meaning since all the prints are essentially the same.

 

Outside of speciality print shops where most of these reproductions are made, the inks and papers used are, as a rule, not intended to last very long.

The spectrum of color in these reproductions is created by using just four colors of small adjacent dots of various sizes (like a mini Serrate painting). The eye and brain mix the dots into the range of color and values of the original.

 

The resolution of the reproduction depends on how small and closely packed these dots are. If you have never looked at a picture in a magazine with a magnifying glass, you should. It's fascinating.

 

With traditional printmaking several things determine the value of the print: the artist and the quality of the work, the numbering, and the size of the edition which is usually small, often ranging from 10 to 20 but sometimes in quantities of 50 to 100.

 

Editions of reproductions created on high speed presses are large, often into the thousands because small runs are neither economical or possible on modern presses.

 

It is understandable why these reproduction prints hold little value for collector.

 

Reproductions are important, however, because they make it possible for many people to see and study artworks confined to museums and galleries around the world.

 

One "new" printing technique that was designed for businesses and for a time favored by some artists is now getting long of tooth and now largely left to businesses.

 

You are very familiar with the process. It was created by Xerox.

 

When the copy machine came out artists were quick to explore its potential. The works created with it are often thought of as prints. Many artists used it as a tool, much like a paint brush, and created composites and assemblages with the prints.

 

Copying machines have some advantages that excited artists . . . and many disadvantages, but it was the forerunner of modern techniques for art printmaking.