Understanding lithography, engraving, screen printing, and prints
What is a print? How can you differentiate an original lithograph from an engraving or a silkscreen print? What is an etching or an artist's proof? How are these techniques carried out, and what makes them unique ?
As many legitimate questions as any enthusiast or curious person may have when faced with the richness and diversity of printing techniques and graphic art. In this space, we offer you the opportunity to explore these methods, understand their specificities, and provide clear, detailed, and, as much as possible, illustrated answers to your inquiries.
Whether you are a collector or simply passionate about art techniques, discover the secrets of these fascinating processes.
The Print: A Timeless Technique
Originally, the term "estampe" referred to an image obtained by printing from an engraved matrix, whether it be wood (as in woodcut printing), metal, or lithographic stone. This traditional definition, described by Boutard in 1826 as "the type of painting obtained through intaglio engraving," gradually expanded with the emergence of new techniques such as lithography, screen printing, and more recently, digital printing. Today, the term encompasses various processes, including monotypes, stencils, or prints made from manually engraved glass plates or opaque films, like those used by artists such as Corot. This evolution moves away from the initial idea of an imprint obtained through a relief and redefines the estampe as a category of printing where the printing element has been prepared manually.
The concept of original printmaking introduces an important distinction: a print is qualified as original when the matrix - whether it be a woodblock, a metal plate, or a lithographic stone - has been designed and created manually by the artist himself. In contrast, if the matrix has been prepared by a technician based on a pre-existing work, it is considered an interpretive print. This distinction, sometimes subtle, has required legal clarifications. Thus, a law from 1967, incorporating a definition from the French Printmaking Committee of 1936, establishes that only prints pulled manually by the artist, without the use of mechanical or photomechanical processes, can be considered original engravings, prints, or lithographs.
However, the boundary between original prints and interpretive prints sometimes remains unclear, especially in terms of quality. Historically, many artists have used printmaking to disseminate the work of their contemporaries, thus contributing to their reputation. In the 20th century, figures like Cécile Reims brilliantly perpetuated this tradition by collaborating with artists to interpret their creations through printmaking. Printmaking, in all its diversity, remains a full-fledged art form, combining technical mastery and artistic expression, and plays a central role in the dissemination of artworks while ensuring their accessibility and longevity.
The original lithograph
Invented in 1796 by Aloys Senefelder in Germany, lithography, whose name comes from the Greek words "lithos" translates to "stones" in English. (pierre) and The word "graphein" means "to write" in English. Lithography is a revolutionary planographic printing technique for its time. It allows for the reproduction of a drawing made on a limestone block with remarkable fidelity, in multiple copies. Unlike engraving, where printing relies on a relief or a recess, lithography is based on the chemical relationship between water and grease. A limestone block, chosen for its porosity, is prepared according to recipes specific to each lithographer, often kept secret. Once the surface is ready, the design is made directly on the stone using lithographic pencils, pens, or brushes soaked in greasy ink. Various techniques, such as scraping, washes, or transferring the design using tracing paper or transfer paper, allow for enriching the effects and textures of the drawing.
Once the drawing is completed, the stone is moistened so that its porous parts retain water. Grease ink is then applied with a roller (nowadays made of rubber, formerly leather, which was harder to clean). This hydrophobic ink only adheres to the greasy areas of the drawing and is repelled by the moisture in the non-drawn areas. Once the ink is evenly distributed, a sheet of paper is placed on the stone and passed through a lithographic press. This process is both precise and artisanal, with each step requiring the skilled eye and hand of the lithographer.
For color lithographs, the process becomes even more complex. Each color requires a separate stone, on which the artist must redraw their design taking into account the overlapping of shades and the dimensional variations of the paper caused by moisture. This requires perfect alignment to line up the successive prints. The lightest shades are usually printed first, followed by intermediate colors, up to the darkest, often black. A variant is to use a single stone, which is prepared again for each color by redrawing the design on the residual image left by the previous print. However, this method prevents the creation of reprints, as the stone is modified at each stage. These difficulties have been partially overcome with the invention of chromolithography, which simplifies the alignment process and eliminates the paper moistening, while allowing for more reliable multicolor prints.
Lithography is also recognized as the mother of modern printing techniques. It gave birth to offset printing, a process that uses the same planographic principle but replaces the stone with flexible aluminum or polyester plates, suitable for rotary presses. Offset printing, although derived from lithography, differs in its industrial nature and high efficiency.
Artisanal lithography remains highly valued for the production of works of art, particularly thanks to its ability to capture the nuances and textures of original creations. Artists especially appreciate the freedom offered by this process, allowing for spontaneous lines and subtle renderings that are impossible to achieve with industrial techniques.
Today, lithography is used to create limited edition art prints, often numbered and signed, enhancing their exclusivity and value in the art market. The intensity of colors, richness of textures, and finesse of details make it a preferred technique for reproducing works of art. It continues to be taught in art schools and practiced by specialized workshops, perpetuating a craftsmanship that has left its mark on the history of printing and graphic art.
Discover below a report on Mario Ferrerri, a lithographer in Fréjus.
Engraving (Drypoint)
Drypoint engraving is a delicate and spontaneous artistic technique appreciated for its ability to produce highly expressive works. It involves using a sharp tool, often made of steel or diamond, to directly engrave a metal plate, plexiglass, or plastic. The tool, handled with the precision of a pencil, displaces the material without removing it, creating grooves edged with metallic "burrs." These burrs, resembling tiny shreds of metal waves, give a unique texture to the prints. The artist can choose to keep them to enhance the prints, capturing ink from the edges as well as the grooves, or carefully remove them for sharper and more regular lines. The plate, traditionally made of copper or zinc but sometimes of modern materials like plexiglass, must be protected from oxidation with a thin layer of oil to ensure the durability of the artwork.
This technique is carried out freehand, sometimes with the support of a hand or on an easel, offering the artist total gestural freedom. Each step, from tracing to printing, requires great skill, as the engraved lines are irreversible, reinforcing the spontaneous and instinctive nature of engraving. During printing, the ink accumulates in the grooves and, if the burrs are preserved, it produces a velvety and rich effect, impossible to achieve with other techniques. Each print is therefore slightly unique, reflecting the artisanal and artistic nature of the process.
Drypoint engraving embodies the tradition of artist engraving, where the direct and instinctive gesture of the artist is reflected in every engraved line. It is valued for the finesse and sensitivity it brings, while also allowing for the exploration of modern materials and innovative approaches, thus perpetuating this method in contemporary art.
Below is a video of Claude WEISBUCH creating an etching.
Claude Weisbuch, The Print "By" The print
Screen printing
Screen printing, sometimes called stencil printing, is a versatile and durable printing technique that has its roots in the ancient artisanal practices of Asia, particularly in China and Japan, where stencils were used to decorate textiles and papers. Introduced to Europe in the 18th century, it gained popularity with the invention of stretched silk screens and evolved to become an essential method in contemporary art and industrial applications in the 20th century. The origin of its name comes from the Latin word "sericum" (silk), referring to the material used to make the first screens, although they are now mainly made of polyester or nylon for reasons of durability and manageability.
The principle of screen printing is based on the use of a screen stretched over a frame, covered with a photosensitive emulsion. After being exposed to a light source through a pattern or an image, the emulsion hardens on the exposed areas, creating a waterproof barrier. The unexposed areas, which remain soluble, are then rinsed with water, forming openings through which the ink can pass. This screen is then positioned above the material to be printed on, whether it is paper, fabric, wood, metal, glass, or even ceramic. Using a squeegee, the ink is applied to the screen and forced through the open areas, creating a faithful impression of the pattern on the material.
Each color in a design requires a separate screen, which means that the process must be repeated as many times as there are colors in the artwork. This step, called "spotting," requires extreme precision to align the successive layers of ink correctly. The order of printing is also crucial, with light colors usually being applied first to avoid contaminating darker shades. This process allows for producing prints with vibrant, thick, and opaque colors, even on dark or textured surfaces. Screen printing is particularly suitable for various finishes, ranging from matte to glossy, as well as metallic, fluorescent, phosphorescent, or even thermosensitive inks, offering almost limitless creative freedom.
As an artistic technique, screen printing experienced significant growth in the 1960s, notably thanks to the pop art movement. Artists like Andy Warhol and Roy Lichtenstein exploited this method for its qualities of serial reproduction and its ability to produce colorful and graphic works. For example, Warhol used screen printing to create some of his most iconic pieces, such as his portraits of Marilyn Monroe, by playing with repetition and color variation. Unlike purely mechanical processes, screen printing offers artists the possibility to intervene directly in the process by modifying layers or adding details by hand, making each print potentially unique.
In the industry, screen printing has established itself as an essential printing method for various applications: textiles, posters, advertising signs, packaging, and even printed circuits. Its ability to print on irregular surfaces and produce weather-resistant and durable prints makes it a preferred choice for long-lasting products. Although particularly suitable for large series due to the initial investment required to prepare the screens, screen printing remains a viable option for limited print runs, especially in the fields of art and design, where it is valued for the visual and tactile quality of the prints.
Technological advances have also transformed screen printing, with the introduction of eco-friendly inks, automated machines, and digital preparation techniques that reduce setup time and costs. However, traditional screen printing, carried out in specialized workshops, continues to be practiced and valued for its manual nature and precision. It remains a preferred means of expression for artists and creators, allowing them to produce both aesthetic and functional works, in limited editions or series.
Screen printing stands out for its versatility and its ability to combine tradition and innovation. Whether it is for unique works of art, decorative objects, or technical applications, it continues to play a central role in the world of printing and contemporary art, demonstrating the richness and adaptability of this timeless method.
The justification of drawing
Lithography proofs: decoding the annotations and their significance
Numbered, BAT, EA, HC, Trial proofs: everything you need to know.
When a lithograph is produced, several types of proofs can be created, each having a specific function and significance. These annotations often raise questions, especially regarding numbered proofs, artist's proofs, hors commerce proofs, or printer's proofs. Here is a guide to better understand these designations:
The Good to Print (BAT):
The first proof produced, the BAT (bon à tirer) is signed by the artist once they are satisfied with the final result.
This print serves as a quality reference for comparing all other copies of the edition.
The numbered tests:
Each lithograph is numbered based on the total number of copies printed, for example, 15/100 indicates that it is the 15th copy out of a series of 100.
Each print is carefully compared to the final proof to ensure consistency and quality of the overall result.
Artist's proofs (EA):
Artist proofs (AP) are copies reserved exclusively for the artist's personal use. They generally represent 10% of the total edition, although this percentage may vary slightly depending on the agreements between the artist and the publisher.
These proofs are labeled EA, and although they are not included in the traditional numbering of the edition (for example: 15/100), they are of the same quality as the numbered proofs. This means that they have been printed with the same care and compared to the Bon à Tirer (BAT) to ensure their conformity.
Specificities and value of artist's proofs
Artist's proofs (EA) hold a special place in the art world, thanks to their rarity and direct connection to the artist. Often kept for personal use, given to loved ones, or used for exhibitions and promotional activities, these proofs embody a privileged connection with the artist and their creative process. Their rarity, combined with their unique context, gives them a value that is both symbolic and commercial.
In the art market, artist's proofs are generally considered equivalent to numbered editions. However, some collectors attribute them additional value due to their unique nature and direct connection to the artist. These proofs are often signed, and it is not uncommon for them to feature special annotations, enhancing their uniqueness and appeal to art enthusiasts.
EA also testify to a tradition of publishing that respects the personal involvement of the artist in the production of their works. They highlight the historical importance of artistic control and the care taken with each print.
For collectors, acquiring a "EA" (épreuve d'artiste) requires special attention. It is essential to check the signature, any possible annotations, and the provenance to ensure the authenticity and quality of the artwork. These unique proofs enrich a collection by adding a historical and emotional dimension that goes beyond their mere material value. Thus, EA pieces become prized items for those who wish to get closer to the artist's intimate universe.
Out-of-commerce (HC) editions:
Reserved for the engraver, the printer, or collaborators, the HC (Hors Commerce) copies are not intended for regular sale.
They are often used for professional exchanges or archives.
Test prints or proofs:
These tests are carried out before the BAT approval, allowing the artist and the printer to adjust colors, contrasts, or technical details. These prints, often rare, can be annotated as "Proof of state" or simply "Trial".
After drawing: Destruction of the matrices
Once the drawing is completed, the matrices (lithographic stones or plates) are polished and treated, erasing the drawing in the process.
This practice ensures that the number of copies remains limited to the announced edition, thus ensuring the rarity and value of the work.
Contrary to popular belief, stones can be reused for other projects, but they do not retain any trace of their previous use.
The value of a lithograph
The value of a lithograph is determined by several essential factors which, together, make it a unique and highly prized work by collectors. Firstly, the number of copies printed is a fundamental element: the more limited the edition, the rarer and more sought-after the work becomes, increasing its value. Numbered lithographs provide transparency on the print run, enhancing their prestige and appeal to art enthusiasts.
The artist's notoriety also plays a major role. Works by recognized artists or those in high demand on the market, whether for their artistic influence, distinctive style, or historical importance, are naturally valued. Moreover, original lithographs produced under the direct supervision of the artist take on an additional dimension, as they ensure perfect fidelity to the artist's intention. This artistic control, often exercised during the printing process, enhances the value and authenticity of the work. These pieces are considered references and become highly sought after by collectors.
It is important to distinguish an original lithograph from a classic lithograph, as these two terms, although similar, refer to different realities in the field of art.
An original lithograph is a work created directly by the artist on the stone or plate used for printing. The artist conceives and executes the entire drawing or composition, giving the work a particular authenticity. It may or may not be signed and numbered, but its originality lies in the artist's direct involvement in the creative process, making each print a true work of art in itself.
On the other hand, a lithograph can refer to a print made from a reproduction of an existing work, often using mechanical or photographic means. In this case, the artist does not directly participate in the creation or production of the print. These lithographs, although they may be of quality and aesthetically appealing, do not have the same artistic or heritage value as an original lithograph.
Thus, the difference lies in the level of involvement of the artist and in the origin of the drawing used for the print. An original lithograph carries the direct imprint of the artist, while a classic lithograph is often seen as an artistic reproduction. This distinction is essential for collectors and art enthusiasts concerned with the value and authenticity of their acquisitions.
The quality of materials and the printing process is another crucial criterion. Choosing high-quality paper, often identifiable by its texture or watermark, as well as using high-quality inks, demonstrate a particular attention to detail. A print made with precision and expertise enhances the brightness of colors and the sharpness of lines, thereby increasing the perceived value of the artwork.
Finally, the state of preservation plays a crucial role in the valuation of a lithograph. A well-preserved work, without folds, tears, or yellowing of the paper, retains all its original brilliance, making it a safe and lasting investment. These different criteria, combined with guaranteed traceability and authenticity, make each well-executed lithograph a unique work of art, combining aesthetic interest, heritage value, and potential for appreciation on the market.
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| "Bon à Tirer" translates to "Ready to Print" in English. Signed by Bernard Buffet (For sale by the Gallery) |
"Numbered Test"By Louis TOFFOLI (For sale by the Gallery) |
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| "Artist's proof"by Claude WEISBUCH (For sale by the Gallery) |
"Not for sale"by Camille HILAIRE (For sale by the Gallery) |