Understanding Lithography, Engraving, Screen Printing and Prints
What is a print? How can you tell an original lithograph from an engraving or a screen print? What is a drypoint or an artist's proof? How are these techniques carried out, and what makes them unique?
These are all legitimate questions that any enthusiast or curious visitor may ask when faced with the richness and diversity of printing techniques and graphic art. In this section, we invite you to explore these methods, understand their specific features and find answers to your questions in a clear, detailed and, wherever possible, illustrated way.
Whether you are a collector or simply passionate about artistic techniques, discover the secrets of these fascinating processes
The Print: A Timeless Technique
Originally, the term print referred to an image obtained by printing from an engraved matrix, whether of wood (as in woodcut), metal or lithographic stone. This traditional definition, given by Boutard in 1826 as "the kind of picture obtained by means of copperplate engraving", gradually broadened with the appearance of new techniques such as lithography, screen printing and, more recently, the digital print. Today, the term covers a wide range of processes, including monotypes, stencils and even impressions made from glass plates or opaque films engraved by hand, such as those used by artists like Corot. This development moves away from the original idea of an impression obtained from a relief and redefines the print as a category of printing in which the printing element has been prepared by hand.
The notion of the original print introduces an important distinction: a print is described as original when the matrix, whether a wooden block, a metal plate or a lithographic stone, was designed and made by hand by the artist himself. Conversely, if the matrix was prepared by a technician after a pre-existing work, it is a reproductive print (an interpretive print). This distinction, which can be subtle, has required legal clarification. Thus, a law of 1967, taking up a definition from the Comité de la gravure française of 1936, establishes that only impressions pulled by hand by the artist, without recourse to mechanical or photomechanical processes, may be considered original engravings, prints or lithographs.
However, the boundary between original prints and reproductive prints remains at times blurred, particularly in terms of quality. Historically, many artists used engraving to circulate the work of their contemporaries, thereby contributing to their renown. In the 20th century, figures such as Cécile Reims brilliantly carried on this tradition by working with artists to interpret their creations through engraving. The print, in all its diversity, remains an art form in its own right, combining technical mastery and artistic expression, and plays a central role in the dissemination of works of art 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 (stone) and graphein (to write), was a revolutionary planographic printing technique for its time. It makes it possible to reproduce a drawing made on a limestone slab with remarkable fidelity, in multiple copies. Unlike engraving, where printing relies on a raised or recessed surface, lithography relies on the chemical relationship between water and grease. A limestone slab, chosen for its porosity, is prepared according to recipes specific to each lithographer, often kept secret. Once the surface is ready, the drawing is made directly on the stone with lithographic crayons, pens or brushes loaded with greasy ink. A variety of techniques, such as scraping, wash or transfer using tracing paper or transfer paper, make it possible to enrich the effects and textures of the drawing.
Once the drawing is complete, the stone is dampened so that its porous areas retain the water. The greasy ink is then applied with a roller (today made of rubber, formerly of leather, which was harder to clean). This hydrophobic ink adheres only to the greasy areas of the drawing and is repelled by the moisture of the undrawn areas. When the ink is evenly distributed, a sheet of paper is laid on the stone and run through a lithographic press. The process is both precise and handcrafted, each step requiring the expert 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 the motif, taking into account the overlapping of tones and the dimensional variations of the paper caused by dampening. This calls for perfect registration to align the successive impressions. The lightest tones are generally printed first, followed by the intermediate colors, up to the darkest, often black. A variant consists of using a single stone, prepared anew for each color, redrawing the motif over the residual image left by the previous impression. However, this method rules out any later reprinting, since the stone is altered at each stage. These difficulties were partly overcome with the invention of chromolithography, which simplifies the registration process and eliminates the dampening of the paper, while allowing more reliable multicolor prints.
Lithography is also recognized as the mother of modern printing techniques. It gave rise to offset, a process that takes up the planographic principle but replaces the stone with flexible aluminum or polyester plates suited to rotary presses. Offset, although derived from lithography, differs in its industrial character and high output.
Hand lithography remains highly prized for the production of works of art, notably thanks to its ability to capture the nuances and textures of original creations. Artists particularly appreciate the freedom this process offers, allowing spontaneous strokes and subtle effects that cannot be achieved with industrial techniques.
Today, lithography is used to create limited-edition art prints, often numbered and signed, which reinforces their exclusivity and their value on the art market. The intensity of the colours, the richness of the textures and the fineness of the detail make it a preferred technique for reproducing works of art. It continues to be taught in art schools and practised by specialist workshops, keeping alive a craft know-how that has left its mark on the history of printing and graphic art.
Watch the report below on Mario Ferrerri, lithographer in Fréjus.
Engraving (Drypoint)
Drypoint engraving is a delicate and spontaneous artistic technique, valued for its ability to produce highly expressive works. It relies on a pointed tool, often made of steel or diamond, used to engrave directly into a plate of metal, Plexiglas or plastic. The tool, handled with the precision of a pencil, displaces the material without removing it, forming grooves edged with metal "burrs". These burrs, comparable to tiny jagged waves of metal, give the impressions a unique texture. The artist may choose to keep them to enrich the impressions, as they hold ink along the edges as well as in the grooves, or carefully remove them to obtain cleaner, more even lines. The plate, traditionally made of copper or zinc but sometimes of modern materials such as Plexiglas, must be protected from oxidation with a thin layer of oil, ensuring the durability of the work.
This technique is carried out freehand, sometimes with a hand rest or at an easel, giving the artist complete freedom of movement. Every stage, from drawing to printing, requires great mastery, since engraved lines cannot be undone, which reinforces the spontaneous and instinctive nature of engraving. During printing, the ink collects in the grooves and, if the burrs have been preserved, produces a velvety, rich effect that cannot be achieved with any other technique. Each impression is thus slightly unique, bearing witness to the handcrafted and artistic nature of the process.
Drypoint engraving embodies the tradition of the artist's engraving, in which the artist's direct and instinctive gesture is reflected in every engraved line. It is prized for the finesse and sensitivity it brings, while also allowing the exploration of modern materials and innovative approaches, thereby carrying this method on into contemporary art.
Watch the video below of Claude WEISBUCH making a drypoint
Claude Weisbuch, L'Estampe by lestampe
Screen printing
Screen printing, sometimes called stencil printing, is a versatile and durable printing technique with roots in the craft traditions of ancient Asia, particularly China and Japan, where stencils were used to decorate textiles and paper. Introduced to Europe in the 18th century, it gained popularity with the invention of stretched silk screens and, in the 20th century, became an essential method in contemporary art and industrial applications. The name comes from the Latin word sericum (silk), which refers to the material used to make the first screens, although today they are mostly made of polyester or nylon for reasons of durability and ease of handling.
The principle of screen printing relies on a screen stretched over a frame and coated with a light-sensitive emulsion. After being exposed to a light source through a pattern or image, the emulsion hardens in the exposed areas, creating a waterproof barrier. The unexposed areas, which remain soluble, are then rinsed away with water, leaving openings through which the ink can pass. The screen is then positioned over the surface to be printed, whether paper, fabric, wood, metal, glass or even ceramic. Using a squeegee, the ink is spread across the screen and forced through the open areas, producing a faithful impression of the design on the surface.
Each colour in a design requires its own screen, which means the process must be repeated as many times as there are colours in the work. This step, known as "registration", demands extreme precision to align the successive layers of ink correctly. The order of printing is also crucial, with light colours generally applied first to avoid contaminating the darker shades. The process produces prints with vivid, thick, opaque colours, even on dark or textured surfaces. Screen printing is particularly well suited to a variety of finishes, from matte to glossy, including metallic, fluorescent, phosphorescent or even heat-sensitive inks, offering almost unlimited creative freedom.
As an artistic technique, screen printing enjoyed a remarkable boom in the 1960s, notably thanks to the Pop Art movement. Artists such as Andy Warhol and Roy Lichtenstein embraced this method for its qualities in serial reproduction and its ability to produce colourful, graphic works. Warhol, for example, used screen printing to create some of his most iconic works, such as his portraits of Marilyn Monroe, playing on repetition and variations in colour. Unlike purely mechanical processes, screen printing gives artists the opportunity to intervene directly in the process, by altering the layers or adding details by hand, making each print potentially unique.
In industry, screen printing has established itself as an essential printing method for a wide range of applications: textiles, posters, advertising signs, packaging, and even printed circuit boards. Its ability to print on uneven surfaces and to produce prints that withstand weather and wear makes it a preferred choice for durable products. Although it is particularly well suited to large runs because of the initial investment required to prepare the screens, screen printing remains a viable option for limited editions, notably in art and design, where it is prized for the visual and tactile quality of its prints.
Technological advances have also transformed screen printing, with the introduction of eco-friendly inks, automated machines and digital preparation techniques that reduce set-up time and costs. Nevertheless, handcrafted screen printing, produced in specialised workshops, continues to be practised and valued for its hand-made character and precision. It remains a favoured means of expression for artists and designers, making it possible to produce works that are both aesthetic and functional, in limited editions or in series.
Screen printing thus stands out for its versatility and its ability to combine tradition and innovation. Whether 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, bearing witness to the richness and adaptability of this timeless method.
Edition numbering
Lithograph proofs: understanding the markings and their value
Numbered, BAT, EA, HC, trial proofs: everything you need to know.
When a lithograph is produced, several types of proofs may be pulled, each with its own function and meaning. These markings often raise questions, particularly regarding numbered proofs, artist's proofs, hors commerce proofs and control proofs. Here is a guide to help you better understand these annotations:
The Bon à Tirer (BAT):
The first impression produced, the BAT is signed by the artist once he or she is satisfied with the final result.
This impression serves as the quality reference against which all the other copies of the edition are compared.
Numbered proofs:
Each lithograph is numbered according to the total number of copies printed; for example, 15/100 indicates the 15th copy in a series of 100.
Each impression is carefully compared with the BAT to ensure consistency and quality across the whole edition.
Artist's proofs (EA):
Artist's proofs (EA) 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 agreement between the artist and the publisher.
These proofs are marked EA and, although they are not included in the edition's traditional numbering (for example: 15/100), they are identical in quality to the numbered proofs. This means they were pulled with the same care and compared with the Bon à Tirer (BAT) to ensure they conform to it.
Special Features and Value of Artist's Proofs
Artist's proofs (E.A.) hold a special place in the art world, thanks to their rarity and their direct link with the artist. Often kept for the artist's personal use, given to friends and family, or used for exhibitions and promotional purposes, these proofs embody a privileged connection with the artist and their creative process. Their rarity, combined with their unique context, gives them both symbolic and market value.
On the market, artist's proofs are generally considered equivalent to numbered prints. However, some collectors attribute additional value to them because of their special character and their direct link with the artist. These proofs are often signed, and it is not uncommon for them to bear special annotations, which reinforce their singularity and their appeal to art lovers.
Artist's proofs also bear witness to an editioning tradition that respects the artist's personal involvement in the production of their works. They recall the historical importance of artistic control and of the care given to each printing.
For collectors, acquiring an artist's proof requires particular attention. It is essential to check the signature, any annotations and the provenance in order to guarantee the authenticity and quality of the work. These unique proofs enrich a collection by adding a historical and emotional dimension that goes beyond their purely material value. Artist's proofs thus become prime pieces for those who wish to get closer to the artist's intimate world.
Hors commerce (H.C.) proofs:
Reserved for the engraver, the printer or their collaborators, H.C. proofs are not intended for conventional sale.
They are often used for professional exchanges or for archives.
Trial proofs and state proofs:
These proofs are pulled before the approval of the bon à tirer (BAT, the final press approval), allowing the artist and the printer to adjust colours, contrasts or technical details. These prints, often rare, may be annotated "Épreuve d’état" (state proof) or simply "Essai" (trial proof).
After Printing: Destruction of the Matrices
Once the printing is complete, the matrices (lithographic stones or plates) are polished and treated, thereby erasing the image.
This practice ensures that the number of impressions remains limited to the announced edition, thus preserving the rarity and value of the work.
Contrary to popular belief, stones can be reused for other projects, but they retain no trace of the previous printing.
The Value of a Lithograph
The value of a lithograph is determined by several key factors which, taken together, make it a unique work prized by collectors. First of all, the number of copies printed is a fundamental element: the more limited the edition, the rarer and more sought-after the work becomes, which increases its value. Numbered lithographs offer transparency about the print run, reinforcing their prestige and their appeal to art lovers.
The artist's reputation also plays a major role. Works by recognised artists, or by those in strong demand on the market, whether for their artistic influence, their distinctive style or their historical importance, are naturally valued more highly. Moreover, original lithographs produced under the direct supervision of the artist take on an added dimension, as they guarantee perfect fidelity to the artist's intention. This artistic control, often exercised during the printing process, reinforces the value and authenticity of the work. Such pieces are regarded as benchmarks and are highly sought after by collectors.
It is important to distinguish an original lithograph from an ordinary lithograph, because these two terms, although close, refer to different realities in the art world.
An original lithograph is a work created directly by the artist on the stone or plate used for printing. The artist designs and executes the entire drawing or composition personally, which gives 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 impression a genuine work of art in its own right.
By contrast, a lithograph can also refer to a print made from a reproduction of an existing work, often using mechanical or photographic means. In this case, the artist is not directly involved in the creation or execution of the print. Although these lithographs can be of good quality and aesthetically appealing, they do not have the same artistic or heritage value as an original lithograph.
The difference therefore lies in the degree of the artist's involvement and in the origin of the image used for the print. An original lithograph bears the direct imprint of the artist, whereas an ordinary lithograph is often perceived as an artistic reproduction. This distinction is essential for collectors and art lovers concerned with the value and authenticity of their acquisitions.
The quality of the materials and of the printing process is another crucial criterion. The choice of a high-end paper, often recognisable by its grain or watermark, together with the use of top-quality inks, reflects particular attention to detail. A print executed with precision and expertise enhances the brilliance of the colours and the fineness of the lines, thereby increasing the perceived value of the work.
Finally, condition plays a decisive role in the value of a lithograph. A well-preserved work, free of creases, tears or yellowing of the paper, retains all of its original brilliance, making it a safe and lasting investment. These various criteria, combined with guaranteed traceability and authenticity, make every well-executed lithograph a unique object of art, uniting aesthetic interest, heritage value and potential for appreciation on the market.
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| "Bon à Tirer" (approved proof) signed by Bernard BUFFET (For sale at the Gallery) |
"Numbered proof" by Louis TOFFOLI (For sale at the Gallery) |
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| "Artist's proof" by Claude WEISBUCH (For sale at the Gallery) |
"Hors Commerce" (not for sale) by Camille HILAIRE (For sale at the Gallery) |