TAMARIND INSTITUTE	home | about us | news | gallery | education | bookstore | collectors club | custom | contact us
lithography	process | further references | definitions

The following is an introduction to the process of making original, fine art lithographs and the methods used to care for them. Standards may vary at different workshops.

what do the numbers on the prints mean?
Usually there are two numbers separated by a slash, for example: 5/25. The bottom number tells you how many impressions there are in the numbered edition; the top number is simply the specific designation for that impression.

are some prints in the edition more valuable or better than others?
No. In contemporary print editions, an impression with a lower number is no more valuable or better than an impression with a higher number. This popular misconception probably stems from the time when very large editions of prints were made and impressions were sometimes pulled after the printing element began to wear out, resulting in impressions that were not as "crisp" as the first few printed.

Prints are not signed and numbered in the order in which they were printed. Uniformity among impressions at Tamarind is assured because the curator checks each impression against the bon à tirer. Only those impressions meeting Tamarind's standards are embossed with the chops of the workshop and the printer; any flawed impressions are destroyed.

if I'm buying a print, is it important that they have chops?
The chops are important identifying features, but not all original, limited-edition prints will have them. Artists who print their own work may not use them. You should also always ask for documentation.

what kind of documentation should I ask for?
Most reputable printshops have a documentation paper for each of their prints, giving a complete description of the print and the steps involved in its making. These documentation papers are available to anyone who asks; in fact, some states have laws that require the seller to provide this information.

The evolution of every lithograph made at Tamarind is carefully tracked by the printer and curator. Details such as what materials were used to create the image, the edition size, and information about all the proofs are recorded on a sheet that is signed by both the printer and the artist.

Tamarind maintains complete documentation records on all of the editions printed at Tamarind Lithography Workshop, Inc., and at Tamarind Institute. A copy of the documentation record is provided with each print that is sold.

does documentation guarantee a print's originality?
Not necessarily. Unfortunately, documentation papers can be misleading. Read the papers carefully and ask questions about anything that is unclear. If you are in doubt about a print's authenticity or value, it's best to check with a reputable dealer (such as one belonging to the International Fine Print Dealers Association) or a museum print department.

how do you define originality?
Originality is difficult to define; it is a complex concept and has become almost meaningless with respect to prints because it has come into such broad and general use. The term is often used in order to imply that the print is more valuable than it may actually be. An important consideration is the degree to which the artist has participated in the concept and execution of the image.

are photomechanically produced prints "fakes"? Not necessarily. The important distinction here is between the words "produced" and "reproduced". If an artist and a printer agree to use photographic means to print an image originally conceived for that particular print, which is both limited and documented, then it falls within Tamarind's concept of an original print. However, a print that exactly reproduces an existing image in another medium (such as a painting), would not normally be considered an "original work of art."

if I buy a fine art print, where would I go to get it framed properly?
Ask for references from knowledgeable friends, print dealers, or museums. Since improper framing can permanently damage your print, it's important that you find a professional framer who uses archival materials.

what does "archival" mean?
Basically, the framer is assuring you that everything that comes in contact with the print is pH neutral, or acid-free. Nothing in the framing materials will alter or destroy the paper or inks of the lithograph.

why is it important that my framing materials be acid-free?
Matboard which is not chemically inert and free of acid transfers its acidity to the paper, which over time causes it to turn brown (known as mat burn), become brittle, and even to disintegrate when removed from the mat. Museums recommend that mats be made from 100-percent cotton rag matboard, at least two-ply in thickness.

A less expensive alternative is "conservamat," or conservation board, which is made from highly purified pH neutral wood pulp. Some fabrics like linen, cotton, and silk are also safe to use.

do I need to have a mat around my print?
No. A window mat is a matter of personal taste. Often a print with a large border is simply hinged to a backing-this is called "floating the print". This technique requires a spacer, hidden by the edges of the frame, to keep the print from touching the glass in the same way that a window mat does. A window mat may cover the edges of the paper if you prefer (although the edges are considered to be an integral part of the print) or the print may float within the window.

what are hinges?
Prints are never glued or taped directly to a backing with pressure-sensitive tapes; hinges made of linen or fine Japanese paper hold the print to the backing with non-acidic, non-staining, reversible adhesives.

why shouldn't my print touch the glass?
Both glass and acrylic sheeting (plexiglas) condense moisture from the air; if your print touches either, it may actually stick to the surface and be ruined.

which is better: glass, or plexiglas?
Both will protect your print and filter some of the harmful rays of light. Glass is cheaper, but it breaks easily. Since glass is heavier than plastic, it may be impractical for very large prints. Ultraviolet filtering is available at a higher cost.

Plexiglas, although lighter, is more expensive than ordinary glass, scratches easily, and carries an electrostatic charge which causes it to attract dust. Sometimes this charge can even cause drawing materials like charcoal and pastels to crumble.

can light hurt my print?
Bright daylight and even bright artificial light can cause colors to fade and papers to discolor and become brittle. Too much light is harmful even when ultraviolet rays are filtered out, so make sure your print is exposed to moderate light for limited hours at a time. Consider rotating your prints from time to time to give them a rest.

what if I want to store my prints?
When handling unframed prints, make sure you work with gloves or very clean hands. Finger smudges, dirt, or dents and tears caused by carelessness will affect the value of your print. If you must handle your print, lift it by diagonally opposite corners to avoid creasing.

Prints should be stored flat, either in or out of mats, layered between sheets of non-acidic interleaving tissue. Never put your prints on surfaces like corrugated board or wood; not only are the materials acidic, they also have textures that can can imprint themselves on your artwork.

Your storage area should be clean, dry, and protected from insects and vermin. Roaches, silverfish, and mice are common despoilers of paper. Simple, relatively inexpensive non-acidic boxes will protect your prints from environmental damage; they are avail able from art and preservation suppliers.

how can I keep up with the current value of my print?
Most reliable printshops keep records. Tamarind updates its current retail value records annually and provides the information to collectors for insurance purposes. Galleries, art appraisers, and large auction houses that handle prints may also be of assistance.

Antreasian, G. and Adams, C. The Tamarind Book of Lithography: Art and Techniques. New York: Harry N. Abrams, 1971.

A Code of Ethics for the Original Print. Quebec: Conseil quebecois de l'estampe, 1990.

Clapp, Anne F. Curatorial Care of Works on Paper. Oberlin, Ohio: Intermuseum Conservation Association, 1978.

Four Stones for Kanemitsu. VHS, 28 min. Produced by Tamarind Lithography Workshop, Inc., Los Angeles; distributed by Tamarind Institute, Albuquerque. 1973.

Gasciogne, Bamber. How to Identify Prints. New York: Thames and Hudson, 1986.

How to Care for Works on Paper. Boston: Museum of Fine Arts, 1985.

International Fine Print Dealers Association Directory. Available from IFPDA, 485 Madison Avenue, New York, NY, 10022,212-759-4469.

Ivins, W.M., Jr. How Prints Look. New York: The Metropolitan Museum of Art, 1943.

The Art of the Lithograph: Working on Stone. VHS, 26 min. Produced and distributed by Tamarind Institute, Albuquerque. 1990.

The Art of the Lithograph: Working on Aluminum Plate. VHS, 23 min. Produced and distributed by Tamarind Institute, Albuquerque. 1990.

top | process | further references | definitions

We welcome your questions and comments: tamarind@unm.edu
All contents ©1998 Tamarind Institute All rights reserved.
Web site maintenance by Tamarind Institute, tamarind@unm.edu
Last updated: June 2007