Understanding fine art

The original work of art is the actual one-of-a-kind hand-drawn or painted work by the artist, and is the most valuable of art investments.

When there is a predetermined number of fine art prints published, usually individually numbered and signed by the artist.

When there is not a predetermined number of prints published, and upon the sellout of the first printing, additional prints may be published at the artist's discretion.

Similar to a limited edition, but the prints may be remarqued, have an important signature, or are specifically used for a special event — for example, to establish a scholarship or endowment. Each print designated as a special edition is signed and numbered by the artist with an “SE” written before the edition number.

As fine art prints are being created, the artist or printing specialist will pull individual prints from the press sporadically during the printing run and compare them to the original work of art. This is to make sure the prints accurately represent the quality of the original.

Each print designated as an artist's proof is then signed and individually numbered by the artist with an “AP” written before the edition number.

Printer's proofs are similar to artist's proofs. The difference is that artist's proofs are designated during the printing run, while printer's proofs are created while setting up the initial printing run.

Printer's proofs are used to establish the color, detail and quality in relation to the original work of art. They are also referred to as the printer's “set ups” and sometimes have inconsistent quality. On rare occasions, printer's proofs may be released if they pass the artist's inspection for quality. Each is then inspected, signed and numbered by the artist with a “PP” written before the edition number.

An artist may inscribe a personalization to an individual on a print. This increases the personal value of the print to that person or as a family heirloom; however, the resale value of the print can be diminished.

An optional way to personalize a print without affecting its resale value is to add a personalized brass plate to the framing of the print.

A remarqued print has a small original drawing or painting created on it by the artist. A small quantity of remarqued prints may be issued within an edition, or designated as a special edition print.

Fine art prints are reproductions from the original drawing or painting. They are printed on acid-free archival quality paper with fade-resistant inks. High quality acid-free framing is highly recommended. With proper care, a fine art print will last for generations.

Fine art prints can be created from a variety of printing processes, such as lithographs, giclées, serigraphs, etchings and engravings.

A poster may also be created from the lithographic printing process, but the image is usually accompanied with text and/or graphics. Posters generally are lower quality than fine art prints.

First, color separations are reproduced from the original piece of art. Every color is broken down into a mixture of — generally, but not limited to — four basic colors: cyan, yellow, magenta and black. Color separations are a dissection of the artwork into those four colors, similar to the way a television displays color, consisting of the overlaying of minuscule multicolored dots.

The color separations are burned onto metal plates, and the plates are then attached to large rollers on a printing press. Printing presses usually require entire warehouse rooms. As paper is pulled through the rollers, the image is reconstructed onto the paper. The overlaying dots of color are so small that they can only be seen with a very strong magnifying glass.

A hand-pulled serigraph, also known as a silkscreen, is created similarly to applying graphics on t-shirts. Designs for each separate color are made on individual silk mesh screens. One at a time, each color of ink is pushed through its screen onto the paper — resulting in a complete image.

Giclée is a French word meaning “spraying of ink.” The image of the artwork is taken with a high-resolution camera and printed by a special ink jet printer. True colors are sprayed directly on the paper, usually either watercolor paper or canvas. The result is a high quality reproduction that is sometimes difficult to distinguish from the original.

Giclée reproductions on canvas are mounted on a backing board or stretched across wooden stretcher bars, and then can be framed without glass, just like original paintings on canvas.

Paint made by mixing ground pigment with oil — usually linseed oil — as a binder.

A type of paint where the pigment is suspended in an acrylic polymer emulsion. Acrylics are a popular medium with artists thanks to their fast drying time, bold colors and flexibility when mixed with water.

A closely woven cloth that acts as a support for paintings.

Paper or canvas treated to neutralize its natural acidity in order to protect fine art and photographic prints from discoloration and deterioration.

Arrangement or design of elements of an artwork to achieve balance, contrast, rhythm, emphasis and unity, to make an effective expression of an artist's idea. The term also refers generally to any work of art.

A distinctive feature of an object or scene which can be seen most clearly close up. Also, a small part of a work of art, enlarged to show a close-up of its features.

Any art in which the goal is to portray forms in the natural world in a highly representational manner. Specifically, an art style of the mid-19th century which fostered the idea that everyday people and events are worthy subjects for important art.

The most widely produced lithographic edition. These prints are produced by a four-colour process known as offset lithography, using small red, green, blue and black dots to approximate the colours of the original artwork. Additional single colour touch plates may be added to bring the printing closer to the original painting. Lithographs are printed on acid-free archival paper using permanent inks.

Each is hand signed and numbered in pencil by the artist in the lower margin, accompanied by a Certificate of Limited Edition, and usually comes with one embossed seal to enhance framing.

Produced by the same four-colour offset lithographic process on acid-free archival paper with permanent inks.

Each is hand signed and numbered in pencil by the artist in the lower margin, and also bears the signature of one or more players and/or coaches related to the image. It is accompanied by a Certificate of Limited Edition and usually comes with one or more embossed seals.

A much more limited lithographic edition, enhancing its collectibility. Produced by the same four-colour offset process on acid-free archival paper with permanent inks.

Each is hand signed and numbered in pencil by the artist in the lower margin, accompanied by a Certificate of Limited Edition, and usually comes with one or more embossed seals.

A higher-definition print produced by the giclée process — giclée (zhee-clay) is French for “spraying of ink.” These are produced on a twelve-colour printer using archival inks transferred onto acid-free cotton rag paper. Giclée printers produce a wider range of colour and higher definition detail than is possible with traditional lithography.

Each is hand signed and numbered in ink by the artist in the lower margin, accompanied by a Certificate of Limited Edition, and usually comes with one or more embossed seals.

Produced by the giclée process on a twelve-colour printer using archival inks transferred onto a canvas substrate. Using this method, the canvas evokes the emotion, details and subtleties of the original painting.

Each canvas is hand signed and numbered in ink by the artist in the lower margin, accompanied by a Certificate of Limited Edition, and usually comes with an engraved brass title plate.

A much more limited canvas edition, enhancing its collectibility. Produced by the same giclée process on a twelve-colour printer with archival inks on a canvas substrate.

Each canvas is hand signed and numbered in ink by the artist in the lower margin, accompanied by a Certificate of Limited Edition, and usually comes with an engraved brass title plate.

Most artists believe their art is automatically copyrighted at the moment of its completion and protected from acts of infringement — and they are right, it is. According to United States copyright law, art is considered copyright protected from “the moment it is created and fixed in a tangible form that it is perceptible either directly or with the aid of a machine or device.”

That sounds like everything is covered. Not so fast.

Yes, art is automatically copyrighted — but believing that no further action is necessary in terms of formally registering it with the United States Copyright Office can be a major mistake. Under copyright law, formally registering works of art is far more advantageous than not registering them, in several substantial ways.

Only certain types of art are likely to be infringed upon. Infringers almost always do what they do to make money, and tend to only take images capable of generating income. The broader the appeal of the art, and the easier the imagery and composition is for people to understand, appreciate — and appropriate — the more concerned an artist should be about registering it.

The artists who must be most concerned are those whose images have mass or commercial appeal and are easy to copy, particularly onto other mediums such as shirts, mugs, bags or similar mass-produced merchandise. Also vulnerable is art with creatures, characters or settings that could be borrowed and replicated in film, animation, comics or video games — or in the work of other artists.

Few artists are truly at risk. Those producing more abstract or conceptual work, art with substantial cognitive components, or art that is difficult and unprofitable to reproduce, have less to be concerned about. The basic question is this: am I vulnerable to someone taking my art, copying it in a big way, and making a great deal of money?

Another indication that registration is worthwhile is a particular look, composition or subject matter identified as uniquely the artist’s own, especially as it becomes more popular with collectors. Style itself cannot be registered, but any number of works done in that style can be. That protects against infringers who copy one or more of them for their own benefit.

Imitation is the sincerest form of flattery — but when it begins to detract from an artist’s livelihood, defending those interests becomes necessary. The sooner the possibility is recognised, the better.