GLOSSARY OF PRINT COLLECTOR'S TERMS

Aquatint- Literally means "like a water color." Instead of lines being bitten by the acid bath, whole areas are exposed to the acid. The area is first prepared with a resin, usually in a powdered form, which is dusted on an area, heated from below the plate to make it adhere, and then given an acid bath to bite the tiny areas not covered by the melted resin. The final effect is an image on a finely pebbled background which retains ink when applyed and wiped. Most often the technique is used with line etching or engraving.

Artist proofs- Although there is a limit to the edition of a print, there is a custom that the artist reserves the right to print an additional 10% of the total of the edition for personal use. These extra prints are identical in quality to the numbered prints and are usually identified on the left margin (in place of the number) by one of the following markings: Artist proof written in long hand or A.P. (abbreviated version of the same).

Bon-a-tirer (Fr."Good to pull; pron. bone-ah-ti-RAY) The first impression of a print run acceptable to the artist and used as the standard with each subsequent impressionis compared.

Cancelled plate- When the editon is fully printed, The plate is either distroyed or cancelled by the artist. Most artists mark or deface their plate in some way to show that the edition is completed. Sometimes, the artists will donate or sell the plate to a museum, where the plate serves to instruct the amateur and professional alike. Some plates, Being in excellent condition, have been reprinted with cancelling lines indicated.

Drypoint- The artist works directly on the copper or zinc plate with a sharp steel or gemstone needle, which leaves two burrs, one on either side of a incised line. The depth of the line is controled by the artist muscle and experience. It is the ink caught in the burrs that gives drypoints their distinctive soft line quality.

Edition- The authorized number of impressions made from a single image, including numbered prints and proofs. A limited edition has a specified number noted on each impression. The inscription 50/200 reveals that there were 200 prints issued, the one in hand being number 50. This does not mean that it is better or inferior in quality to higher or lower numbers. Since the artist destroys badly printed proofs, all are of equil merit.

Edition size- The size of an edition is determined to some extent by the technique used. Intaglio printing yeilds many less successful prints due to the limited life of the plate. Editions of less than 100 are considered small. The contemporary artist often limits editions to 150-350.

Engraving- This is probably the oldest of the intaglio processes. The design is cut into a hard surface usually metal, with a sharp tool called a burin which carves a line of varying with and depth. This line when inked and printed is clear and sharp. This prosess is also used in the designs of bank notes, postage stamps, etc.

Etching- A metal plate usually copper or zinc is etched using various acids or mordands, Instead of cutting lines onto the plate, the artist covers the plate with a acid-resistant ground and then draws through that ground, with special sharp tools, exposing the plate where the design is to be. The plate is then immersed in an acid bath which bites into the plate where the protective coating has been removed. These bitten areas are what will hold ink.

Graphic- Any work printed directly on paper from a plate, block or stone.

Hours de commerce- (H.C.) . (Fr. "Outside of Sale;" pron. OR de com-airce) Adesignation for prints not in the numbered series, which are not for sale, but are pulled for use as examples of an edition.

Intaglio- An Italian word for indentation, to cut or insise. After the image is cut into the plate, it is covered with a greasy printer's ink and carefully pushed into the lines and textures, then wiped clean so that the ink remaines only in the insised design. A sheet of moistened paper is placed over the plate and then run through a press between rollers transfering the image to the paper. Areas of the plate that have been masked out during this process are still the original smooth metal and will hold no ink; these are the white areas in the finished print. The great pressure required to pick up the ink in the intaglio printing leaves a visableplate mark within the pressed paper.

Mezzotint-An intaglio process in which the plate surface is roughened to the point where it prints black when inked. Then an image is created by smoothing and scraping the surface to hold less ink, creating tonal variations in the finished print.

Monotype- A unique print created from an image painted on metal, plastic or glass and then run through a press with paper, transfering the image from plate to paper.

State- (1st,2nd, etc.) Version of a print which has been altered in color or image as the edition is printed