What Is an Original Limited Edition Print ?

An original limited edition print is an image conceived by the artist and produced on linoleum, wood block, metal plate, stone or stencil on which the artist has worked. Each print is an original work of art in its own right, regardless of the number of identical images produced by the artist. The artist produces a limited edition of prints for sale - the number in the lower left hand corner, i.e. 4/50, shows that this particular print is the 4th produced from an edition of 50. Most collectors and artists feel strongly that the smaller editions are to be preferred. This naturally affects rarity and therefore price and are hence more inclined to appreciate in value over time.

 
CAUTION: - Please do not confuse artists' limited edition reproductions with limited edition original prints. Reproductions are not original artwork - they are simply a photographic reproduction of an existing artwork (usually an oil painting or watercolour) - they are very similar to posters - although often the quality of the reproduction is extremely high and the paper of excellent quality. The only real value they have is the artists' signature. The limited edition original print is the actual original artwork - it is not a copy of a painting or drawing and exists only in the original print form. Price is not always a guide as reproductions by high profile artists can be expensive - however the number of prints in the edition can be an indicator - reproductions are often produced in very large editions e.g. 500 or more. Most artist-printmakers would deal in editions under 100 (although this is not always the case) My advice is to make sure you know what you are paying for - if the gallery owner cannot tell you the difference then use extreme caution.

 
HAND COLOURED LINOCUTS 

Relief printing blocks can be made from any flat material that can be cut easily, the most common being wood and lino. My personal preference is lino. I commence by drawing directly onto the lino with a 2B pencil and then, using carving chisels, cut away those areas that I wish to remain white or that are to be coloured later with paint. The area that is not cut away will be printed in black (other coloured inks may also be used but my preference is for black as it creates the strongest contrast) When I am working on a design I quite often get to a point where I feel a bit unsure as to how to continue - I will then do what is called a " proof ". Simply, I ink the lino and take a print of what is there. This allows me to assess how the work is progressing and I can then make the decisions required to finish the design. Once I am totally happy with my design it is then time to print the edition. I ink up the roller (an instrument not unlike a rolling-pin but coated in rubber) this is rolled over the surface of the lino, thereby transferring the ink from the roller to the lino. Remember the ink will only be attached to the lino that still remains - the rest has been cut away. Think of rubber stamps or the potato prints that we all did at school - it is essentially the same principal involved. The inked lino is then transferred to the press - a sheet of paper is placed carefully on top of the lino and then both are rolled through the press under extreme pressure. The image has now been transferred to the paper. The lino must then be re-inked and the process repeated to obtain the next print. Depending on the weather and the type of ink used the print can take up to a week to dry. I now have a black and white image to work with. This I colour with watercolours. Each print in the edition is coloured individually and so there will be slight variations between each - adding individuality to each piece.