It is important to understand that a fine art print is not a copy of something. In Fine Art printmaking, the artist conceives of and creates the print as an original work of art. He or she then produces it, in multiples, using a printmaking technique such as lithography, etching, engraving, woodcut printing or screen-printing. Creating each individual print requires careful consideration to color, line, layering, and technique, as well as choice of paper and inks. Once the original “plate” is created by the artist, he or she will often work in collaboration with a skilled printer before and during the actual printing process, troubleshooting problems that affect aesthetic issues, and determining the best way to proceed. Because they are produced in multiples, prints are more affordable than one-of-a-kind works like oil paintings, and therefore allow those on a modest budget to buy original works of art by important artists. They also allow serious collectors the opportunity to invest safely in a new or emerging artist.

Of course, prints are available through a variety of sources. There are dealers who deal specifically with fine art prints and dealers who represent an artist’s paintings will occasionally sell his or her prints. Prints may be purchased from the printing house where they are created and sometimes from the artist directly. Prints also appear at fine art auctions and fine art fairs in the United States and abroad.

Determining a good print may be difficult for the inexperienced collector and there are some very important things to look for when buying. A general rule of thumb is to look for prints in smaller runs or editions whenever possible. Usually, prints are produced in editions of fewer than 100. If the edition is above 300, it should alert the potential buyer to the possibility that it is a copy of an original, a mere reproduction. The edition number is usually noted on the lower right corner in the margin. Written in pencil, this mark appears as a number, slash, number, for example 30/50. The numbers represent that this print is the 30th of 50 prints made.

In contemporary printmaking, every time a print is made, a record is kept of the total number in the edition. This includes the number of proofs to be kept by the artist (Artist Proofs), proofs to be kept by the printer (Printer’s Proofs), and prints created to test the printing process (Trial Proofs). Artist Proofs are numbered in a separate sequence from the final edition, usually AP 1/4. The Trial Proof may be slightly different from the rest of the edition because the artist may decide to make changes based on the success of the trial proof. Information on the total number of all proofs should be made available to a buyer.

Understandably, an artist will choose a few of the best prints to keep as Artist’s Proofs and it is the opinion of some collectors that an AP is more valuable than a print from the edition. However, some artists keep as many as 20 or 30 proofs. Andy Warhol kept as many as 35 to 45 Artist Proofs and Trial Proofs. If an artist keeps a large number of proofs in addition to the number in the edition, the total number of prints can increase significantly and may make the whole edition less valuable. It is the old theory of supply and demand. However, this is not always true because some prints are just better than others. That is, some prints may have cleaner edges, or the image may be crisper, and sometimes there are color inconsistencies or smudges in the print.

Another theory in collecting prints is that the lower the number in the edition, the better the print. That is to say, if a print is marked 4/50, it is more valuable than 30/50. In the case of antique prints the crisp, clean lines found on prints lower in the edition may have begun to blur after several printings but modern prints are created in controlled environments, with professional master printers, stable inks, acid-free papers, and state of the art equipment. Contemporary artists using traditional methods of printmaking can control the quality of each print so that the last print is often as good as the first. In fact, when artists sign and number the works, the prints are not always in the order in which they were produced, making any judgment based on the number suspect.

Collectors should rely upon their eyes to determine whether a print is good. Look closely at the print to determine whether there are any inclusions, or imperfections in the paper. Check for unintentional ink smears or scuffs. Check the plate margins for a good clean “lift” - that is, no smearing around the edges of the image. If possible, compare two or three copies of the same print, again looking for clean edges, smears, and a clear image. Examine the print unframed and in natural light. Look at the back for printer’s marks or authentication seals.

It should also be noted that works on paper require special care. After purchasing a print, plan to frame and glaze it right away. Choose a professional framer with quality frames and mats. Be sure to use an acid-free cotton mat, also known as a rag mat, to keep the print from deteriorating or changing color and use UV protective glazing. While UV glass is readily available, one might want to consider UV Plexiglas because it is lighter in weight and in the event of an accident is less likely to shatter and damage the print.

Once the print is properly framed, the work should be kept away from windows and skylights and other sources of direct and raking sunlight. Avoid lighting your art with halogen and florescent lights, use tungsten light instead. Use a professional hanging apparatus on the back of the frame. Use special art hooks on the wall, not simply a nail or other unsecured hanging device. Do not hang your print over a heating or cooling unit or above or below air ducts. Keep the room temperature at 72 degrees +/- 2 degrees and 40-50% relative humidity. It is best to hang prints on interior walls to avoid temperature and humidity fluctuations found in exterior walls.

There is a certain amount of risk management involved when collecting any type of art. Be sure to have your collection properly documented or appraised for insurance, donation, or resale purposes. Keep on file a list of art restorers who specialize in works on paper in the event the work is damaged. Take the necessary precautions to guard against damage, theft, or natural disasters. Always store unframed prints horizontally and interleaf with acid-free materials. Never store works on paper where there is too much humidity or lack of climate control such as in basements, attics, garages and storage units. Visit a conservator at the first sign of mold, fading, or staining.

Print collecting is an excellent approach to building an art collection or adding a new dimension to an existing collection. New collectors should take the time to educate themselves about the different types of prints on the market. Collectors must be sure to visit local museums, galleries, and auction houses and ask lots of questions about prints. Get to know the artist when possible and follow their careers. It is one of the enjoyable perks of collecting contemporary art. Last but not least, do not forget to take proper care of your prints so that they will endure for future generations.