are some of the answers to the the most frequently asked questions by
collector's and purchasers of john's prints
free. acid free means a neutral ph which is essentially a measurement
of acidity or alkalinity. on a scale of 0 to 14 - 7 is neutral. papers
with a lower ph than 7 (such as newsprint) are considered �acidic� and
will turn brown when exposed to daylight or fluorescent light which contain
a high amount of ultraviolet radiation. acid free paper is much more resistant
to the damage light can inflict.
when framing a fine art print it is only prudent to insist on materials
that meet the standards for archival framing. all mat material, backing
boards, tape or comer supports and even the paper used on the back of
the frame should be acid free. it is also wise to consider uv (ultraviolet)
filtering glass if the print is to be in a room that has even a small
amount of indirect daylight or fluorescent light.
or a.p. this term originates from
the days of stone lithography. as the printer prepared the stone for the
�run�of prints he would �pull� prints, sometimes referred to as �stages�.
each stage would be signed and numbered for the printer's records. when
the artist was satisfied, the approved print, or artist�s proof, became
the benchmark for the final run. in modern offset lithography the final
stages of the proofing process are marked up and kept for record but are
not suitable as artist's proofs. today the term artist's proof is simply
bowing to tradition - and market demand.
of authenticity. a binding document
that attests to the limits of the edition and the veracity of the publisher.
ink. a range of printing inks used
today that have been formulated for fine art printing to have much more
permanence than standard printing inks. they have greater resistance to
fading or shifting color. however you must still take care to not expose
them to strong light or acid environments.
a print signed by both the artist and a person with a connection to the
image. john mecray has had prints countersigned by ted turner, halsey
herreshoff, gary jobson, capt's. f.e. bowker and george moffett, and olin
and rod stephens.
it is sometimes difficult in offset lithography to achieve the best color
fidelity when printing on uncoated stock papers, which tend to absorb
ink. dry trapping is utilized to overcome this by printing one or two
colors first. when that impression is dry the final colors are printed.
it is a costly method used to assure the best color fidelity.
the entire output printed of a particular image. the edition would include
the remarqued prints, the artist's proofs and press proofs.
pronounced "sheclay". a digital print making process where the
image is printed by an array of very tiny ink jets that eject precise
amounts of ink onto the printed surface attached to a rotating drum. it
can take over an hour to produce just one average sized print. the hallmarks
of a giclée are rich and vibrant colors which can be applied to
fine watercolor paper or art canvas - surfaces that are virtually impossible
to utilize in traditional offset lithography. the state-of-the-art giclée
process, utilizing archival inks, is rated at well over 90 years for permanence.
today, the term lithograph is commonly used to describe prints produced
by the offset lithography method where sensitized plates for the four,
or more, colors make an inked impression on a rubber-blanketed cylinder,
which transfers the image to the paper. the term lithograph originally
referred to images �pulled� from a prepared and inked stone, a technique
used widely in the past.
inventory. this publisher lists
an edition as being in low inventory when there are 35 left in stock.
edition. signed or unsigned an
open edition is not numbered and can therefore be reprinted ad infinitum.
press or printer's
proof, or p.p. like a.p.'s the printer's proof has a long tradition.
this publisher does not make p.p.'s available to the public. some go to
the printer as samples and some to non-commercial or non-profit entities.
a tradition that started with stone lithography. a remarque is a pencil
sketch by the artist, usually in the lower margin, relating to the recipient
or to the subject of the print. it became a popular way to add original
art, and value, to the printed image.
market. this term is used for prints that come on the market
after the edition is no longer available from the publisher and the distributor..
the secondary market price is assigned by the distributor as a guide to
dealers who have the opportunity to buy back and/or sell a print that
is sold out.
this publisher lists an edition as sold out when both the publisher and
the distributor have no prints left in inventory. it is possible that
a dealer may still have a print in stock when it is listed as sold out.