Edition refers to the numbered impressions of a par­ticular image that are printed after the artist has given approval to print. At Tamarind, the edition includes all numbered prints, the artist’s proofs, the bon a tirer (good to pull or approval to print) which belongs to the printer, and three impressions for the Tamarind archives, which is housed at The Univer­sity of New Mexico Art Museum. All impressions, including the trial proofs, color trial proofs, and artist’s proofs, are documented.

Tamarind established standards of documentation that are followed by fine print workshops around the world. Complete documentation is prepared for each edition, capturing all of the details related to the edition and the steps involved in its making. This documentation is signed by the artist and the printer, and is available to anyone who asks; in fact, some states have laws that require the seller to provide specific information related to the edition.

A fine print is considered an original work created in the workshop by the artist. At Tamarind, the artist and the printer work in collaboration to produce a matrix that will be used to produce the edition. This matrix does not exist outside of the workshop, and the print that is pulled from it is considered an original work. The idea of the print being produced in multiples is inherent in the process, but does not mean that the work is a reproduction. An important consideration of originality is the degree to which the artist has participated in the concept and execution of the image.

At Tamarind, the curator is the individual who examines each print in the edition for printing quality and consistency, and documents every aspect of the edition. If printing flaws are detected, the curator either makes repairs or destroys the print. After inspecting the edition, the curator numbers, chops, defines, and oversees the signing of each new edition. The curator ensures that Tamarind’s established standards of quality, documentation, and care are maintained.

For a one-color lithograph, this will be the only drawing. Each additional color will generally require a separate drawing on a different stone or plate.

Artists use the same kinds of tools they would to make images on paper or canvas. However, since the basic principle of the hand lithographic printing is the natural repulsion of grease and water, the crayons, pencils, and washes used in lithography have a high grease content.

The printer continues to make proofs with different color and paper combinations until the artist is completely satisfied with the result. This final proof signed by the artist becomes the standard for the printer. From this proof, the printer prints the full edition, comprised of a limited number of individual impressions.

Edition refers to all impressions of a par­ticular image that are printed after the artist has given an approval to a print. At Tamarind, the edition includes all numbered prints, the artist’s proofs, the bon a tirer, which belongs to the printer, and three impressions for the Tamarind archives, which is housed at the Univer­sity of New Mexico Art Museum. All impressions, including the trial proofs, color trial proofs, and artist’s proofs, are documented.

Signatures and numbers usually appear on the front, but occasionally the art­ist chooses to sign on the back. Usually there are two numbers separated by a slanted line-for example, 5/20. The bottom number tells you how many impressions there are in the numbered edition; the top number is the designation for that impression.

N  Ask for references for framers from knowledgeable friends, print dealers, or museums. Since improper framing can permanently damage your print, it’s important to find a professional framer who uses archival materials.

IS IT NECESSARY TO HAVE A MAT AROUND MY PRINT?

A window mat is a matter of personal taste. Often a print with a border is simply hinged to a backing -this is called “floating” the print-and requires a spacer, hidden by the edges of the frame, to keep the print from touching the glass in the same way that a window mat does. A window mat may cover the edges of the paper if you prefer (although the edges are considered to be an in­tegral part of the print) or the print may float within the window.

YOU MENTIONED HINGES: WHAT DO YOU MEAN? 

Prints are never glued or taped directly to a backing with pressure-sensitive tapes; hinges made of linen or fine Japanese paper hold the print to the backing with non-acidic, non-staining, reversible adhesives. 

WHY SHOULDN’T MY PRINT TOUCH THE GLASS? 

Both glass and acrylic sheeting (plexiglass) condense moisture from the air; if your print touches either, it may actually stick to the surface and be ruined.

WHICH IS BETTER-GLASS OR PLEXIGLASS? 

Both will protect your print and filter some of the harmful rays of light. Glass is less expensive, but it breaks easily. Ultraviolet filtering glass and plexiglass are available at a higher cost. Since glass is heavier than plastic, it may be imprac­tical for very large prints. Plexiglass, although lighter, is more expensive than ordinary glass, scratches easily, and carries an electrostatic charge that causes it to attract dust. Sometimes this charge can even cause drawing materials such as charcoal and pastels to crumble.

HOW CAN LIGHT HURT MY PRINT? 

Bright daylight, and even bright artificial light, can cause colors to fade and pa­pers to discolor and become brittle. Too much light is harmful even when ultra­violet rays are filtered out, so make sure your print is exposed only to moderate light for limited hours at a time. You might also consider rotating your prints from time to time.

WHAT IF I WANT TO STORE MY PRINTS? 

When handling unframed prints, make sure you work with gloves or very clean hands. Finer smudges, dirt, or dents and tears caused by carelessness will affect the value of your print. If you must handle your print, lift if by diagonally op­posite corners to avoid creasing. Prints should be stored flat, either in or out of archival mats, layered between sheets of non-acidic interleafing tissue. ever store your prints against surfaces such as corrugated board or wood; not only are the materials acidic, they also have textures that can imprint themselves on your artwork. Needless to say, your storage area should be clean, dry, and protected from insects and vermin. Roaches, silverfish, and mice are common despoilers of paper. Simple, relatively inexpensive non-acidic boxes will protect your prints from environmental damage; they are available from art and preservation sup­pliers.