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We carry many types of prints and reproductions. Normally print means a reproduction of an original artwork. This is not always the case though, Some artist like Mauricio Lasansky , Michael Parkes, or Alvar do prints as the original medium and can be thought of as "Original Prints". Most prints are graphic reproductions of artwork originally done in another media and are a way to bring artwork to a wider audience.

There are many kinds of prints, these include but are not limited to Serigraphs or Enhanced Serigraphs, Giclée's, Enhanced or Deluxe Giclée's, Lithographs, Offset Lithographs and Stone Lithographs. Other types of prints we carry include Aquatints, Monotints, Engravings and Etchings. This is just a small sample of the works we have available. Please call or email for information

       

This is just a partial list of reproductions available

Check each artists page for more detailed information.

© All art on this site is Copyrighted by the artist or their Representative ©

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Alvar

Thomas Arvid (Hyper-Real Wine Bottles)

Charles Pabst

Hessam

Mauricio Lasansky (20th century master printmaker)

S. Sam ParkModern Impressionist city streets

Sabzi

Dr. Seuss aka Theodore Seuss Geisel

We carry Dr. Seuss's Illustration and "Secret Art"

      

Michael Parkes

      

Viktor Shvaiko

 

Thomas Stiltz

 

Mackenzie Thorpe

 

Leonard Wren Beautiful Plein Aire landscapes

 

Disney Limited Edition Reproductions

Toby Bluth Fantasia  
 

Some Disney Pieces Available, Call 515-279-8682 or Email

 

Aldo Luongo

 
Perfecto  

Espresso and Grappa

 

Enhanced Giclée on Canvas

 

Image Size 30 x 25

 
twofaces

2 Faces of the Hawk

Enhanced Giclée on Paper
Image Size 29 1/2 x 23 1/2

Jiang

 
My World  

My World II

 

Serigraph on Canvas

 

Image Size 32 x 40

 
We have many more pieces available by this Chinese master. Please call or email for information
Morings

Morning with Cranes

Silvered Serigraph on Canvas
Image Size 31 x 31
 
   

 

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Giclée and Iris Prints

A giclée is an elegant, state-of-the-art reproduction that gives a vibrant color rendition of an original painting. A result of the marriage of art and modern technology, a giclée faithfully reflects the vibrant color, rich detail and lush texture of the original. giclée, a French printmaker's term for "fine spray" was adopted to distinguish the technique from ordinary offset printing. It also signifies to the art buyer that the process and materials used to create the print were intended for the fine art market. A giclée is created by a digital printer's tiny ink jets that spray millions of droplets of water-based ink onto fine archival art paper or canvas known as the "substrate." The combination of specific inks and substrate are carefully selected to assure maximum print longevity. Giclée's are produced one at a time. Depending upon their size, this intricate printing process can take up to an hour or more for each print. Afterward, Giclée's are coated with a protective finish to further assure their longevity. Whether fine archival art paper or canvas, the end result is always the same: a beautifully reproduced work of art with the look and feel of the original painting. Iris Prints are a type of Giclee done with an Iris Printer.

   
 
 

Enhanced Giclée's

An Enhanced Giclée has been hand embellished to add surface texture or highlight the piece. This is the same for Enhanced or Deluxe Serigraphs

   
 
 

Intaglio Prints

Normally, copper or zinc plates are used as a surface or matrix, and the incisions are created by etching, engraving, drypoint, aquatint or mezzotint. Collagraphs may also be printed as intaglio plates

In intaglio printing, the lines to be printed are cut into a metal plate by means either of a cutting tool called a burin, held in the hand – in which case the process is called engraving; or through the corrosive action of acid – in which case the process is known as etching. In etching, for example, the plate is covered in a resin ground or an acid-resistant wax material. Using an etching needle, or a similar tool, the image is engraved into the ground, revealing the plate underneath. The plate is then dipped into acid. The acid bites into the surface of the plate where it was exposed. Biting is a printmaking term to describe the acid's etching, or incising, of the image.After the plate is sufficiently bitten, the plate is removed from the acid bath, and the ground is removed to prepare for the next step in printing.

To print an intaglio plate, ink is applied to the surface by wiping and/or dabbing the plate to push the ink into the recessed lines, or grooves. The plate is then rubbed with tarlatan cloth to remove most of the excess ink. The final smooth wipe is often done with newspaper or old public phone book pages, leaving ink only in the incisions. A damp piece of paper is placed on top of the plate, so that when going through the press the damp paper will be able to be squeezed into the plate's ink-filled grooves.The paper and plate are then covered by a thick blanket to ensure even pressure when going through the rolling press. The rolling press applies very high pressure through the blanket to push the paper into the grooves on the plate.The blanket is then lifted, revealing the paper and printed image.

Lasansky pieces are Intaglio prints.

   
     
 

Lithography

Lithography (from Ancient Greek λίθος, lithos, meaning "stone", and γράφειν, graphein, meaning "to write") is a method of printing originally based on the immiscibility of oil and water. The printing is from a stone (lithographic limestone) or a metal plate with a smooth surface. It was invented in 1796 by German author and actor Alois Senefelder as a cheap method of publishing theatrical works. Lithography can be used to print text or artwork onto paper or other suitable material.[4] Lithography originally used an image drawn with oil, fat, or wax onto the surface of a smooth, level lithographic limestone plate. The stone was treated with a mixture of acid and gum arabic, etching the portions of the stone that were not protected by the grease-based image. When the stone was subsequently moistened, these etched areas retained water; an oil-based ink could then be applied and would be repelled by the water, sticking only to the original drawing. The ink would finally be transferred to a blank paper sheet, producing a printed page. This traditional technique is still used in some fine art printmaking applications. In modern lithography, the image is made of a polymer coating applied to a flexible aluminum plate. The image can be printed directly from the plate (the orientation of the image is reversed), or it can be offset, by transferring the image onto a flexible sheet (rubber) for printing and publication. As a printing technology, lithography is different from intaglio printing (gravure), wherein a plate is either engraved, etched, or stippled to score cavities to contain the printing ink; and woodblock printing or letterpress printing, wherein ink is applied to the raised surfaces of letters or images. Today, most types of high-volume books and magazines, especially when illustrated in colour, are printed with offset lithography, which has become the most common form of printing technology since the 1960s. The related term photolithography refers to lithography when photographic images are used in lithographic printing, whether the photographic images are printed directly from a stone or from a metal plate, as in offset printing. In fact, “photolithography” is used synonymously with “offset printing”. The technique as well as the term, photolithography were introduced in Europe in the 1850s. Beginning in the 1960s, photolithography has played an important role in the fabrication and mass production of integrated circuits in the microelectronics industry.

 
     
  Click for information on how a Serigraph is made  
 
 

Serigraphs

Serigraphy, or silk screening, uses many of the terms applied to the other multiple original graphic arts. If you have purchased original lithographs or etchings, you may already be familiar with some of these terms.

Artist's proof(This may be penciled in at the bottom of a print as A P. ) Prints outside the standard edition, which are intended for the artist's own private collection and use as part of the original artist-publisher agreement.

Chop mark An un inked, embossed stamp on the serigraph, which identifies the printer, artists, workshop or sometimes a collector. Also called a "blindstamp."

Documentation Information on the edition of a print indicating the artist´s name, the printer's name, the location of the workshop, the number of prints in the edition, the date and other pertinent information. Although this information is somewhat important in print collecting, the condition of the print usually is more significant. Edition The total number of prints made of a specific image.

Graphic A term for any "multiple original" work of art on paper. An original serigraph is a graphic, as are pieces created through such other media as lithographs. Etchings and intaglio prints.

Limited edition A predetermined number of impressions made from a plate (after which no more impressions are taken). The seller should inform the consumer of the number of impressions in the edition.

Lithography The process of taking impressions of artwork drawn on stone or metal plates. With the artist involved in the entire process, the fine art lithograph is a "multiple original" work of art.

Signed and numbered At the bottom of each print in an edition, the artist signs and numbers the print in pencil. The number appears as one figure over another: for example, 15/30 indicates that this was the 15th print to be signed of 30 in all. States (first state, second state, etc.) While an artist is pulling proofs of a serigraph, he may make changes or corrections that alter the plate. Each plate change constitutes a new "state."

Because it is basically a stencil process, serigraphy (also known as silk-screening or screen printing) has the deepest roots of any of the printmaking techniques. Some early cave drawings may have been done with stencils; in the Middle Ages, artists used stencils to enhance other prints. In 17th-century England, craftsmen made flocked wallpaper by applying adhesive via a stencil process. In Colonial America, artisans decorated objects with stencils that had frequent gaps caused by the bridges of paper needed to keep delicate designs from shifting. Japanese artists solved the gap problem by attaching a fine but strong network of human hairs to fragile parts of the stencil. This may have given birth to the idea of using fabric stretched over bars silk-screens. After World War I, silk-screening became popular among sign makers in the United States; during the Depression, the Works Progress Administration (WPA) promoted it as a fine art form. Carl Zigrosser, a noted art historian of the time, gave the process its name: serigraphy, from the Greek serikos, silk; and graphos, writing. Though American artists established serigraphy as an art form, they seemed to lose interest during the 1950s, while artists abroad picked up the medium. In the 1960s, however, the pop art movement in the United States took serigraphy to new heights. Today, serigraphs are very much a part of the art market. The technique offers artists a chance to do their own printing, since the equipment is easily assembled, relatively compact and inexpensive. Serigraphy also allows a great latitude of style. Screens can be stretched for large work, and an artist can produce the stencil image on the screen via a variety of techniques. Serigraphy is a "direct" printing process the image isn't reversed from the screen to the print which facilitates experimentation. Briefly, a serigraph is made this way: A screen of silk, nylon or polyester is stretched tightly across a frame. A design is made in stencil form on the mesh by blocking out parts of the mesh. The remaining open areas allow the ink to be squeegeed through to the paper below, resulting in the final printed image. There are numerous methods of making a stencil. In the traditional method, artists make their own stencils by drawing an image directly onto the screen with tusche, a greasy substance. The entire area is then coated with a fast-drying glue; however, the glue will not adhere to the greasy tusche areas. When the glue dries and becomes hard, the tusche (image area) is washed away Left behind is the open stencil formed by the hardened glue. This is the area that will be printed. A separate screen must be prepared for each color to be printed. methods to prepare their screens for printing. For example, the tightly stretched screens can be coated with photo emulsion and allowed to dry. Then, the design can be created on a series of acetate overlays, one per color, on which the artist can draw directly. The acetate overlay is then adhered directly to the prepared screen. With the acetate in place, the plate is exposed on a light table. Areas not blocked by the design on the acetate will be "developed" and the emulsion will harden. Blocked areas will remain undeveloped. After exposure, the acetate is removed and the plate is washed with water under pressure. The undeveloped photo emulsion will be washed away in areas that are to be printed, allowing the ink to pass through the screen. This process of preparing a screen, no matter which method is used, is called "cutting" the screen. Whatever the methods, remember that whenever a serigraph is printed in more than one color, a separate screen must be made for each color. The serigraphs we've been discussing are works the artist conceived as serigraphs and had printed either by himself or a master printer under the artist's supervision. Although many prints may be made from each set of screens, each is printed individually. Therefore, serigraphs, like other graphics media, are termed "multiple originals." Because it's such a labor-intensive process to create the screens and print each sheet separately, most original serigraphs are done in low edition sizes, and the artist may choose to use only a few colors. Many serigraphs today are produced from an original work in another medium. These are printed in much the same way, but use camera-produced screens. These serigraphs, usually published and offered for sale by a publisher, may be done with or without the DECOR thanks printmaker Allen Levin of Hand Prints, St. Louis, Mo., for his help and cooperation in preparing this article. In photos for this article, Levin is assisted by Ben Mitchell; the work in progress is a serigraph by artist Ted Wright.

This leaflet has been prepared and copyrighted by DECOR.

 

   
  
 

How a Serigraph is made

   
 

Step 1-Serigraphy, a stencil process of printing uses a silk, nylon or polyester screen stretched tight across a frame. In this case, silk is glued into the metal frame; screens are made in a variety of sizes and can be used over and over again. Step 2 both sides of the silk are coated with a liquid photo emulsion and allowed to dry completely

S1    
 
Step 2-The stencil is made by blocking portions of the screen with some sort of non-porous material. Here, the artist's sketches or drawings are turned into patterns on acetate film. One piece of film is prepared for each color in the final printed piece. s2    
 
Step 3-The coated screen is placed on a light table. One piece of acetate is placed over the screen, and it is covered with a blocker pad. The screen is exposed to light for a specific period of time. S3    
 

Step 4-The screen is washed under pressure to remove photo emulsion from areas that will be printed. The emulsion will remain in non-print areas so that ink will not pass through. The image that is to be printed will appear ghostlike in the screen Because serigraphy is a direct printing method, the image will appear as it is to be on the finished print, not in reverse as is common with other printing methods.

S4      
 

Step 5-After the screen has dried, small areas with pinholes or ragged edges can be touched up with a water-based block-out medium such as glue. If there is a small dot emulsion on the screen that should have been removed, it can be "punched out" with a needle.

S5    
 
Step 6-The screen is hinged to the press so it can be raised and lowered as prints are made. The bed of the press is solid and smooth, with screws along one side to register the paper for each printing A tacky adhesive is sometimes used on the table to help keep the paper in place during printing The paper also is torn or cut to size for the entire edition before printing begins. Once the printing process begins, all pieces with a single color will be printed, so it is necessary to organize all the elements before beginning In this case, only the black remains to be printed. The previously printed sheets, now completely dried, are stacked near the press, and drying rack is placed nearby. S6    
 

Step 7- Inks are mixed to the artist's specifications. Inks usually are grease-based and tend to dry quickly, so retarder is added to keep inks moist and thin enough to be spread over the screen. With the sheet to be printed in place on the table, under the screen, the printer spreads a bead of ink about I" wide across the screen. He then uses a squeegee to spread it out or "flood" the screen.

S7    
 

Step 8-With the screen lowered all the way, the ink is pushed through with the squeegee.

S9    
 

Step 9-The printer inspects the print carefully, then removes it from the table and passes it to an assistant. He then immediately puts the next print on the table and begins again.

S9    
 

Step I0-The entire edition is allowed to dry in racks. When the final printing is finished, the registration edge will be trimmed, and the artist will sign and number each print in me edition.

S10    
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