This is one of the most effective methods of art printing enabling the accurate reproduction of any picture true to the original in color, shape and detail.
The “Off-Set” method uses four basic colors, red, yellow, blue and black. Each color is added one on top of the other to create many additional colors and shades.
The process is manual, electronic and mechanical. The art work is photographed onto four negatives and they are then processed onto metal plates. The plates are assembled onto the printing presses and the colors are added.
This process is supervised by the artist and the publisher to ensure that the print is accurate in every detail. The final result is an inexpensive art reproduction true to the original.
Sizes quoted are image size and all the prints have additional borders of about 5-7 cm.
Some suggestions
The prints all have a white border but we suggest that this be covered
with a mat to enhance the look of the framed work.
Before framing, it is recommended to dry mount the print on mount board to prevent the paper from becoming wavy.
As with all pieces of art, it is advisable not to hang the prints in strong
direct sunlight.
Israeli art prints are published, produced
and printed in Israel
Framing Suggestion
There are many triptychs and quadtychs in the range of Israeli Art Prints
Great efforts have been made to represent colors and sizes as accurately as possible; however, color and size variances may occur. We do not take returns because of color or size variance. We recommend that frames, mats or glass never be precut based on the dimensions printed in this web site.
Sizes quoted are image size and all the prints have additional borders .
About Lithograph prints
Lithography was invented in 1978 by Aloys Senefelder.
Basically prints are made by using a press to transfer an image that was created on stone or a metal plate, to paper.
Modern lithography uses a printing master instead of stone. The printing master is similar to a printing plate except it is made of thin flexible sheets
of metal or fiber. A finished printing master is flat in appearance and does not have a raised image as wood a rubber stamp. A printing master can also be made by using photography.
The printing process is as follows;
1. First water, then oil-based ink is applied to the surface of the printing master while it is rotating on a cylinder or drum
2. The inked image is then transferred mechanically to a receiving surface. This receiving surface can be a flat sheet or rubber or other material that will hold the image.This is the cylinder.
3. From the cylinder the image is then transferred onto the paper that glides
along on a third drum, the paper impression cylinder.
In order to create a colored print the above process is repeated 4 times, each time with one of four different colored inks, which when printed one on top of the other, makes thousands of other colors. The basic colors are: yellow, cyan,magenta and black.
The artist decides in advance how many prints will be made and this is called the "edition". Each print is signed and numbered and some times embossed, in order to guarantee the authenticity of the edition. The first number is the number of that particular print and the second number indicates the total number of prints made in the edition. Artists proofs are impressions given to the artist, usually up to 10% of the edition. These appear as A/P.
Generally, high quality paper is used for lithograph printing and because of the
designated number of prints made the prints are called "limited editions"
Screen-printing
Screen-printing, also known as silkscreening or serigraphy, is a printmaking technique that creates a sharp-edged image using a stencil and a porous fabric. A screenprint or serigraph is an image created using this technique.
It began as an industrial technology, and was adopted by American graphic artists in the 1930s; the Pop Art movement of the 1960s further popularized the technique. It is currently popular in fine arts printing
History
Silk screen printing has its origins in simple stencilling, most notably of the Japanese form. The modern silk screen process originated from patents taken out by Samuel Simon in the early 1900s in England. This idea was then adopted in San Francisco, California, by John Pilsworth in 1914 who used a silk screen to form multicolor prints in much the same manner as silk screening is done today.
Printing technique
A screen is made of a piece of porous, finely woven fabric (originally silk, but typically made of polyester or nylon since the 1940s) stretched over a wood or aluminium frame. Areas of the screen are blocked off with a non-permeable material—a stencil—which is a negative of the image to be printed; that is, the open spaces are where the ink will appear.
The screen is placed on top of a piece of dry paper or fabric. Ink is placed on top of the screen, and a squeegee (rubber blade) is used to spread the ink evenly across the screen. The ink passes through the open spaces in the screen onto the paper or fabric below; then the screen is lifted away. The screen can be re-used after cleaning. If more than one color is being printed on the same surface, the ink is allowed to dry and then the process is repeated with another screen and different color of ink.
Stenciling techniques
There are several ways to create a stencil for screenprinting. The simplest is to create it by hand in the desired shape, either by cutting a piece of paper (or plastic film) and attaching it to the screen, or by painting a negative image directly on the screen with a filler material which becomes impermeable when it dries.
The most popular and flexible technique is to transfer a pre-drawn or printed image onto a screen using a type of photographic emulsion:
The original image is placed on a transparent overlay. The image may be drawn or painted directly on the overlay, photocopied, or printed with a laser printer, as long as the areas to be inked are opaque. A black-and-white negative may also be used (projected on to the screen)
The overlay is placed over the emulsion-coated screen, and then exposed to a strong ultraviolet light. The areas that are not opaque in the overlay allow light to reach the emulsion, which hardens and sticks to the screen.
The screen is washed off thoroughly. The areas of emulsion that were not exposed to light — corresponding to the image on the overlay — dissolve and wash away, leaving a negative stencil of the image attached to the screen.
Photographic screens reproduce images with a high level of detail, and can be reused for hundreds of copies.
