ASSIMILATION AND RESEARCH:

DRAWING, PAINTING, AND DESIGN:
Benjamin Knox is basically a self-taught artist. He has formal training and a degree in architectural design. He has studied with several professional artists and has assimilated an enormous personal library on art, architecture, and research material. He enjoys working in all artistic mediums including photography, pencil, watercolor, acrylic, and oil. He usually paints on Arches 300 lb. archival paper or canvas. He chooses the medium according to how it will best represent the subject to be portrayed. He usually starts with a rough concept sketch. He has the ability to visualize the relationship of elements and colors as a collective whole in his mind during the conceptualization process. This is a very useful skill in both art and architecture. It helps with the creation of intricate and complicated collages or designs that require a multitude of layers. He also uses hidden geometries as underlying structure to give his art and designs balance and motion. Once he sees the complete image or design in his mind, he goes straight to work on the final original. Each drawing, painting, or design may take from 29 to 300 hours contingent on the amount of work and detail in it. He usually has several projects in the works at any given time, but he has the discipline to see each project through to completion.

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Acid free paper:
Original works of art and fine art prints are created on acid free paper that has a ph rating of 7 or higher. With proper framing and care, they will last for generations. Low ph paper and framing materials that are not acid free will cause yellowish discoloration and damage after 30 years.

Artist’s proofs (AP):
There are two related definitions for artist’s proofs. First, they have originated from an old tradition of reserving a quantity of prints for the artist’s use, usually 10% of an edition. Second, as fine art prints are being created, the artist or printing specialist will pull individual prints off the press to directly check against the original for quality assurance. These prints are also referred to as artist’s proofs. Either way, a hand-written “AP” distinguishes them from the other art prints.

Since they were personally pulled from the press, on rare occasions there may be a fingerprint or ink smudge on the outer edges. It could even be from the artist. These prints are usually individually numbered with an “AP”, inspected for image quality, and signed by the artist. Since they are directly used as part of the printing process, they are considered to be the second most valuable item to collect (next to remarqued prints) if the original can’t be acquired. They are more expensive and fewer in number than regular fine art prints. Artist’s proofs are usually 10% of each edition; therefore if the edition size consists of 1000 prints, there will usually be around 100 artist’s proofs. There may also be artist’s proofs available from the first printing of an open edition. A certificate of authenticity usually accompanies each artist’s proof.

Certificate of authenticity:
A certificate issued by the publisher, artist, or gallery that accompanies limited edition art reproductions. It states the total quantity of prints in the edition and confirms authenticity of the artist’s signature and the specific number acquired.

Diptychs and triptychs:
Diptychs are when two images relate to each other. Triptychs are when three images relate to each other.

Fine art prints:
Fine art prints are a reproduction from the original drawing or painting. They are printed on acid-free archival quality paper with fade-retardant inks and conservation framing is highly recommended. With proper care, they will last for generations.

Giclee printing process:
Giclee is a French word meaning “spraying of ink”. The image of the artwork is scanned into a computer and printed by a special high-speed ink jet printer. Accurate true colors are sprayed directly on to the same type of canvas or watercolor paper that the original was created on. The result is a reproduction that is difficult to distinguish from the original. Giclee reproductions on canvas are stretched on wooden stretcher bars and may be framed without glass. The reproductions are created one at time, so the quality is excellent and the edition size can be very small. But each individual Giclee fine art print costs significantly more to produce than if the lithographic printing process was used.

Insurance:
It is not uncommon for an art collection to be valued in the thousands of dollars. Most insurance companies will insure artwork and fine art prints. This is highly recommended. Sometimes a damaged print can be returned and replaced with a new one and covered by insurance.

Limited edition:
A predetermined number of fine art prints are published. They are usually individually numbered, inspected for quality, and signed by the artist. If the prints are created by lithographic process, the plates are destroyed after the print run. Once the edition is sold out, the limited edition prints are no longer available from the publisher and their value dramatically escalates. A certificate of authenticity usually accompanies each limited edition print. A print with smaller dimensions of the same image may be offered as an open edition at the same time as the limited edition.

Lithographic printing process:
First, color separations are reproduced from the original piece of art. Every color is comprised of a mixture of four basic colors: cyan, yellow, magenta, and black. Color separations are a dissection of the artwork into those four colors much like the way a television screen works, consisting of the overlaying of minuscule multi-colored dots. The color separations are burned on to metal plates, similar to the way that something would be embossed on to paper. The plates are then attached to large rollers on a large press. As paper is pulled through the rollers on the press, the image is reconstructed on to the paper. The artist or the printing specialist supervises the operation to assure quality and that the reproductions closely resemble the original. At least several hundred prints most be created to make the lithographic printing process cost-effective.

Open edition:
An open edition fine art print is a reproduction usually printed on the same type of paper or canvas as a limited edition, but there are no restrictions as to the number of copies made.

Original work of art:
The original work of art is the actual hand-drawn, painted, or sculpted work by the artist. It is the most valuable investment because it is unique and one of a kind.

Personalized prints:
Sometimes artists have signings where they will write a personalization on a print. This increases the value of the print, to the one that it is personalized to, especially if they plan on keeping it for life. It also makes a great heirloom to be kept in the family. Conservation framing is essential. But the resale value of personalized prints is greatly hindered. An elegant way to personalize a print without altering its original state is to add a brass plate to the matting.

Poster:
A poster may also be created from the lithographic printing process, but it usually is printed on thinner, cheaper paper and has graphics and text also printed on it. It is usually much lower quality than a fine art print.

Printer or publisher’s proofs (PP):
Printer’s proofs are similar to artist’s proofs. The difference is that artist’s proofs are created during the printing process, and printer’s proofs are created at the beginning, in the setting up of the initial press run. Since printer’s proofs are used to establish the color, detail, and quality, they are also referred to as the “set ups” and sometimes have very inconsistent quality. They are usually destroyed because they are not up to the artist’s standards. On rare occasions, printer’s proofs may be released if they pass the artist’s inspection for quality. They are not always announced or issued at the time of publication and may be released after an edition has completely sold out. But the printer’s proofs will be more expensive than the artist proofs. It is not uncommon to find ink smudges or fingerprints outside of the image area on printer’s proofs. They are usually individually numbered with a hand-written “PP”, inspected for quality, and signed by the artist. A certificate of authenticity may also accompany each printer’s proof.

Remarqued prints:
A remarqued print has an original drawing created on it by the artist. This is the next best thing to acquiring an original work of art. A small quantity of remarqed prints may be issued within an edition and accompanied by a certificate of authenticity.

Secondary market:
The secondary market consists of retail galleries or individuals that are willing to sell prints that are sold out at the publisher for a higher price.

Serigraph:
A hand pulled serigraph is also known as a silkscreen and is created much in the same way that a t-shirt is. Designs are made where individual silk mesh screens separate each color, and ink is pushed through each screen onto the paper.

Sold out prints:
These are fine art prints that are no longer available to the public through the publisher, artist, or gallery. They may be available through the secondary market for a much higher price. Once an edition is sold out, the value of each print usually dramatically escalates and they are very difficult to obtain.

Special edition (SE):
A special edition is usually the same as a limited edition, but they are special because they may have important signatures or they are specifically used to establish a scholarship or endowment. A handwritten “SE” distinguishes them from other prints. These prints are usually individually numbered with a “SE”, inspected for quality, and signed by the artist. A certificate of authenticity usually accompanies each special edition print.

HOW TO CARE FOR FINE ART PRINTS:

Handling:
Always have clean hands when handling works of art on paper or canvas because natural body oils or dirt can cause visible damage. Always use two hands when carrying an art print separated from it’s packaging. Never touch or drag anything across the image area.

Heat:
Never hang or store artwork over or next to a radiator, heat register, or a continually used fireplace. The combination of heat, soot, and smoke can gradually do extensive visible damage. Some homes may be overheated during wintertime. A permanent humidity level consistently lower than 40% can dry out paper and make it brittle.

Humidity:
Humidity produces mold spores- a major cause in the deterioration of any paper. Mold spores grow in excess of 70% relative humidity. Humidity also causes prints to wave or warp and attracts pests like silverfish. Never hang or store art prints in damp areas with poor circulation. Maintain proper humidity levels between 40% and 70% to protect your artwork. According to most museums, 50% relative humidity is ideal for keeping works of art on paper.

Light:
All light fades works of art with time, and the less amount of light, the less amount of fading that will occur. Fading is not reversible. Never expose originals or works of art to direct sunshine or place in a bright sunroom. The colors will fade out rapidly. Fluorescent light creates ultra violet rays that can equally be as harmful. The optimum amount of light for illuminating artwork is 5-foot candles, roughly the equivalent of a 150-watt bulb four to five feet away. 50-watt Halogen bulbs are often used in track lighting to spotlight a work of art. Conservation or UV glass is also very helpful in protecting framed artwork from the damaging effects of ultraviolet light, but it also is more expensive than regular glass.

Storage and transportation:
Fine art prints may be packaged flat or in tubes for transportation. Flat packaging should include a stiff board as a backing. The print should be affixed to the board to prevent sliding or exposed edges. Otherwise the corners or margins could be damaged. If the board is not acid-free, do not leave a fine art print in the packaging for too long. Sometimes these types of boards are for transportation purposes only. If prints are rolled in tubes, they should be rolled in acid-free rolling paper and rubber bands should be used to keep the diameter of the rolled print smaller than the opening of the tube. Never push or shove a rolled print into a tube. This type of packaging is intended for transportation or mailing purposes. Do not leave the print in the tube for too long or it will be more difficult to make flat again. The best ways to preserve prints are to store them in acid free folders, cabinets, or collector boxes. The best way to display them is with proper conservation framing.

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ABOUT MATTING AND FRAMING:
If it’s important enough to frame, it’s worth protecting.

Many people have a misconception about framing. Some search for the cheapest ways to frame an art piece, but framed art is an extremely important part of our surroundings, like a valued heirloom or piece of furniture. If it is not framed correctly, the artwork will be damaged in time.

The following reasons explain why your artwork should be matted and framed at the Benjamin Knox Gallery:
1) Benjamin Knox personally signs (at no additional cost) each art piece that is matted or framed through the Benjamin Knox Gallery.
2) Benjamin personally chooses the selection of mats and frames that best compliment each fine art print, original, or photograph because he considers the framing an extenuation of the art.
3) Only acid-free, archival quality mats and backing boards will protect your art from the damaging effects of light, humidity, and pollutants. We use only these types of conservation quality materials in the matting and framing of Benjamin’s work. UV glass can additionally be requested.
4) We guarantee the quality and workmanship of our matted and framed art. The Benjamin Knox Gallery has provided framing since 1990.
5) We ship framed art to anywhere in the world. The less amount of time that a package is in the mail, the less opportunity for damage, therefore we recommend next day or second day shipping for framed art.
6) Matting or framing protects the artwork better and makes it a much more presentable gift item.
7) You will save time and frustration. We often keep an inventory of our framed art pieces ready to sell now. It usually takes over 2 weeks to a month to have a print framed somewhere else, plus the time to take it there. We also have dealt with an enormous amount of misfortunate accidents where other framers have damaged customer’s prints. This has been devastating, especially when the prints had a personal message from Benjamin or were sold out! Why chance having something of value damaged?
8) Cost and value: We have several quality options to choose from to fit your budget. When you add up the time and other expenses you incur to receive the proper type of framing, you will find that we offer an excellent value.

FRAMING DESCRIPTIONS:

The following are important factors to proper matting and framing of originals, art prints, and photographs:
Matting and backing:

1) The art or subject matter should never have direct contact with the glass; otherwise condensation may form causing mold and mildew, thus causing major damage. The purpose of matting is to provide an area where air can circulate between the glass and art.
2) Always use acid-free mats and backing boards; otherwise the mats will yellow in time and cause the art to discolor as well.
3) Mats and frames are used to compliment an art piece. They bring out the colors in an image while drawing in the eye. The proper choice of matting and framing is essential for showcasing an art piece; otherwise the piece could get lost on the wall. Also, at least 3 inches of equidistant matting is recommended to encase images over 10x14.

Dry mounting and conservation mounting:

1) Dry mounting is the process of applying a mild adhesive to a foam board or backing board and vacuum pressing an art print to the board. This keeps the print from waving, but the original state of the print has been altered, thus hindering the print’s ability to appreciate in value beyond its current price. Dry mounting is not recommended for limited edition prints if there is a possibility that they may be resold and reframed in the future. Original paintings or drawings should not be dry mounted, unless the artist purposefully dry mounts the art. Photographs are sometimes sold dry mounted. It is also common to dry mount diplomas and certificates because they are not going to be resold.
2) Conservation mounting is the use of acid-free corners that hold an art piece to a backing board rather than permanently affixing it. The art can then be easily removed from the board. This is the best way to mount limited editions, but waving will usually occur.
3) Waving is a common occurrence with any type of art on paper, especially originals, where the paper has a slight noticeable wave. This is caused by the weight of the paper and humidity. The best way to make an art print flat is to dry mount it; but then you’re basically choosing between the print waving or loosing it’s ability to appreciate in value.

Floating:

An art piece is floated in a frame when it is fixed to an unseen foam board or backing board, and that board is affixed on top of a mat that is visible. This makes the art look like it is floating above the bottom mat. A strong, removable acid-free adhesive is used that does not hurt the art.

Glass:

1) Most prints are framed with a standard high quality picture framing glass. It is simply called regular glass, but there are other types of glass available that provide much better protection against ultraviolet light. Conservation glass and UV clear glass is premium quality picture framing glass that is the best to combat the negative effects of ultraviolet light. It is more expensive, but worth it, especially if the artwork will be in a bright sunlit room or has to be under fluorescent lights. Avoid hanging artwork in direct sunlight or under fluorescent lights. The colors will fade out rapidly.
2) Non-glare glass may be used if glare and reflection is a concern. Most of the non-glare glass that has been traditionally available is not recommended. It historically causes the image to be distorted and fuzzy, but new technology in conservation reflection control has been developed.
3) Original oil paintings should not be framed with glass. The oil paint needs to breathe. It is recommended for originals in all other mediums to be framed with glass for protection.
4) Plexiglass is often used as a substitute for regular glass when requested or for very large framed pieces. It weighs less, causing less strain on the overall frame when it is hung. Some plexiglass has ultraviolet light protection. It also has less potential for breakage during transportation and shipping. It does require special cleaning care. Use a soft damp cloth to clean only. The abrasive qualities of cleaners like Windex cause scratches to appear on plexiglass.

Canvas framing:

An original or Giclee on canvas is usually stretched on wood stretcher bars without matting or glass. A linen liner may be used between the canvas and the frame. It accents the art as a visual break between the art, frame, and the wall.

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