What Is an Artist Proof?
In traditional original printmaking, an artist’s proof is an impression set apart from the ordinary numbered edition for the artist’s use. It is commonly described as an AP.
The Fitzwilliam Museum’s terminology record defines artist’s proofs as proofs numbered separately from the edition. It also notes that they are often made at the same time as the edition. The AP designation alone does not show that an impression was printed first. It also does not prove better printing, greater quality, rarity, authenticity, or value.
The key fact is the separate designation. Any claim about when the proof was printed or why it was retained should come from records for that specific work.
Artist’s Proof vs. a Numbered Edition Impression
An ordinary edition impression may carry a number such as 5/20. Tamarind Institute explains that the bottom number gives the number of impressions in the numbered edition. The top number designates the individual impression. In this example, the mark identifies impression 5 from a numbered edition of 20.
An artist’s proof is numbered separately from that ordinary run. Its separate count should not be added to or removed from the numbered edition unless the documentation for the work explains that relationship. For instance, an edition numbered to 20 and a separate group of artist’s proofs should be reported as two documented groups.
At the Tamarind Institute, the edition structure includes numbered prints, artist’s proofs, a signed approval print, and archive impressions. Tamarind documents each type. This describes Tamarind’s process rather than a required process for every workshop.
For more context on fixed and unlimited runs, read what’s the difference between limited and open edition prints? The main distinction here is narrower. A numbered impression belongs to the ordinary numbered run. An artist’s proof is designated and numbered separately for the artist’s use.
Why an AP Is Not a Trial or Approval Proof
The word proof can describe objects with different roles. Those roles should not be treated as interchangeable.
A trial proof is made while the image is being developed or checked. A color trial proof records the testing of color choices or combinations. These proofs may show stages reached before the finished edition. That development role differs from the role of a finished artist’s proof.
An approval proof has another purpose. In Tamarind’s lithography process, the printer continues making proofs with different color and paper combinations until the artist is satisfied. The artist signs the final proof as the bon a tirer, meaning “good to pull.” That signed proof becomes the standard used by the printer for the full edition.
This is Tamarind’s documented method. Proof terminology and production steps should be tied to records for the specific workshop and print. If documentation identifies an impression as a color trial, describe that role. If it identifies a signed standard used to print the edition, state that role. Neither should be called an artist’s proof merely because each is a type of proof.
Where a Test Print Fits
A Stackhouse test print is one small production print of an uploaded image. It uses one selected surface, size, and border treatment. It follows the normal loose-print workflow.
The physical print can be used to examine color, contrast, crop, border, surface, scale, and file detail before a separate order. It is not an artist’s proof. It is also not a contract color proof, manual color correction service, consultation, approval hold, or linked production order. Reviewing the Test Print does not approve or release another order.
How AP Is Used for Digital Reproductions
AP also appears in at least one documented practice involving digital artwork and giclée reproduction. The meaning should be stated through the named artist’s own process rather than assumed from the label alone.
Comic artist David Marquez describes his Artist’s Proofs as high-resolution black-and-white giclée prints made from comic pages he created digitally. He states that he makes one physical proof for each page when the book is released. He then signs and labels each proof.
This is an artist-specific use of the term. The one-proof-per-page practice and the stated production details describe Marquez’s work. They should not be applied to another artist’s prints without supporting documentation.
Giclée is a form of inkjet reproduction. Stackhouse giclee fine art prints reproduce artwork or photographs with pigment inks on fine art papers. A giclée reproduction does not become an original print merely because it is signed, numbered, or labeled AP. Those details may describe how the artist presents that copy, but the medium should still be identified as a reproduction.
Final Takeaway
An AP designation identifies a separate group of impressions; it does not establish when or how well they were printed. Trial and approval proofs describe different production roles. For digital reproductions, look to the artist’s documented practice to understand what the label means.
FAQ
These answers summarize the main differences among proof terms.
Can an artist’s proof be printed at the same time as the numbered edition?
Yes. The Fitzwilliam Museum notes that artist’s proofs are often made at the same time as the edition. The AP designation does not inherently mean that the impression was printed earlier.
Is there a universal number of artist’s proofs?
No. Artist’s proofs are numbered separately, but no single count or percentage applies to every work. State the documented AP quantity when it is known rather than assigning a presumed number or percentage.
Is a giclée marked AP an original print?
No. A giclée reproduction does not become an original print merely because it is signed, numbered, or labeled AP. Describe it as a reproduction and explain the artist’s documented use of the AP term.
