Understanding Art Print Editions: What Those Numbers and Notations Really Mean

There’s a quiet language written in pencil at the bottom of every fine art print — a small set of numbers, letters, and a signature that tells you more about the work than you might expect. If you’ve ever picked up a print and wondered what “13/18” or “A/P” means, you’re not alone. Understanding art print editions is one of those things that changes how you look at — and value — original prints forever.

I’ve been screen printing for years, and editioning is one of my favorite parts of the process. Screen printing is hands-on and unforgiving in the best way — down and dirty, with results that make every pull slightly different from the last. I work with a one-color press and often build up multiple colors in passes, which creates its own set of challenges. But those challenges are also what make each print in an edition genuinely unique. Humans, unlike machines, aren’t perfectly consistent. We shift the paper slightly. We vary the pressure. The ink lays down a little differently each time. Editioning is the practice of acknowledging and documenting that uniqueness — and it’s what separates a hand-pulled print from a reproduction.

Why editioning matters: provenance and value

When an artist limits the number of prints in an edition and numbers each one, they’re doing more than keeping records. They’re establishing provenance — the documented history and authenticity of the work. The fewer prints pulled in an edition, the more value each individual print carries. A limited run of 18 hand-pulled prints will always hold more significance than an open edition of hundreds.

Numbering is straightforward. If an artist pulls 18 prints, each one is assigned a number from 1 to 18. A print labeled 13/18 means it was the thirteenth print pulled from a limited edition of 18. The artist committed to pulling no more than 18 — and ideally, that commitment holds. The integrity of the edition depends on it.

One practical note worth knowing: always label your prints in sharp pencil, not ink. Pencil is harder to reproduce convincingly and offers a layer of protection against fraudulent copies. It’s a small habit with real implications for the work’s authenticity.

Open editions: when unlimited runs make sense

Not every print run is limited. Some artists choose to print open editions — runs with no fixed ceiling, where the artist retains the option to reprint as demand allows. Open editions are common for concert posters, event prints, and band merchandise, and they’re considered collectible in their own right. They may carry a signature but are typically not numbered, since the quantity isn’t fixed.

Open editions trade exclusivity for accessibility, which is a legitimate choice depending on the artist’s goals. But for collectors seeking provenance and long-term value, a numbered limited edition will always carry more weight.

The notation system: what those initials mean

Beyond simple numbering, printmakers use a set of standard notations to describe how a print was produced, its place in the edition, and its relationship to the final work. Here are the most common ones:

A/P — Artist’s Proof. Prints pulled alongside the main edition for the artist’s personal use. These are produced simultaneously with the edition and typically represent up to 10% of the total print run. An A/P is considered equivalent in quality to a numbered print.

B.A.T. — Bon à Tirer (“good to pull”). The first perfect print pulled from the matrix, signed by the artist as the benchmark against which all other prints in the edition are matched. The B.A.T. typically remains with the editioning atelier rather than entering the market.

T/P — Trial Proof. Prints pulled during the development of an image, before the edition is finalized. Trial proofs document the evolution of the work — which makes them historically interesting and, when they surface on the market, often quite valuable.

S/P — State Proof. A broader term covering working proofs at various stages of development. It can refer specifically to trial proofs that were reworked after an image was first editioned.

V/E — Variable Edition. Used when prints contain unique elements that can’t be exactly replicated from one pull to the next. In practice, many printmakers simply label these 1/1 — an edition of one — which is cleaner and equally descriptive.

Imp. — From the Latin impressit, meaning “has printed.” An artist who printed their own work may add this after their signature as a mark of authorship over the production process itself.

H.M.P. / H.P.M. / H.M.M. — Hand Modified Print, Hand Painted Print, or Hand Modified Multiple. Used when an artist has added hand-applied elements to a print after the edition is produced. Most commonly found in serigraph prints, where the combination of printed and painted marks can make each piece feel singular.

Why it all adds up

A numbered, signed, properly notated print is more than a reproduction. It’s a document — of process, of intent, and of the specific moment when ink met paper and became something worth keeping. Whether you’re a collector trying to understand what you’re buying or an artist figuring out how to properly edition your own work, these conventions exist to protect the integrity of the print and the relationship between the artist and the people who want to own their work.

The pencil marks at the bottom of a fine art print are small. But they carry a lot of meaning.

 

Artwork Archive
https://www.artworkarchive.com/blog/9-things-to-know-about-art-editions

Artsy
https://www.artsy.net/article/hang-up-gallery-a-guide-understanding-print-editions-techniques-ap-hc

Print Gonzales
https://www.printgonzalez.com/hellbox/2018/4/3/printmaking-101-series-a-guide-editioning-and-signing-fine-art-prints