Serigraphy as a fine art promoted in the Unites States during the depression by the Works Project Administration. It was during that time that Carl Zigrosser, a noted art historian, gave the art it's name: serigraphy, from the Greek serikos, silk and graphos , writing. In the 1960's, pop art in the United States took serigraphy to new heights, and today serigraphs are an important part of the art market.

Serigraphy is a "direct" printing process. The image is not reversed from the screen to the print. A serigraph reproduction is made this way: first, the original work in whatever medium, must have the sum of its parts (all the colors) separated. In many cases, lesser quality serigraphs will use a photographic process, which requires a minimum of time. In the case of our serigraphs, all the original colors are separated by hand. In other words, an artist must literally repaint the entire work (which means dozens of colors) on mylar. The serigrapher must also recognize how to interpret the original in less color for the reproduction. That is: if there are several hundred colors in an original painting, then the serigraph artist must be able to interpret those colors in 150 colors or less to make it economically maketable for the publisher, and affordable, ultimately, for the customer. Each color represents one screen. The screens are made of silk, nylon or wire mesh, tightly stretched across a frame. The image is transferred from the mylar separations to the screens. A new screen must be made for each color. Each color is applied one at a time by dragging ink across the screen with a squeegy. Allowing for drying time, a press working at normal capacity will print approximately one color per day, on an edition of 400 prints. If the piece calls for 100 colors, then one could safely assume a production schedule of 100 days or more.

The silkscreen process has grown to be one of the most acceptable and enjoyable media for reproduction in the art market. Although not an exact replica of the original, the serigraph takes on its own interpretive sense, and at once becomes itself an original work. From Joan Miro to Andy Warhol, artist, managers and patrons alike have given the serigraph integrity, and the opportunity for appreciation in the aesthetic and a monetary sense.