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The methods of choice for most forgers are photomechanical lithography and photomechanical serigraphy, techniques for transforming a photograph of an original work of art into a lithograph or a silk-screen print.

Most photomechanical prints, such as color magazine photographs and inexpensive fine-arts posters, are made using the ''dot matrix'' method. The reproduced image is made up of small dots of pure color that are clearly visible under a magnifying glass.

The advanced techniques used by forgers, by contrast, reproduce the image in broad areas of color that simulate the appearance of original lithographs or serigraphs (or silk screens). There are no dots to indicate that the print is an inexpensive, mass-produced item.

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The fakes are also usually printed on high-quality rag paper and often are so expertly done that even experts cannot readily tell them from original ''hand pulled'' prints.

Two techniques are most common: continuous tone lithography and photomechanical serigraphy. With these methods, the lithograph or serigraph can be made using only a photograph of a work, without any involvement by the artist.

Traditionally, an artist creates a lithograph by drawing a design with a grease pencil on a stone plate. The drawn areas attract ink, while other areas do not. The print is made by ''pulling'' the lithograph several times through a press; with each pull the print receives a new broad area of a different colored ink.

In continuous tone lithography, workers copy or trace an image from a photograph of an original work onto sheets of Mylar. The Mylar sheets are then used to make plates, one for each color, from which the edition of lithographs is then made.

In serigraphy, the edition is made from silk-screen plates that have been copied from a photograph of an original work

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