The Edition: Modes and Identification

[sunsetbrew]

The Edition: Modes and Identification

And edition is an ensemble of prints pulled from one or several printing elements in their definitive form.

There are several modes of edition: identical prints, varied, limited, open and reprinting.

The Conventional Edition

An edition of identical prints is made up of copies of a bon à tirer approved by the artist in answer to his or her aesthetic requirements. The artist or printer aims for uniform printing, and prints with the same colours onto identical supports. This is conventional editioning.

In addition to the prints destined for the market and assigned an edition number, this kind of edition comprises artist's proofs, printer's proofs, studio copies, legal deposit proofs and those not for trade. Sometimes, copies are printed as demonstrators: these are specimen tests.

All prints are identical to the bon à tirer, and all have the same value.

The Varied Edition

In an experimental process of aestetic research, the artist may explore a number of printing possibilities from a final matrix or matrices. The varied edition is made up of proofs that are different versions of the same image.

Though these variants are all different, the artist considers them equal and aestetically valuable.

The Limited Edition

A limited edition has a fixed number of prints determined by the artist or publisher. No other proof may be printed without the mention, <<reprint>>.

The Open Edition

An open edition is one where the total print quantity is not determined. In this case, proofs are printed as needed.

Open editioning is suitable for artists who want to exercise freedom in reusing matrices.

In the case of editions intentionally left open from the start -- i.e., with no pre-set limit -- artists must number identical prints in order of impression using whole numbers expressed in Arab numerals, thereby indicating that there is no predefined limit. For variants, the label <<Variant>> precedes the Arab numeral. <<Open edition>> must be indicated on the document form.

Example 1: 1 (2, 3, etc.) title, signature,date.
Example 2: Variant 1 (2, 3, etc.) title, signature,date.

Reprinting/Re-Editions

After the original edition has run out, it may be reprinted provided that the printing elements still afford satisfactory image quality.

New editions, series' or variants made after the first edition must indicate the reprint rank -- 2nd edition, 3rd edition, etc. The date recorded indicates the completion of the re-edition.

The competion date for the original matrix must figure on the documentation form. The other inscriptions resemble those of the first edition. These proofs are signed by the artist, except in the case of posthumous editions which obviously remained unsigned.

Example 1: 2nd edition 1/25 (2/25, etc) title, signature, date.
Example 2: 2nd edition, Variant I/V, 1/5 title, signature, date.

Hybrid Editions

Printmaking experimentation leads artists to explore avenues that pose problems in identifying editions. Artists may rework earlier matrices to create new works, reuse them in new combinations, or alter aready editioned proofs or prints. Certain works fill a number of categories simultaneously, and identification becomes more difficult. In this case, several qualifiers are combined and written on the face of the print, or on the back if they interfere with visual presentation.

Examples of hybrid editions are, an artist printing variants of each sequential state or one who prints a conventional edition from a variant, leaving open the possibility to print new variants later. In certain cases, only the indications on the documentation form record the artist's complete creative interventions.

Pages: 45-47
From "Code of Ethics For Original Printmaking"
ISBN 2-922018-05-9

[mmotorcycle]

Thomas if you haven't already you should post these on the API site. It is exactly what we need over there. Are you a member?

[sunsetbrew]

I am and I will

[mmotorcycle]

[Yamar]

Wonder how many artists out there follow all these guidelines? Shame that it's really not an "industry standard" cause they do seem pretty easy to follow in my book.

[sunsetbrew]

I suspect most folks would conform to a basic set of guidelines like these if the information is freely available and widely accepted.

There is another aspect in that some illustrators don't consider gig posters art but simply advertising and therefore undeserving of all the formalities. This may indeed be the biggest problem in the way of conventions like these.

[mmotorcycle]

I don't know many artists that think like this thomas. all respected artists that I know of follow pretty strict guidelines. there are some artists that stand by the idea that they are strictly for advertising but they print 200 or 300 posters, give 30 or so of these to the venue/promotor and sell the rest. This says to me that it is much more than just advertising.

[Yamar]

Great point Michael... If an artist reasoned that a piece was "just for advertising" and shouldn't follow the "rules" then how can selling be justified.

[pagan]

I am impressed with the nowledge that can be obtained from
your site, you are a poster freak! (thats a good thing, I can not
spell connisuer, or afficianado, or stuff like that so freak
is all that) I am glad i found the "other" playground,
AHH, I have found yet another forum to stalk MMMotrcycle! You
can not get away! oh, man I saw your older paintings MMM, you
to are a freak! (no, for real you are a freak!) Nice work, it must be
extremely time consuming to paint, I wish that I had learned to
paint, instead I learned to do art with a pen, so when I pick up a
large brush I get all confused and just lay it down, I have hopes
to learn though. Any way Sunset great site, I will be learning
alot from here.

[sunsetbrew]

Thanks pagan. It is a small world we live in. Any by the way, you art kicks ass.

http://www.seriousdesign.com/stephenstohr