EB Forum

earlgreytoast wrote:Wow, just came in this thread and there's no way I'm gonna read the whole thing. Or is it worth the read? Cliff notes please

Read it out loud with an Australian accent.

Did Doyle get self-righteous? Did Daniel Danger say awesome things? I'm just gonna assume both.

earlgreytoast wrote:Did Doyle get self-righteous? Did Daniel Danger say awesome things? I'm just gonna assume both.

It's like you're psychic.

earlgreytoast wrote:Did Doyle get self-righteous? Did Daniel Danger say awesome things? I'm just gonna assume both.

yes and not really

One more guess, did Doyle mention his employees and their health insurance?

Ok drymounters, I'm gonna go read it now...

Yes.

he is drymounting your mom on a pile of cash he made from reprints.

seeker1115 wrote:I have a Doyle piece on my wall. Gonna have to change that fudge out now after reading these last 18 drymounting pages of everybody repeating themselves and one dude not listening.

Well, I consider that a success.

Mission Accomplished EB:

ok, if you want an artists perspective. heres some points worth making while i eat this pizza.

one thing to keep in mind editioning is part of the nature of the medium; there is a choice, but it is also fixed into the the process. silkscreening specifically is not a infinite printing artform. silkscreening requires alot of upfront prepress setup, all of one color is done, then the next, then the next. screens break down as the runs progress, things shift, you wash out one screen to burn the next color screen, you may only have enough drying space for 200 prints. etc etc. you can logistically only print so many at a time. when you reburn screens, remix new inks, realign registration, all the things required to set up another batch of prints down the line, things are different. silkscreening is an imperfect artform by nature, one batch of 300 is theoretically different from this other batch of 300, and traditionally an edition is a specific singular printing of an image. a related good example is my friend justin myer stallers prints, he works with delicate intaglio type plates, and he might get ten prints out of a plate before it starts to break down, changing the whole image. thus, his prints are part of a small edition because he is limited by the medium, not by choice.

(side note: yes, mondo could easily get away with huge editions because they print at shops with small margins of error and output capabilities. but im pointing this out because mondo-esque companies represent a fraction of a percent of the print edition world, and this is me talking about the cultural side of the artform.)

screenprinting requires a number up front for quantity, as they are printed all at once, not on demand. each costs money to produce up front out of your operating budget. some artists can only afford to produce 100 or 200 at a time. prints produced but unsold are money lost. having hundreds of unsold prints that cost $10 each left over because you assumed 1000 people (the OPs "potentially 1000s") would buy something that only 400 actually did is something that can crash a small artist. sure, you can do a preorder, but every single audience will tell you horror stories of selling the print before the print arrives, and every collector will tell you a story about buying a print before seeing the printed version. its a gamble. so what im saying is that aiming to meet all hype/potential/theoretical demand can and likely will flop miserably (ive got a few personal experiences with this). safer to read your audience, think realistically, and let some people get shut out vs letting yourself get shut down.

plus, its simple. theres no better promotion for your club than a line outside. theres no better promotion for your shoe than a sold out sign in the window. in a way, its advertising you pay for in a different manner. if i meet all demand forever it lets customers off their toes. thats just like Commerce 101. most artists try to strike a balance between the various aspects. i generally aim to meet the demand of the first day sales, if you follow me and make a valid effort youll likely succeed in getting what youre after.

there are many variations on the things above, devils advocate concerns, counter points etc etc. my personal stance for my work is that editions are a promise. when you buy this print, you and i have an understanding. if i sell an edition "limited to 200" and you save up your hard earned dollars and buy it fairly thinking "there are only 200 of this in the world" (as art historically has a nature of investment, and because im telling you so), and then i bust out another 200 after its sold out; youre gonna feel like i kinda broke a promise to you. youre not gonna trust me in the future. and the only stability in art/business is repeat supporters who feel you will support their investment in you.

pizza. danger out.

danieldanger wrote:ok, if you want an artists perspective. heres some points worth making while i eat this pizza.

What kind of pizza?

Daniel Danger came in and drymounted you all up with some truth, dropped the mic, and left.

End thread.

Usually when you see a wall like that, it's tl:dr. I read it and I can taste the pizza.

Massachuesettes pizza is historically terrible pizza.