an outoftheCUBE publication: demystifying original print editioning

a backintheCUBE online catalogue

demystifying original print editioning

Lying Head I Johan Louw lithograph printed at: The Artists’ Press

an outoftheCUBE catalogue featuring original print images from the outoftheCUBE archive

by mandy conidaris co-founder and director: outoftheCUBE current site www.outofthecube.online archive site www.outoftheCUBE.co.za

The Brave Tree Karin Daymond lithograph printed at: The Artists’ Press

original print editioning: general principles

preparation for printing

what is an original print? simply put, it is an artwork, usually on paper, that is the result of a transfer of ink from a surface created by an artist (usually called a ‘matrix’) to the paper. (traditionally the matrix is a lino or woodblock, metal plate, silkscreen or litho stone/plate).

Amazayoni Sthembiso Sibisi etching printed at: The Caversham Press

new media prints here the matrix on a computer holds the digital image - whether a straight photograph, a manipulated digital print or a video/DVD. they are printed out usually with sophisticated inkjet printers, so the ‘handinking’ usually associated with original prints is not part of this process.

Intertext _ Noeleen Kleve _ new media: digital print _ printed by the artist

because there is often confusion between the terms ‘reproduction’ and ‘print’, we sometimes call an original print an ‘impression’ (taken from the matrix)

Generations _ Gabi Nkosi _ linocut printed at The Caversham Press

what is a reproduction? an artist will create a one-off work such as a drawing or painting. the work is commercially photographed or scanned, and then the resulting digital image is mechanically reproduced with the intention that the reproduction is as near as technically possible to the original work and with no further creative input from the artist. reproductions can be editioned and sometimes signed by the artist. But they are NOT original prints. depending on the artist, reproductions may have a certain value in the art market –or may end up on postcards and Tshirts.

Rat-race Colbert Mashile linocut printed at: The Caversham Press

where does the idea of editioning come from? it is a traditional printmaking principle to make sure that a series of original prints becomes and stays limited. this is because the image on the matrix is able to be reproduced in a near identical way many times.

The Land of my People Errol Khutso Manota etching printed by the artist at Artist Proof Studio

for the art collector: why are prints editioned? an edition shows a collector or a curator that the artist has deliberately limited the number of impressions taken from the matrix, so ensuring a degree of exclusivity and protecting their investment.

G(raven) II _ Rina Stutzer _ etching _ printed at: Tim Foulds Print Studio (printmaker: Tim Foulds)

a bit about the purchase the primary purchase: the prospective owner buys directly from the artist, or from his/her agent/representative or gallerist. the secondary purchase: should this owner sell on, the print will be bought either by another individual, the curator of a collection, or go on auction. ‘secondary purchasing’ may continue throughout the life of the print, which may be resold many times, so its editioning history is important – any unethical editioning will ultimately affect the price of the work, the career of the artist, AND may compromise the printmaker’s reputation.

an artist’s price structure does not remain static online, it has become simple for collectors and curators to follow the prices that works of art achieve on auction (the secondary market).

Absence IV – Karen Pretorius _ new media: digital print _ printed by the artist

since editioned original prints exist as multiples rather than one-off works, the online accessibility of prices has had an impact on the overall print market, as collectors expect all prints from an edition to have equal monetary value. although this does help collectors and curators to peg a price for both primary sales (work new to the market) and secondary sales (sell-ons), it is important to remember that an auction price is always dependent on how many bidders for that work are at the auction on the day, and may not reflect the true inherent price of the work.

for the artist: why should you edition your prints? for your reputation as an artist of integrity it is important for the collector/curator that an artist is ethical about his or her editioning process, as if sloppy/unethical editioning becomes known, the artist can lose credibility, so damaging his or her market, or even career. professional editioning principles respect the collector who buys your prints in good faith.

Keep your women and cronies happy Neill Wright screenprint printed by the artist

how do you decide on an edition size for your print? this is mainly dependent on your own market and the demand for your work. There is no point making an edition of 50 if you are an early career artist or if your work doesn’t sell easily. Likewise, too small an edition (e.g. 3 or 5) sometimes limits your sales potential.

Chronicle series: salvage _ Emma Willemse _ new media: digital print _ printed by the artist

The Angel Andrew Verster screenprint printed at: The Caversham Press

how do you price your work? creating a matrix is a painstaking and lengthy process requiring a high level of technical skill. you want to realistically make the most out of it financially, keeping in mind that prints from a smaller edition are worth slightly more than from a larger one.

Balancing stones Strijdom van der Merwe Lithograph Printed at: The Artists’ Press

learn from your successes and carry on working ‌ should the edition sell out fast, although you may kick yourself mentally for not making a larger edition, you should also congratulate yourself that your work may soon achieve scarcity status, and that collectors/curators now may begin to actively wait for new work.

Egoli, Egoli, a wonderful town, a wonderful town ‌ _ Robert Hodgins _ linocut printed at: The Caversham Press

be realistic don’t be tempted to make your next edition much bigger. That last print may just have been a ‘bingo’* print’! the ‘quick fix’ is usually not the best for your career in the long run. Rather make new works. And there is nothing worse than sitting with drawers-full of unsold prints!

Earthbound _ Bongi Bengu _ screenprint printed at: The Caversham Press

* this is a term that Gabriel Clarke Brown uses to describe an unexpectedly desirable, fast-selling print

the following could have larger edition sizes techniques that are quickly printed (e.g. relief prints) or where the image must be cleaned from the matrix after printing to free it for further use e.g. screenprint, lithography. (although it’s not quick to produce the matrix!)

Preparation Simphiwe Cebekhulu linocut printed by the artist at The Caversham Press

not all prints in the edition need to be printed up in one go – especially digital and intaglio prints – but they must be carefully documented.

If your work is available for sale, it is wise to keep a reserve of 5 prints in hand.

Robyn the Rainspider Cloudia Hartwig chin collĂŠe etching printed at Chocolate Ink Studio

and once you have finished the edition – always destroy your matrix!

etching plate: scratch (see above) or immerse into acid. lino: cut into pieces. woodcut: scratch or sand down to a flat surface for further use. litho stone or plate: chemically wash off image (to reuse stone/plate). screenprint: remove stencil from screen and scratch through positive.

the only exception to this rule is if you are going to make a themed series where you make an image on a matrix, print the edition, then rework the plate for a second related image and so on. often this series of prints will exist as a set, a portfolio or even within the format of an artist’s book. but again ‌ after the last print of the final image has been printed – destroy your matrix!

prints in the edition

the edition number

this is the formal number of prints in the edition that will enter into the art market. e.g. here, this print is number one from an edition of 10.

this is a series of prints (usually a small edition size) where each image in the edition should be as similar as possible, but the particular printing technique used does not allow for the production of identical images. for example, inking the matrix with areas of different colours or adding collage-like elements (chin collĂŠe).

the ĂŠdition variable (E.V.)

(this is print number 2 of an E.V. edition of 5)

digital prints that are worked on individually after printing in a way that may leave subtle differences, but with the intention that each print should form part of an edition of as-near-as identical images as possible, fall into this category. the edition variable prints are numbered EV 1/10, EV 2/10 ‌ etc. or 1/10 EV, 2/10 EV ‌ etc.

editioned hand-coloured prints this is a series of prints (usually a small edition size) that have been printed up identically then painted/coloured by hand. the resulting prints should each be hand coloured in as identical a way as possible with no intended colour shifts or changes.

Ah, but the clouds _ edition number 3/10 _ Colin Richards hand-coloured lithograph _ printed at The Caversham Press

any of these prints that are not handcoloured stay in the art market, but usually at a lower price. the edition remains a single edition, whether or not the individual print is hand-coloured.

Ah, but the clouds _ edition number 10/10 _ Colin Richards lithograph _ printed at The Caversham Press

these are prints made for the artist’s record, and often given as gifts. sometimes they may be experimental printings and slightly different from the edition.

nowadays artists will sell their proofs, and here comes the temptation: “who will know if I just print up one more for a client?” BUT the number of A/Ps must be documented in the edition.

the Artist’s Proof (A/P)

how many Artist’s Proofs per edition should there be? a guideline: if the edition size is 1 – 5, one A/P is acceptable; 6 – 10, two A/Ps; 10 – 30, three A/Ps; and from 30 onwards, no more than 10% of the edition size the A/Ps may be numbered with Roman numerals, e.g. A/P I/III, A/P II/III … etc.

these are prints given to the printmaker in return for technical assistance. it is pre-negotiated before the work starts. It may be given in part-payment for printing services, or for the printmaker’s own professional portfolio. all printmakers have different ways of working.

the printer’s proof (P/P)

digital prints: if working with a visual arts IT specialist, he/she may also negotiate for a P/P. again, the P/Ps should be part of the editioning documentation, and may be numbered with Roman numerals, e.g. P/P I/III, P/P II/III ‌ etc.

these are works in process. they may be known as state proofs or stage proofs. they may be stages in the technical image development (known as ‘plate origination’) or represent inking experiments. they may be sold but are known as ‘out of the edition’.

the state proof/stage proof

again, the state proofs/stage proofs should be part of the editioning documentation, and may be numbered with Roman numerals, e.g. state proof I/III, state proof II/III ‌ etc. this example has two state proofs and a BAT (final proof).

stage 1: State Proof I

stage 2: State Proof II

stage 3: B.A.T. Proof

what is fascinating about the State Proofs is that they show the history of the plate origination and often have notations by the artist – instructions to the printmaker.

stage 1: State Proof I

stage 2: State Proof II

the B.A.T. print some printmaking techniques, such as intaglio prints, do not require the presence of the artist during the printing of the edition, so the B.A.T. is a ‘studio’ print signed by the artist. it indicates that after several different printing attempts, the artist is satisfied with that print and wishes the entire edition to replicate that print.

a French term: bon à tirer meaning ‘good to pull’

B.A.T print Train to Dublin Dikgwele Paul Molete etching with aquatint printed at Tim’s Print Studio (printmaker: Tim Foulds)

the printmaker keeps it beside him to ensure technical consistency with each print. the B.A.T print may be sold at the same value as other prints in the edition, as long as it is immaculate. it is labelled B.A.T. and there should be only one.

the H/C or H.C. proof is not in the formal edition, but is visually identical to the edition.

H/C or hors de commerce is a French term for ‘out of trade’. it is sometimes known as the Publisher’s Print (not to be confused with the Printer’s Proof).

the H/C print or the publisher’s proof

an H/C proof is printed for the market - for dealers to show clients.

It is intended to be handled easily, and even may be damaged with use. if an artist or printmaker has a big client bases with several representatives (gallerists or dealers) he/she may print one H/C print for each of them since it is not intended for sale, it is often ‘spoilt’ by the printmaker by punching a small hole in the image. a single commercial proof will be labelled H/C multiple commercial proofs will be labelled H/C I/III, HC II/III ‌ etc.

but a further reason for an artist/printmaker to create an H/C proof is to donate to a public gallery or a museum.

The Free Girl Claudette Schreuders lithograph printed at: The Artists Press

After shopping Pat Mautloa lithograph printed at: The Artists’ Press

Wanderer Gwen Miller new media: digital print printed by the artist

the open edition

this is an editioning process where the artist wants an infinite number of images to be reproduced, but this: • should be motivated on conceptual grounds. • must be documented as such from the beginning.

the prints may be printed on demand the artist may choose to ‘close’ the edition at will numbering will be 1. , 2. , 3. , 4. etc. with no underscore number

Story of Baby Yellow IV Ryan Arenson new media: digital print edition number: 1. printed by the artist open edition

eros essence I and II _ mandy conidaris _ watercolour monotypes _ printed by the artist

monoprints and monotypes there is always much confusion around these two terms

monoprint

this is different from the E.V. (a print in which the image is printed as closely as possible for each impression with the understanding that the technique does not allow for completely reproducible images). with a monoprint, the same matrix is inked up intentionally in different ways, often with different colours and/or densities of ink and selective wiping, and then printed. monoprints may also contain different chin collĂŠ elements.

the prints may be numbered as 1/1, but often the titles are the same with Roman numerals, see below. the documentation will specify ‘monoprint’.

Back and Forth I Colleen Alborough monoprint printed by the artist

Back and Forth II Colleen Alborough monoprint printed by the artist

(diptych)

monotype a ‘one-off’ impression, closer to a drawing or painting. The artist paints or works with inks directly onto a sheet of glass or Perspex and the image is directly transferred to the paper by hand rubbing or running through a press. the image is non-reproducible, although one or more ‘ghost prints’ may be pulled if there is enough ink residue on the plate. These will become increasingly lighter and lighter. the plate may be overworked so that traces of the original image remain, and this is often one reason for choosing this technique.

the print will be ‘numbered’ as 1/1. even each ghost will be a separate 1/1 as it is also visually a one-off print. again the title may be the same with Roman numerals, or may be different.

Morama nut plant VII Sara Cao monotype printed at: The Artists’ Press

Morama nut plant I Sara Cao monotype printed at: The Artists’ Press

the portfolio this is a suite of prints that are intended as a set, generally produced within a short timeframe. they may form a narrative or be a thematically linked series. a portfolio may hold works by a single artist or by a group of working for a specific project.

porfolio cover closed

portfolio cover open

Garth’s Novene Garth Erasmus screenprint portfolio

they are often formally ‘boxed’ in a case called a solander, or a specially constructed case or paper portfolio cover that relates visually to the theme. in terms of the market, some of the portfolios are split up to sell the prints as singles. this will be documented, e.g. edition of 50 portfolios 1 – 20 retained as full portfolios portfolios 21 – 50 split up

The Boston Portfolio printed at: The Caversham Press to commemorate their 25th anniversary exhibited in Boston, 2011 William Kentridge

Mmakgabo Helen Sebidi

Deborah Bell

Vusi Zwane

David Koloane

the editioning documentation process

ideally this should be an ‘open door’ document, with transparent information, readily available to dealers and purchasers, and may accompany the print through its life, being handed on to future owners.

an example of the info needed for a comprehensive documentation for a print edition • artist Jane Cornish • title Sacrifice • date 2009 • medium etching/drypoint • image 850 x 500 mm (h x w) • paper Fabriano Rosapina 1000 x 700 mm (h x w) • edition 20 • extra prints 3 x A/Ps; 1 x P/P; 1 x B.A.T.; 1 x H/C; 3 x stage proofs;

why ethical editioning principles must be held: to protect the reputations of the artist and the printmaker AS WELL AS the investment of the purchaser. how is the best way for an artist to keep control of their editions as well as build a data base of supporters? two simple solutions: an Excel worksheet _ a card index file sorry artists, no excuses ‌

Excel worksheet

card index system

how to price your prints – a few guidelines peer comparison - as a new artist with an untested market, it is a good idea is to look at prints by other artists you feel are your peers and see what prices their work achieves in the market. You can also be guided in this by people who market such prints. unfortunately you must accept that in your early days as an artist, the work and effort you put into making an edition of prints is usually unrelated to the price you will get!

the value of a print - again, several factors determine this

how well the artist is known as an artist becomes better known and their work recognised, the prints they make should appreciate in value.

from the outoftheCUBE exhibition – The artist’s mark in print

the image does it form part of a recognisable style or important phase of the artist’s career?

Exchange _ William Kentridge _ lithograph _ printed at: The Caversham Press

the technique an artist uses in general and traditionally the price is influenced slightly by the printmaking technique – here I give the cheapest to the most expensive in ascending order: relief (lino/woodcut) screenprint lithography intaglio (etching/drypoint etc.)

the size of the edition generally, with similar prints by a the same artist (date, technique, theme etc). a smaller edition size should achieve a slightly higher price than a larger edition size.

for collectors: a few pricing myths • “the first print (1/10) is the most valuable”.

• “This artist is brilliant! a great investment!!”

• “look at the cost of a similar painting and divide that price by the edition size”.

Hoodwink Neill Wright PAINTING!

“the first print (1/10) is the most valuable� well, the artist doesn’t sign the prints one by one as they come off the press! after printing they are all laid out, inspected for faults, some are rejected, then they are counted and gathered in a random pile to number and sign _ however some collectors do like to collect a certain edition number.

“this artist is brilliant! any of his/her work will be a great investment!!” believe it or not, artists are human and very few produce a consistently brilliant body of work - sometimes, as Gabriel ClarkeBrown has said, an artist has a ‘bad hair day’*, and sometimes they go through a slump period that may even last a few years. always look at the ACTUAL ARTWORK, not the signature! * source quote from ‘Insider trading knowledge – the facts about investing in print’

by Gabriel Clarke Brown http://www.printgallery.co.za/invest.htm

“look at the cost of a similar painting by the same artist and divide that price by the edition size” not really. if we look at that idea in this way: should an artist sell a painting for R50 000 and a similar (scale, subject matter, etc.) print was in an edition of 10, the print price would be R5000 - but if the edition size was 35, it would become R1500 … generally there wouldn’t be such a discrepancy in price for similar prints with different edition sizes. but note that as an edition starts to sell out, the price may go up – scarcity value again!

this may all seem a bit conservative ‌

Strict Parents Edith Bukani screenprint printed at: The Caversham Press

‌ but following these principles honours the purchaser – your supporter! he/she is the one who gives you the income and confidence boost to continue with your artmaking!

Bambisanani S N Hadebe linocut printed at The Caversham Press supervised by workshop facilitator Gabi Nkosi

IMG_0351.#instapic Yolanda Warnich digital print printed by the artist

thanks for reading ‌ hope we’ve helped to demystify editioning!

Black & White Isaac Zavale Linocut Printed at: Assemblage Studios