IBIS press
was an attempt to build a studio environment where talented printmakers from
the
surrounding community of Northwestern Ohio and Southeastern Michigan, could
make use of the etching press and its digital equipment to inexpensively
pursue
the creation of original works outside the confines of an academic or institutional
studio structure.
The
goal of IBIS press is attention to detail with an eye toward editioning and
displaying
work
properly. This involve maintaining the highest standards of archival stability
and image integrity from creation to display. Images pulled and catalogued
at
IBIS are printed on stable rag surfaces, and if displayed, matted in
neutral ph mounts. Each edition will carry with it a record of the number an
related information concerning the creation of this original work of art.
Numbering
Prints
The system of numbering and documentation of fine-art editions is designed
to guarantee the authenticity and originality of prints in the art market.
Each
print is signed by the author (usually, but not always) in the lower right-hand
corner or margin. In the opposite corner goes the edition numbering, two numbers
divided by a slanted stroke. The bottom number represents the total number
of
prints in the edition; the top one the order in which the artist has signed
that particular print. In addition to the signature, each print can electively
be given the IBIS press chop mark, verifying where the image was pulled.
Types of proofs
Beside numbered prints, a fine-art edition usually includes artist's proofs.
These proofs, designated P/A . The number of these proofs is customarily 5-10%
of the total number of the edition. (More would be considered abusive.) So an
edition of 50 would have a maximum of five artist's proofs. Sometimes these
proofs are numbered with Roman numerals, e.g.: I/V, II/V, III/V, etc.
Some of the most valuable proofs do not form part of the edition. These are
the trial proofs which the artist pulls in the process of creating the final
print. A series of trial proofs represents a unique record of the work in process
and, as such, is highly sought after by fine-art print collectors.
One sometimes sees "H/C" written on the margin of
a print. This is a French annotation "hors de commerce," which usually
indicates that the print was a gift or was unsuitable for selling.
In addition, every edition has a single "bon à tirer," which
is the artist's final proof, the ideal which all the prints of the edition
must emulate.
Nowadays many artists like to accompany their prints with a "certificate
of authenticity," with additional information, a detail which
is appreciated by many collectors. This certificate usually includes, besides
the
artist's signature, the following data about the print:
• The
total number of the edition
• The number of the print
• The workshop where the print was made and who did the actual printing
• The date of printing
• The techniques employed
Digital
Printmaking
The introduction of digital printmaking creates a challenge for someone like
myself. My respect for the process of the limited edition, hand pulled
etching is tough to duplicate using the electronic inkjet print. Compound
that with the problem of running out and warehousing a limited edition
run of prints on expensive rag paper. To address that problem I have created
an "Open Edition" section just for digital prints. My print runs will be
between 5 and 10 signed prints with an edition run of 50 which will be
the cut-off for that edition.
If
requests for certain prints run only to 20, I will leave the edition number
at 50 but chose the edition number
after 2 years at 20 prints and indicate it on the print certificate .
It
will then be my obligation to electronically (strike the digital plate) destroy
that version of the print. Improvements or enhancements to the original plate
will always be the purgative of the artist.
IBIS
Press would like to thank the creators of WorldPrintmakers.com for information
concerning traditional print numbering techniques.