Today's postings
- [Baren 27875] editions etc ("Gillyin Gatto")
- [Baren 27876] Ref : Did you come to any conclusions? ("Harry French")
Message 1
From: "Gillyin Gatto"
Date: Tue, 26 Apr 2005 12:12:29 -0400
Subject: [Baren 27875] editions etc
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dear Bareners
all this interesting discussion of edtioning is quite timely for me
as i have recently sold my 100th Maine Coon Cat print!
100 was the edition i put on it, when i carved it back in "88
and i printed them a few at a time,-usually four-five,
because of
the danger inherent in storing things for a long time.
even tho i now have couple of good wooden print file drawers
i still only want to have few at a time on hand.
the dilemma of what to do next is, for me,
one of still wanting to
earn money from selling a very popular print-
but realizing that the folks who purchased it EXPECT ED that there
would only be 100 of them ever....
i feel i must honor that commitment to the buyer/collector.
i have decided that instead of destroying the block,
i will carve more and add color, so that it truly becomes a new print.
what i do with all the prints that are a little too light or not salable
somehow or other , is use them for collages -
(the cutting up of the work makes it not "the same" as those in edition)
these are either done on acid free foam core and framed or
on free standing room dividing screens which get varnished
as the final step when you varnish the 'too light' prints
(or ones mounted backwards for mirror effect)
the wetting brings out the color of the ink- so it then is bright enough
personally i would love to GIVE UP the numbering of prints entirely
and not have to keep track any more !
but as Maria has pointed out , the galleries,shows and collectors
are all into it-- so the artist do better if they go along
I have an interesting printing project this spring -
the little cities of Hancock and Ellsworth , Maine
are sponsoring a "BIG FISH' show
where the artist takes one of many 5 foot, cast fiberglass Salmon
and decorates it somehow,
it is then displayed at sponsoring businesses all summer and
auctioned off in fall for charity
as in alot of cities across the country
i am planning to PRINT on my fish
by transfering woodcuts with wax paper
as i did last summer on a 'canoe paddle' project
of the same ilk at Abbe Museum in Bar Harbor
the BIG FISH is a paying proposition
$200 when you pick up
$200 when delivered
so we get paid to play with art
and the charities benifit when they are sold
don't know if they are numbering the fish -or not !!
Gillyin in Machias Maine
all this interesting discussion of edtioning is quite timely for me
as i have recently sold my 100th Maine Coon Cat print!
100 was the edition i put on it, when i carved it back in "88
and i printed them a few at a time,-usually four-five,
because of
the danger inherent in storing things for a long time.
even tho i now have couple of good wooden print file drawers
i still only want to have few at a time on hand.
the dilemma of what to do next is, for me,
one of still wanting to
earn money from selling a very popular print-
but realizing that the folks who purchased it EXPECT ED that there
would only be 100 of them ever....
i feel i must honor that commitment to the buyer/collector.
i have decided that instead of destroying the block,
i will carve more and add color, so that it truly becomes a new print.
what i do with all the prints that are a little too light or not salable
somehow or other , is use them for collages -
(the cutting up of the work makes it not "the same" as those in edition)
these are either done on acid free foam core and framed or
on free standing room dividing screens which get varnished
as the final step when you varnish the 'too light' prints
(or ones mounted backwards for mirror effect)
the wetting brings out the color of the ink- so it then is bright enough
personally i would love to GIVE UP the numbering of prints entirely
and not have to keep track any more !
but as Maria has pointed out , the galleries,shows and collectors
are all into it-- so the artist do better if they go along
I have an interesting printing project this spring -
the little cities of Hancock and Ellsworth , Maine
are sponsoring a "BIG FISH' show
where the artist takes one of many 5 foot, cast fiberglass Salmon
and decorates it somehow,
it is then displayed at sponsoring businesses all summer and
auctioned off in fall for charity
as in alot of cities across the country
i am planning to PRINT on my fish
by transfering woodcuts with wax paper
as i did last summer on a 'canoe paddle' project
of the same ilk at Abbe Museum in Bar Harbor
the BIG FISH is a paying proposition
$200 when you pick up
$200 when delivered
so we get paid to play with art
and the charities benifit when they are sold
don't know if they are numbering the fish -or not !!
Gillyin in Machias Maine
Message 2
From: "Harry French"
Date: Tue, 26 Apr 2005 20:36:56 +0100
Subject: [Baren 27876] Ref : Did you come to any conclusions?
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Connie wrote....
>But my real question is for Harry. After all the discussion, DID YOU COME TO ANY CONCLUSIONS
>about the editioning process? (All at once? Or a little at a time?)
You will all be very surprised at my answer which is yes.The baren debate has done this for me.
Edition thoughts have bounced about in my mind for years : not really knowing what best to do. I don't depend on an income from my artwork and this, obviously, makes all the difference to my conclusions. In the past I have been inhibited by following the "standard" rules and disappointed when after exhibitions whole sets of prints have been returned to my folios. Conversely, I have exhibited artists proofs without any desire to produce editions that sold like hot cakes.I can't win on this one.
So here it goes for me : "Standard" editions for Baren exchanges because it must be the best way to see and own so many contemporary, international woodblock prints. After this I am printing all at once editions of up to eight, if I am satisfied with the first clear prints ; if not they will be recycled or get signed "trial proof "and I'll move on.
With my favourite colour "reduction" (Cliff Hanga) technique I'll sign whatever is left at the end. The wayside casualties will be awarded "artists proof "status.
We all have our own special gifts in art which we pursue. In my case I haven't too much skill or patience, but have never been short of ideas.
Baren edition "Standard" is unmoveable, however, the rest could be under review again.
Oh, dear me, that last sentence has just negated my ridged statement...ah well...I am sure that many of you will understand.
Eighteen months ago I never envisaged a discussion on such a grand scale as this one. When meeting with "live"county artists/teachers the discussions tend to be dominated by the articulate and those with influence and we never seem able to listen to other voices of the assembly. In a Barenforum discussion every one is able to express an opinion, pass comment or give personal advice without any interruption or the fear of public speaking - brilliant!!
*I've uploaded a few prints and ideas from a recent visit to Paris should you be interested. Note that only the first two are woodblock prints. The other two are drypoints and an experimental computer sketch. http://homepage.ntlworld.com/h.french1/ARTSWOODCUT.htm
Bareners,again thanks for your comments and advice.
Harry
Lincoln
UK
www.harryfrenchartworks.co.uk
>But my real question is for Harry. After all the discussion, DID YOU COME TO ANY CONCLUSIONS
>about the editioning process? (All at once? Or a little at a time?)
You will all be very surprised at my answer which is yes.The baren debate has done this for me.
Edition thoughts have bounced about in my mind for years : not really knowing what best to do. I don't depend on an income from my artwork and this, obviously, makes all the difference to my conclusions. In the past I have been inhibited by following the "standard" rules and disappointed when after exhibitions whole sets of prints have been returned to my folios. Conversely, I have exhibited artists proofs without any desire to produce editions that sold like hot cakes.I can't win on this one.
So here it goes for me : "Standard" editions for Baren exchanges because it must be the best way to see and own so many contemporary, international woodblock prints. After this I am printing all at once editions of up to eight, if I am satisfied with the first clear prints ; if not they will be recycled or get signed "trial proof "and I'll move on.
With my favourite colour "reduction" (Cliff Hanga) technique I'll sign whatever is left at the end. The wayside casualties will be awarded "artists proof "status.
We all have our own special gifts in art which we pursue. In my case I haven't too much skill or patience, but have never been short of ideas.
Baren edition "Standard" is unmoveable, however, the rest could be under review again.
Oh, dear me, that last sentence has just negated my ridged statement...ah well...I am sure that many of you will understand.
Eighteen months ago I never envisaged a discussion on such a grand scale as this one. When meeting with "live"county artists/teachers the discussions tend to be dominated by the articulate and those with influence and we never seem able to listen to other voices of the assembly. In a Barenforum discussion every one is able to express an opinion, pass comment or give personal advice without any interruption or the fear of public speaking - brilliant!!
*I've uploaded a few prints and ideas from a recent visit to Paris should you be interested. Note that only the first two are woodblock prints. The other two are drypoints and an experimental computer sketch. http://homepage.ntlworld.com/h.french1/ARTSWOODCUT.htm
Bareners,again thanks for your comments and advice.
Harry
Lincoln
UK
www.harryfrenchartworks.co.uk