Home Forums Explore Media Printmaking Edition numbers on original lino cut prints

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  • #992827
    Artissential
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        Does anyone have an strong opinion on edition numbers?

        I produce multi block lino cuts and often struggle with knowing how many to do and what is acceptable and still charge a good price. 50 or 100? You occasionally produce a really good one and wish you had done a a longer edition. Baring in mind that you don’t need to print them all at once as you have the blocks unlike a reduction lino print.

        Also, do you think it matters to the customer? or do they just like the image.

        My prints are usually £120 – £160 unframed £160- £220 framed. Should the edition number change the price? I have always thought that it really goes more on picture size and perceived value rather than edition number.

        Thoughts please? much appreciated!

        #1221766
        BeLing
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            I don’t do numbered editions any more. No one seems to care. (They call the edition “open”.)

            I just number them as I go along.

            #1221764
            Artissential
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                That’s interesting! Is that for original linocuts though or giclees?
                Do you just print them as you need them?
                Thanks
                :)

                #1221763

                Artis….

                first let’s be clear here: any numbering of a Gilcee is meaningless and/or possibily even being deceptive. a "giclee" is nothing more than an inkjet print, and has zero intrinsic value. By their nature they are just reproductions of other media, and cannot be considered to be part of an "edition" since there is no way to prevent an unlimited number of copies being made and each copy is identical. Also they were not created using the original print surface. They are mere decorations only, and are of no more serious interest than the mass-produced lithography "editions " that were made in the 1970’s, or blacklight posters from your local Psychedlic Shop (which ARE cool, by the way. They just can’t be considered "limited editions &quot

                with hand-pulled original prints, that is a different case since when the edition is completed the original blocks / plates / whatevers can be defaced thus insuring that no more copies can be made. When an edition is labeled "25 of 250" that means that the artist is saying that there will never be a print #251. By doing that, the artist is limiting the output in order to keep the value of any given piece higher, since they are (hopefully) in short supply. It’s the same thing that OPEC does when they raise oil prices.

                Now, as far as to how effective that is and how many original prints you should do, that’s a judgement call. Many of the printmakers I know limit their output to less than 50 , and almost never produce more than 200 or so. I myself never do more than 50 of any given print.

                BUT that’s just what I do based on my market. if you have 500 folks who all want a given print, there’s no reason not to make them happy…. as long as you understand that you might be lowering each print’s market value. It boils down to this: Do you want to sell 500 at a low price, or 50 at a much higher price?

                OR if your market is not concerned with edition numbers…. then don’t number them at all, as suggested above.

                "Political Correctness" is just another way to muzzle free expression

                #1221762
                lovestofish
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                    Based on the array of responses I have seen here on this website folks are going to do what they want to do as far as editioning is concerned – particularly in numbering and labeling. A good example (or bad example) is the definition of a “variable edition”. Deceptive..misrepresentation…misleading? — there is no print police. Most of us here are not in a position where our prints are going to be curated or put in museums of any significance….or documented to exist in the art world. That is where one is more than likely to meet editioning standards and labeling thereof.

                    From a pragmatic perspective, I have yet to see anybody looking for undestroyed plates (once the edition is complete) with the intent of making some more prints – whether it is the artist/printer or anybody else. I know it is what is done traditionally but …. what is the point?

                    I think BeLing is right – noone cares. I gave up trying to explain numbering and editioning a long time ago. And even if folks follow the guidelines there are ways to print more prints then the editions size (ie. don’t number the print and label it “A/P”). In the past I have seen too many professors giving out bad info – when students are turning to them for advice.

                    Size of edition – it is up to you. If you are able to find buyers for the entire edition then it makes common sense to print an edition that size as a minimum. That makes economic common sense. That is a nice problem to have.

                    #1221765
                    Artissential
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                        Thanks Winking Cat Press and loves to fish for your comprehensive answers. It’s so nice to get feedback when you are usually working alone in a studio.
                        I have come to the conclusion that I will print as many as I can bear at the time but get them all printed in one go, probably between 50 and 75. By the time you have sold these I guess you are tired of the image and have produced new work that you prefer anyway. You are right, there are no print police out there so it’s a case of what feels right. I have had a couple of images that I have almost sold a full 95 but as for the rest it would take several years. Cheers!

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