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History
Registers, documentation or need of expression,
the real fact is that carved or printed methods on hard
surfaces are always present since the human history is known.
We suppose that the effort to appropriate and reveal his
universe has made men create a form to register their works
thousand of years before the paper and printing creation.
Possibly this intention plus printing gave specific characteristics
for what would structure a “language” very distinct
of drawing, painting, sculpturing, photographing and movies.
At the moment that men socially organize
themselves with the first urban nucleus arrival, the barter,
the communication and disclosuring, made them look for means
to multiply not only their writings but their images, too.
The multiplication of an original, from
the first matrix, changed the value tradition of just one
masterpiece, provoking the renewal, which would affect even
the aesthetic concept and evaluation. The value of a masterpiece
grows or decreases as questioned for the fact to be limited
to just one privileged owner. This value in the multiplication
increases according to its extending, once it sponsors the
possibility of it to be alive, with images, without geographics,
social and cultural barriers, concepts permanently transformed
from reality. In this way the picture expresses the social
and cultural men anxiety, away and different consigned to
their high democratic sense.
Printing Process
In the picture there are two great moments
: the elaboration of its matrix and its printing. In a quick
classification we can divide the printing in two lines :
direct and indirect processes acting in the matrix. To know,
xilograph, some aspects of metal and litograph are classified
as direct process. With other kinds in metal, the litograph
when using paper or photo mechanical process and other features
of mixed techniques are considered indirect ones. In printing
or cold stamping we casll your attention to the basic modalities
:
PLANOGRAFIC : the litograph ( stone )
RELEVO : xilograph DE FIO OU DE TOPO ( wood )
INTAGLIO : etching, engraving or other modalities( metal
)
ESTÊNCIL : serigraph ( siçlk screen )
DIGITAL : giclée printing or digigraph ( archive
of the computer in ink jet or laser jet system ).
In both steps, as in the matrix elaboration
or in printing, the artist attitude is always creative.
The artist works and checks every step untill the final
proof when he judges if it is good for printing.
The use of “ original multiplication
“ has an intention to characterize the difference
between the artist´s direct actuation in the reproduction
where his work as creator is very distant.
An original picture does not have the same
sense of a copy or reproduction of itself. This multiple
is modernly defined, from the XIX century on, as beeing
the picture which lost the pure illustration sense or copy
of another masterpiece.That means, when the picture had
the only function as register, document or help for a text
and divulging in sense of the renowned images reproduction.
Every original picture is numbered and signed
by the artist.
One edition of pictures has its prooves
numbered from 1/100 to 100/100 and the prooves belonged
to the artist and archive as P.A. ( extra prooves of one
edition doesn´t go beyond20% of the numberes ones
as they have the same market price). |
International Conventions
The definition of an ORIGINAL PICTURE was
agreed in the III Congress of International Artists in Vienna,
in 1960. The following formalization was established by
the Association Internationalle des Arts Plastiques, filiated
to UNESCO in 1963 after a meeting that got together engravers,
printers, gallery owners and representatives of official
institutions. “ The Print Council of America”
that organizes and prepares the exhibition, also defines
in a publication what is an original picture :
- It is the exclusive right of the artist
to define the number of each of its printing work( set of
number) in different techniques : etching, xylography, lithography,
etc…..
- Each picture, to be considered original
has to have not only the artist’s signature but also
the indication of the total edition and the number of the
series on the picture . The artist may also indicate that
he himself was the printer.
- Once done the edition, it is good that
the original matrix, stone, wood block or any other material
of it shall be annulled or have any sign that can indicate
that it was completed in order to guarantee some parallel
edition.
- The above principles refer to graphic
works that can be considered original, that means: pictures
for which the artist made the original drawing, he has worked
directly in the matrix until the proof PI ( good for printing),
BAT( good A TIRER) or GTP (good to print ).
- For reproduction there is no control of
its volume. It is desirable that the reproductions are considered
as so, different with no doubt from the original work graphic.
This, in a special way when the reproductions are of such
value that the artist, wishing to recognize the printer
work, agrees on signing it. In this case the signature has
the endorsement value of the quality of printing.
Warnings
It is called edition, a series of models
(multiples) of the same image which must have the following
demands: all the models that form an edition must be exactly
the same in quality of printing, quality and format of paper,
size of margins, number which informs the number printed
plus the signature of the artist. The set number of the
picture in the series is usually in the left margin and
the signature in the right one.
By convention, the proves of the condition
and color of a picture, must be registered in order to determine
how it used to be in the last edition.( ex.: P Cor, PE )
. Besides the number of the edition, the artist has the
right of 10% of the models of the total edition, which will
take as indication of the marks of models PA ( Artist Proof).The
model with the indication PI refers to the proof that the
printer has the right, by convention. The publishing house
will have its right to a model which is called PAP ( Presentation
Proof). All these proves are qualified in the art market
as original paintings, which can be sold. The ones that
can’t be sold have the indication ( hors commerce).
The matrix signature does not exclude the margin signature,
which becomes it a real matrix. The color variations of
an image must take the indications that they are variations.
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