Great clear guidelines, sounds good to me. I have only been initialing the back of the prints (as a form of approval), and often the front has my initials and date (signature) from the scan of the original watercolour, but not always since I need to sometimes crop the image to fit a print format. Here are a couple of examples of the rules I’ve outlined above: Above is an example of how to sign a pulled print by John Stein. Never on the image! I'm also making a series of monotypes. Sometimes the buyer will request that you sign your print in a … Nowadays, these rare subsets of the edition are a standard in the limited edition print runs and are usually owned by the artist. Identification. I'm making cards out of photos. I appreciate any advice you can provide. Please feel free to comment on my Facebook Page as my blog posts are always posted there (but please note anonymous comments are not published and I block and report spammers to Google and on Facebook). It’s just an extra layer of security on my art. We are now ready to get series about marketing the work. Sign it the same way, with the same tool, in the same spot on all your prints. to be a TRUE REPRESENTATION of my original. Hi Tam - I'm sorry, I don't have any recommendations for you. PIECE. I have noticed at some of the markets there are artists selling cheaply made "art blocks" that have been mounted by machine: I am hesitant to continue calling my wood-block-reproductions-enhancements-moslty-made-by-hand "art blocks" since they are not cheap reproductions, and take me a considerable amount of time to create.I must admit, I am confused by what to call my "reproduced" and "partially reproduced" work.I'd like to avoid suggesting that my "prints/reproductions" are something they are not, but at the same time I'd like to use the proper terminology to describe them for what they are, and be able to market them correctly. Lithograph 3. "It seems to me that achieving a sensible distinction between limited editions of giclee prints and a hand-pulled fine art limited edition print is easier said than done." I have been referring to these as "Art Blocks", since they are one of a kind (but based off of a reproduction). Sign your full name in pencil on the print. Most important sign your prints consistently the same way, in the same spot every time! My feeling is that a ghost print which is then reinforced is an independent work of art rather than a print. I don't think a certificate would make much difference. If I reuse a screen, but with a different color ink than the previous printing, is that a new edition or an extension of the first? Definitely bookmarking it. That would mean no more prints could be made.Anybody anytime anywhere can make a reproduction of the image if they can get hold of a decent size image - or even a halfway decent image. I want EVERY. The title of the print is to be written in the center of the image just below the printed image. I've taken to calling my prints archival pigment prints, as preferred by some photographers. It doesn't mean they're worse. P.P. At the time we decided we would market these as giclee prints but due to some technical difficulties on my website (long story) the only thing we have printed are what I would consider Artist Proofs, one giclee print of each. I think so long as you describe them honestly then you should be fine.The difficulties arise for artists who create reproductions and then add some detailing on top in paint - and then call them 'originals'. Thank you, Katherine! This allow enough space to showcase the artist signature, title, and edition at the bottom of the print. I have Giclee prints taken from a painting to sell as a limited edition of 85. Here again, fractions may be used to indicate the total number of proofs, and the print number (e.g. The simple fact is that sites like the one you mention rarely bring any traffic. A lot of people get confused about this.Here's the answers to your questions1) Say you have an original painting, and you are making limited edition prints. Exactly - spot on Susan!I will say that one neat way of getting your name and contact details distributed with any cards is to use a very small sticky label on the back. What you can't do on metal is create an edition number - unless you make provision to add it afterwards. If I am clear about my intention now I would like to repeat my question; how should I sign them ? Most art prints are numbered, but not all printer's proofs and artist's proofs are. I make primarily screen prints on paper and fabric-- the fabric then gets sewn into different kinds of bags, the paper prints get matted. You don't have to print all at once, right? Hi, this is something I haven't been able to find an answer for anywhere online and I'm hoping you can help?I'm currently producing a limited edition artists book of hand pulled screenprints and I'm not sure how to edition them. This is due to a variety of printing options. Thanks for this post-- it clarified a lot of things for me. I'm not sure.So what are the guidelines for those folks? The label 'monotype' justifies having only your signature on it. Digital print 2. If there existed an official rule book, set of laws, or holy parchment that contained the answers I’d direct everybody to the web page. A giclee print can be plagiarised very easily whereas it's much more difficult to plagiarise a strictly limited edition fine art print eg an etching, lithograph, linocut etc etc etc. The above woodcut by John Hall Thorpe appears to be an open edition print since it’s missing the edition numbers. Great article. Most artists sign their prints at the bottom right corner of the piece. (Épreuve d'Artiste) or "H.C." (“Hors Commerce,” meaning outside the regular commercial run). My brother, who I hired to do the work signed his name within the print, and I have copyright within the print as well. Miró’s prints for literature — ‘fine works of art in their own right’ The son of a watchmaker, Miró was born in Barcelona in 1893. I have a really goofy question. (Poll results). It’s not always necessary to include all of the above information, but what you do include should always be marked consistently in the same location on all your prints. prints) and should not exceed 10% of the total number of the edition. Publishers can typically be identified by a stamp, which often appears as a logo and consists of a name and/or a… Hello all,I wondered if I could ask some advice regarding repro prints? Giclee reproductions can be made on watercolor paper, gloss photography paper, and wrapped canvas just to name a few. Not uncommon - but they each need their own individual sequencing numbers. It's all a matter of opinion. Depending on the quality, this is a nice print too (maybe). You do nothing other than sign as you would any other unique piece of art. Thank you. Click on the image, International publication: three titles, three covers and its own Facebook Page (click the image to go there), Do you want to know more about watercolour painting? 30th October 2011 - Who's made a mark this week? If you're going to sign all the prints in an edition why not just sign them all on the front - when you're including the edition number?Roger - this post is just about signatures and the questions you ask about reproductions are outside its scopeYou need to more studying of processes e.g.1) a digital print is often required to produce a Giclée print - however a drawing can also be produced using software for digital drawing and this can be used to produce a digital image2) a lithograph print of a drawing is produced using a lithograph pencil3) Giclée not Glicee - see Wikipedia for an explanation, Katherine, I am totally new at this sort of thing, so I'd like to run what I plan to day by you to see if it is appropriate or not.