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Limited Edition Prints
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Message
Posted
I have had several enquiries about the availability of prints of a recent oil painting. I've had some samples printed to sell as a limited edition and now need to decide what physical size to have them printed and to how many I should limit the edition. My question is, if I decide to limit the prints to, say, 100, do all of the 100 need to be the same physical size? i.e. if I want 50 'large' and 50 smaller, does that mean:
a) each individual print is designated as n/100, regardless of size?
or
b) each of the larger prints is designated as n/50 and each of the smaller is also designated n/50?
or
c) none of the above? (In which case what's the answer)?
I've looked elsewhere online of an answer but haven't found anything that is unambiguous.
Thanks
Nick
Posted
Normal practice for a limited edition print run is to have them all printed one size, there should never be any deviation from this!
Strictly speaking, the plates (if it’s a litho print) should be destroyed or rendered useless by heavily scoring them after the edition has been printed to prevent further print runs being made.
If it’s a giclee print I’m not sure of the protocol, but no further prints should be made after the final number has been reached.
A limited edition print is generally regarded as being of greater value, by virtue of the word limited! However, unless you are a known recognised artist, this probably wouldn’t make much, if any difference.
Saying that, they are generally considered more desirable, as the edition number, title and artists signature will be visible along the bottom margin, always in pencil of course!
Edited
by Alan Bickley
Posted
Like Alan I've certainly never heard of any deviation from the single size . I have had giclees made in the past but really the cost can be quite prohibitive for the amateur unless you have an outlet reasonably guaranteed or you can be stuck with them for years.
Alan also makes a good point about them always being signed in pencil - he adds 'of course' but it's still early in the morning and for the life of me I can't think of a good reason for this. (Possibly because ink can smear?). Perhaps you can put me out of my early morning stupor Alan.
Edited
by Michael Edwards
Posted
Nick I wonder if you are talking about a Giclee print or a print on a printer from the guy down the road ? Forgive me if I am being either obtuse or presumptuous. It's just that Giclee is so very expensive and you are talking fifty / hundred at a time.
I have been asked for prints of some of my work and I know some one who also has prints of her stuff done at a fiver for A3 . . These are a whole different kettle of fish. . Reflected in both price and quality.
Posted
Michael, I can only take an educated guess that it’s to do with inks fading over time, which inevitably will happen!
I always use a very sharp 2B pencil, but nothing harder than a B. Always sign in the margin of the print, never on the mount (if you have them mounted).
I always opt for a heavy quality matt drawing paper with a slight tooth such as Fabriano , I dislike shiny prints… think IKEA and Boots!
Some giclee printers (Salt of the Earth) being one, will store your digital image and allow you to request further copies as and when required, so you don’t have the outlay of having to pay for say 50 or 100 prints in one go… yes, as Sylvia says, a good quality giclee print is expensive, particularly if you’re looking at an A1 or A2 size.
Posted
Thanks for the very useful replies. I need to think about it and may go the route suggested by Marjorie - limited edition at one size and non limited at another. They will be giclee prints and, as Alan says, the printer will allow me to buy a smaller number and request further copies according to demand so reducing the initial outlay. Thanks again.