Pages: 49-58
From "Code of Ethics For Original Printmaking"
ISBN 2-922018-05-9
www.unm.edu/~tamarind/bookstore.htmlProofs - Definitions, Identification and Numbering Rules
Standard procedure is to identify proofs on the front in pencil, below the image or at the bottom of the support, and that such identification include type of proof, numbering, title, artist's signature and that of the interpreter where appropriate, and date of printing.
The artist may, for aesthetic reasons, put the identification and numbering elsewhere on the proof.
In the case of reproductions, the precise identification of the original image must also appear on the front.
Using an artist's seal is optional. Some printers or studios add their seal on every proof.
Type of Proof
Every category of proof (state, trial, bon à tirer, variant, artist's proof, printer's proof, studio copy, legal deposit copy, not for trade, specimen or cancellation proof) is identified by a specific term or abbreviation.
Title
The artist usually chooses the title of the work. In the case of printmaking, is generally written on each proof.
Signature
Edition prints are generally signed by the originating artist. Prints which the artist considers valid are signed, others are rejected.
If it Is appropriate, there may be two co-signers - more if the work was made by a collective.
In the case of interpretive prints, the signature of the interpreting artist must also appear.
The signature is not a guarantee of a work's originality. For example, a signature on a reproduction does not give it the status of work of art. Only the documentation form for original prints can certify that the originating artist creatively intervened in producing a print's matrix.
An artist may not sign original prints for ideological or circumstantial reasons, which in no way detracts from their original nature.
Sometimes a work consists of an ensemble of several proofs. Each proof may be identified on the front, but the artist may also sign just one on the front, the others on the back.
Date
The date written on the print is the year it was printed. The date of completion for the matrix is written on the documentation form.
The Documentation Form
For distribution and marketing, original prints must be accompanied by a <<documentation form for original prints>>. This form indicates the name of the artist(s), that of the collaborators, specifically the printer, the dates of the matrices and the date(s) of the edition or re-edition(s). This form gives technical information on the matrix/matrices and techniques used. It also contains specifications about various proofs in the edition, as well as on the kind of editioning performed. The documentation form also enumerates all copies pulled from the same matrix.
The documentation form is signed by the artist and comes with any proof purchased by a buyer. It is the print's proof of originality, and a source of information about the work.
A technical specification sheet may also be produced by the artist to record all processes used to make the matrix and print the various proofs.
In the case of an interpretive print, a similar sheet can be drawn up specifying the fact that it is an interpretation.
Reproductions require no specification sheet or documentation form of any kind.
Numbering Proofs
Artists who produce a limited edition use a numbering code on each copy indicating its place in the overall edition.
Special numbering has also been added to the present code of ethics which makes it possible to identify the place each image has within a series of different images -- either a series of states or of variants.
Printmakers may also opt for editions that are open for future printing, or for undetermined editions. However, the Code suggests they use identifications that clearly inform possible buyers about these choices.
Numbering may take different forms according to the type of proof and the type of edition.
Fractions
Numbering with fractions indicates a limited edition.
Fractions in Arab numerals (e.g.: 1/3) identify prints from an identical edition. The numerator indicates the order number of the specific print, and the denominator, the total number of prints.
The numbering 1/1 obviously indicates a unique proof
Fractions in Roman numerals (ex: I/III) also indicating a limited edition are reserved for artist's proof, printer's proofs, studio copies, legal deposit proofs, proofs not for trade and sequential states. As with Arab-numeral fractions, the numerator indicates the order number or rank, and the denominator, the total number of proofs and prints.
Whole Numbers
Whole numbers indicate the trials and states of a conventional edition (in Arab numerals). They also number proofs from an open edition - in Arab numerals for identical copies and Roman numerals for sequential states and variants.
Double Numbering
The complexity that results from adding categories to the present code of ethics -- a state proof in a sequence, or variants -- requires double numbering. One number in Roman numerals indicates the rank of states or variants in a series of different proofs. The other, in Arab numerals, indicates the rank and total in an edition of identical copies of these states or variants (see identification of sequential states and variants).
Unnumbered Proofs
The bon à tirer, specimen proof and cancellation proof are not traditionally numbered.
Printing Order
Except for dry-point, the number on proofs does not necessarily correspond to the order in which they were printed: edition copies are numbered indiscriminately.
Defining Proofs
The State Proof
State proofs are printed while making or altering the matrix.
States are documented in two different procedures which we shall identify distinctly.
Traditionally, states are pulled while the matrix image is incomplete. They then serve in verifying the development or evolution of this image. In this procedure, the image is realized in successive steps and the artist modifies the matrix with a view to perfecting the artistic objectives.
Furthermore, the state can be considered a step in a sequential process where each stage is equally important and constitutes an autonomous work or part of a series of sequential states. Such a series can in itself be considered a work including all states.
There are cases when the printmaker undertakes a new project from matrices that have already been editioned. There are also cases of artists reworking edition proofs and pulling totally independent works from the first. In both cases, the prints are considered completely distinct projects.
Identifying Traditional States
Each state will be identified as <<state>>, followed by a whole number in Arab numerals, ordered chronologically.
The state may be initialed or signed by the artist.
Example: State 1 (2, 3, etc.) title, initials or signature, date.
Identifying Sequential States
It is important to identify the place a state occupies in a series. This is why we use Roman-numeral fractions, where the numerator indicates the chronological rank of the state and the denominator indicates the total number of states produced in the series.
Given its aesthetic autonomy and integration with the final work, each state may be editioned. So we add, where appropriate, an Arab-numeral fraction to assign each proof a number from the total edition (the numerator) and to identify the total number of proofs in the edition (the denominator).
Example 1: A sequential state of which there are four different states in the series that were editioned:
State I/IV (II/IV, etc.) title, signature, date.
Example 2: A sequential state of which there are four different states in the series that were editioned as ten copies:
State I/IV, 1/10 (2/10, 3/10, etc.) title, signature, date.
Identifying Progressive States
Each state bears the acronym, P.S., followed by a number designating its order in the printing process.
Example: For a print produced with four overlays, six progressive states are possible, identified as follows:
P.S. 1, P.S. 2, P.S. 1+2, P.S. 3, P.S. 1+2+3, P.S. 4
The Trial
Trial proofs serve in verifying the technical quality of a print. The artist may verify the impression on different supports as needed, to try out different colouring or inking, or simply to adjust the presses. Some proofs may be destroyed. The ones that are kept are identified.
Identification
Each trial proof is identified by the word, << trial>>, followed by an Arab numeral, in chronological order. Artists may write their initials, sign them or leave them unsigned.
Example: Trial 1 (2, 3, etc.) title, initials or signature, date.
Variants
The <<variant>> category was added to the present code of ethics because artists increasingly tended to produce different proofs voluntarily rather than producing the identical prints of a regular edition.
Unlike trials, which are generated through simple adjustments, variants come from exploring different inking hypotheses which may all be aesthetically valid and equal.
Variants are proofs pulled from a finished printing element in order to explore the potential aesthetic modes of a single image or group of images.
Identification
In the case where individual variants are not editioned, the numbering appears after the denomination <<variant>>. Numbering is expressed as a Roman-numeral fraction, the numerator indicating the rank and the denominator, the total number of variants produced.
Example I: For a variant with four different proofs:
Variant I/IV (II/IV, III/IV, IV/IV) title, signature of the artist, date.
When one or several variants are editioned, a supplementary, Arab-numeral fraction follows where the numerator indicates the order number and the denominator, the total number of identical proofs pulled.
Example 2: For a variant with four different proofs, this version (I/IV) having been editioned in 10 identical proofs:
Variant I/IV, 1/10 (2/10, 3/10, etc.) title, signature, date.
In the case of an open edition, variants will be numbered in whole Roman numerals in order of impression.
Example: For a variant with four different proofs:
Variant I (II, III, IV) title, signature of the artist, date.
Identical Proofs
The edition of identical proofs is done to produce a quantity of copies that are alike and equal in quality. These proofs must retain technical uniformity and the same colour scheme They must be true to the bon à tirer.
The conventional edition of identical proofs comprises the bon à tirer, the edition prints themselves, artist's proofs, printer's proofs, legal deposit proofs and studio copies. It also comprises proofs not for trade and specimen proofs.
The bon à tirer
This is the proof that satisfied the artist's final requirements, and served as a reference for printing identical proofs. The bon à tirer may be the last state proof, when the image was finalized. It can also be one of the trial proofs, or a variant the artist wants to edit for the market.
In collaborative printing, the bon à tirer must also receive the master printer's approval. It is preferable that B.A.T. be printed by the printer himself, under the artist's supervision.
There should be no more than one bon à tirer, but an edition may be realized without one. In this case, the first good print becomes the norm for the rest of the edition.
Identification
The bon à tirer should be signed, dated and identified as follows:
Example: Bon à tirer (or B.A.T.) title, signature, date.
Edition Proofs
These are identical copies destined specifically for placement on the market.
Identification
These are signed by the artist, dated and identified with Arab- numeral fractions.
Example: Identical copies of an edition of twenty-five.
1/25 (2/25, 3/25, etc.) title, signature of the artist, date.
Artist's Proofs
Artist's proofs are printed over and above the edition, and are reserved for the artist in the case of editions commissioned by a publisher. Artist's who print their own work are not obliged to pull these supplementary copies, but some do and keep them for their personal collection.
Artist's proofs make up 10% the total edition. They are identical to the other prints and have the same commercial value.
Identification
Artist's proofs are signed by the artist, dated and identified with <<artist's proof>>, or the abbreviation A.P. Their numbering is expressed as Roman-numeral fractions.
Example: An edition of three artist's proofs (10% of an edition of thirty):
Artist's proof (or A.P.) I/III (II/III, III/III) title, signature, date.
Printer's Proofs
When the artist calls upon a printer to produce an edition, 1 or 2 identical proofs from the edition are reserved and identified as printer's proofs.
Identification
These are signed by the artist, dated and identified with <<printer's proof>>, or << P.P. >>.
If there are more than one printer's proof, each is numbered. The numbering is a fraction in Roman numerals.
Example: Printer's proof (or P.P.) I/II (II/II) title, signature of the artist, date.
Studio Copies
Studio copies are proofs reserved for the studio or print shop where the edition was produced.
Generally, studios keep at least one studio copy from any edition produced there, in order to build their archives A second copy is sometimes requested for fundraising purposes.
Identification
Studio copies are signed by the artist, dated and identified with <<studio copy>>, or the abbreviation <<S.C.>>, followed by the name of the studio. If there are more than one copy, each is numbered.
The numbering is a fraction in Roman numerals.
Example: Studio copy (or S.C.) I/II (II/II) title, artist's signature, date.
Legal Deposit Proofs
Legal deposit proofs are deposited with the national library's print cabinet in countries where this law is instituted. There are usually two of these proofs. The Bibliothèque nationale du Quèbec has received legal deposit proofs since 1995, and has different conditions for small and varied editions.
Identification
These are signed by the artist, dated and identified with <<legal deposit>> or the abbreviation << L.D.>> If there are more than one copy, each is numbered.
Numbering is expressed as a fraction in Roman numerals.
Example: Legal deposit (or L.D.) I/II (II/II) title, artist's signature, date.
Not for Trade
Proofs not for trade are copies the artist prints or has printed for edition collaborators. They are made in numbers corresponding to need. These proofs sometimes carry a dedication.
Identification
These are signed by the artist, dated and identified with <<not for trade>>, or <<N.F.T.>> Each is numbered if there are more than one.
Again, numbering is in the form of a Roman-numeral fraction. Example:
Not for trade (or N.F.T.) I/V (II/V, etc.) title, artist's signature, date.
Specimen Proofs
Specimen proofs are used whenever the artist needs a print as a sample, for photography or scanning to illustrate a catalogue, advertising, public presentation, etc. These proofs are of no commercial value.
Identification
These proofs are unnumbered and must say << specimen >>.
Example: Specimen, title, artist's signature, date.
The Cancellation Proof
This proof can be printed after the edition is finished, when the printing element is deliberately damaged with marks, scratches or perforations. This proof guarantees that the edition will be limited, and that there can be no reprinting.
Identification
These proofs are signed by the artist, dated and identified with <<cancellation proof>>. Indicating the number of copies in the edition is also suggested.
Example: <<Cancellation proof>>, edition of <<x>>, title, artist's signature, date.
