From: Rod Fleming (rodfleming@sol.co.uk)
Date: 05/27/00-10:16:45 AM Z
Yes, by definition the Artist's Proof is "bon a tirer". Many artists today
make their own prints but that was not always so, and the printing would be
done by a craftsman printmaker. The Artists Proof is the "state" of the
plate which the artist is happy to go ahead with.
But certainly I keep a "bon a tirer", artists proof of all my prints and try
to reprint to that model later- it usually has a sheet of paper attached
with all the technical notes.
By contrast I was taught that an edition (of intaglio rather than
photographic prints) should be made essentially in "one go", (as it would be
if you had a craftsman do it for you) but chacun a son gout- the real point
with intaglio is not to make more prints than the plate can stand.
I think that the printmaking conventions don't really suit photography, and
I have felt this for many years- in particular there is no convention for
dating the negative, and as has been pointed out this is
important.............. to be able to look at an image that you really love
and say to yourself, "the artist made that print the week after the
negative- it must have still been thrilling"- well, that would be a buzz,
and it's the sort of thing a collector looks for.
It seems to me much more in keeping with the essence of photography than
notions of "editions".
Rod
----- Original Message -----
From: "David Clark" <DavidClark_@excite.com>
To: <alt-photo-process-l@skyway.usask.ca>
Sent: Saturday, May 27, 2000 03:50
Subject: Re: a question...
> One of the most useful things I learned from the etchers and engravers is
> the practice of making a "bon a tirer" print.
>
> Print artists (exc. monotypists) always keep one perfect copy of each
print
> marked bon a tirer or "good to print". This way they can print a partial
> edition and continue printing at a later date, using the bon a tirer as a
> quality check.
>
> David
>
>
>
>
>
> _______________________________________________________
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