Editions in the Digital Age

Below is an outline of traditional concepts governing the creation of limited editions. Following this outline are points of discussion and recommendations for creating digital limited editions.

Traditional Concepts and Assumptions

First, several traditional assumptions about art, editions, and value need to be reviewed:

• The value of art is based on authenticity, importance of the artist, image, size of the work, materials, and condition.
• The value of a limited edition is based on the value of the art (above) and the total count of the edition. The lower the total number in the edition, the more value is assigned to each print. This is due to the premium placed on rarity.
• The authenticity of the edition is described in the print disclosure statement whereby the artist and printmaker spell out what determines the edition. This disclosure [ Certificate of Authenticity (Pdf)] creates an expressed warranty.

Additionally, State of Hawai'i Statute 481 governs the conditions of sale for editions, also known as multiples. Print disclosure statues describe:

• Edition as an aggregate of prints produced from a single master.
• Limited Edition as a print multiple produced from a master, all of which include the same image and bear numbers to denote the limited production thereof to stated maximum number of prints.
• Proof as a print in an edition which contains substantially the same image from the the same master as the prints in the related limited edition, but set aside from and in addition to the limited edition'
• Signed as the artist signed each print of the multiple by hand signifying approval.

Finally, several general conditions pertaining to editions:

• The total number and conditions of a limited edition are predetermined.
• Each print in an edition is numbered with the print number and the total edition number (example: "2/50" is print number 2 of a total edition of 50. This normally done in pencil just below the image).
• Numbered prints are the prints intended for sale.
• Artist Proof (A/P) and Printers Proof (P/P) are of the same image state as the limited edition and each A/P or P/P is disclosed in the  Certificate of Authenticity (Pdf), but is outside the limited edition total.
• Bon-A-Tirer (BAT) is a final proof accepted by the artist prior to producing an edition. This is used as a reference print to verify the quality of each print in the edition.
• All other "proofs" are incomplete or flawed test prints used to determine image quality.
• State (image state) is the condition of the image set by the artist's deliberate alteration of the matrix and thus represented in the print. Artists may make many deliberate altered states, but the original image state is the most valued by collectors.
• Variable Edition (E/V) is an edition with the same image, but where subtle changes in color are allowed. This pertains more to hand inked and pulled works.
• Open edition is an edition with no limitation as to final number. As the number in open editions tend to be quite high or unlimited, the value for each print is often low as there is no rarity implied.

Points of Discussion

Be aware that the following abuses of limited edition have been around for years and are nothing more than sales tactics:

• The idea that the "limited" aspect of the edition is determined by time. This is the old "limited time only" where one is pressured by "orders received by x date will be produced by the artist"...
• When the "limited edition" is produced by geographic area, and another edition of the same image is produced for another area, when in fact it is the same edition thus increasing the total edition number. This is not a true limited edition.
• Stating that varying the substrate and/or size constitutes a separate edition of the same image state. It does not.
• Marketing the "Limited Edition Reproduction" which most often is a moderate quality production line reproduction like a poster, not a limited edition.

Recommendations for creating Digital Limited Editions

Everything described to this point is derived from the traditional art world. Many of the concepts that govern traditional art apply to digital art. Some of these concepts do not work  in the digital environment.

Digital art is less likely to adapt to traditional art values as it is to reshape our relationship to art. This is most evident when we look at the  premises of value. In traditional art much of the value is based on physical rarity. This is a material view. To make digital art physical we virtually take a snapshot of a creative session. Since the digital work is not based on matter, perfect copies (originals) can be made indefinitely. Digital artists cannot claim physical rarity as a characteristic. Except for the decision to destroy the file, thus making the output rare, digital artists claim to rarity is not in the material sense. The digital artist's uniqueness is based on the rareness of vision. This is a fundamental change that will take time to emerge.

Digital artists have more choices than many artists in history. It is important that the choices of how we use these tools leads to a responsible representation to the viewer/collector. Falsely representing a print or edition is harmful to all digital artists.'

Following are beginning points for discussion ion editioning digital images:

• Each edition represents one image. If the image size is varied, disclose this clearly to the collector.
• Customarily, each edition uses one substrate. Switching from paper to canvas is confusing and may cloud value.
• Image state remains constant throughout edition.
• Determine value...avoid low values as it reduces chances of fellow artists establishing competitive values. If not imaging for profit, consider exhibiting the piece "Not for Sale."
• If there is substantial digital imaging used on a photographic base, refer to it as "Digital Photography" or "Digital Imaging."
• Disclose all materials in detail. Include ink and paper manufacturer and all specifics. For example, "Epson Pigmented Inks and Hahnemuehle, Albrecht Duerer, 210 gsm, archival watercolor paper."
• Consolidate all of the disclosure items in the Certificate of Authenticity (Pdf).