Wilson
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November 2014
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Low Numbers, by Wilson on Jan 13, 2015 13:20:17 GMT 1, Hi everyone Still new to all this but just wondered if someone could explain why low numbers on print releases are a sought after? I see sellers mentioning it as a selling point.
Hi everyone Still new to all this but just wondered if someone could explain why low numbers on print releases are a sought after? I see sellers mentioning it as a selling point.
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alexdb
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February 2012
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Low Numbers, by alexdb on Jan 13, 2015 13:37:16 GMT 1, Not for me actually, I don't see the added value. Similar with AP's that are identical with the edition version.
Oh and welcome at the banksyforum. You will love it here.
Not for me actually, I don't see the added value. Similar with AP's that are identical with the edition version.
Oh and welcome at the banksyforum. You will love it here.
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jlf
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July 2014
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Low Numbers, by jlf on Jan 13, 2015 13:49:20 GMT 1, I'm with Alex on if it adds value, but I guess the first one might be a little more, just because it is the very first one, but any other low numbers are just the same as the later ones in my view, although people put value on different things, so to the right buyer it might increase the price
I'm with Alex on if it adds value, but I guess the first one might be a little more, just because it is the very first one, but any other low numbers are just the same as the later ones in my view, although people put value on different things, so to the right buyer it might increase the price
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Deleted
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January 1970
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Low Numbers, by Deleted on Jan 13, 2015 13:51:06 GMT 1, in the olden days, the lower number were sharper, the quality decreased at the print went on
in the olden days, the lower number were sharper, the quality decreased at the print went on
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Oski
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December 2014
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Low Numbers, by Oski on Jan 13, 2015 13:55:18 GMT 1, It's not a strong preference for me, but the low number would indicate that I got a print in the earlier part of the release that's all. Some people want the last of the release (i.e. 100/100). Otherwise I also like round numbers that end in either 5 or 0. Much of it is a matter of personal preference really.
It's not a strong preference for me, but the low number would indicate that I got a print in the earlier part of the release that's all. Some people want the last of the release (i.e. 100/100). Otherwise I also like round numbers that end in either 5 or 0. Much of it is a matter of personal preference really.
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JAlternatiรณn
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December 2011
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Low Numbers, by JAlternatiรณn on Jan 13, 2015 13:56:41 GMT 1, in the olden days, the lower number were sharper, the quality decreased at the print went on Yeah, I think it's a hangover from then. Nowadays #1 is as likely to be #100 off the press as it is the first one. Print houses stack them up and post them out to the artist to sign and number.
i quite like the symmetry of the numbers sometime if they are things like 1/50 or 5/50 but otherwise don't think it matters too much
in the olden days, the lower number were sharper, the quality decreased at the print went on Yeah, I think it's a hangover from then. Nowadays #1 is as likely to be #100 off the press as it is the first one. Print houses stack them up and post them out to the artist to sign and number. i quite like the symmetry of the numbers sometime if they are things like 1/50 or 5/50 but otherwise don't think it matters too much
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Deleted
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January 1970
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Low Numbers, by Deleted on Jan 13, 2015 13:57:40 GMT 1, given POWs cadre of ex hippies, drug fiends, alkies and wasters*, print #1 is probabaly not the first print produced , just the first to be numbered out of the batch
* nothing personal POW
given POWs cadre of ex hippies, drug fiends, alkies and wasters*, print #1 is probabaly not the first print produced , just the first to be numbered out of the batch
* nothing personal POW
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Deleted
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January 1970
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Low Numbers, by Deleted on Jan 13, 2015 14:02:39 GMT 1, historically, if it's a print being pulled by hand, the quality of the first print would be the strongest, and each subsequent print would be of slightly lesser quality as the screen gets used and deteriorates. but with today's screens, inks, chemicals etc, this isn't really the case
personally - I'd prefer a print from the middle of the batch, since at that point the printer has found his or her rhythm and the prints are bound to be more consistent
historically, if it's a print being pulled by hand, the quality of the first print would be the strongest, and each subsequent print would be of slightly lesser quality as the screen gets used and deteriorates. but with today's screens, inks, chemicals etc, this isn't really the case
personally - I'd prefer a print from the middle of the batch, since at that point the printer has found his or her rhythm and the prints are bound to be more consistent
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kbfrombk
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October 2013
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Low Numbers, by kbfrombk on Jan 13, 2015 14:02:48 GMT 1, It's not a strong preference for me, but the low number would indicate that I got a print in the earlier part of the release that's all. Some people want the last of the release (i.e. 100/100). Otherwise I also like round numbers that end in either 5 or 0. Much of it is a matter of personal preference really. what if the #1 print is actually the final one to be printed, and that's why it's the paper on top of the stack waiting to get numbered top to bottom 1-500!?
It's not a strong preference for me, but the low number would indicate that I got a print in the earlier part of the release that's all. Some people want the last of the release (i.e. 100/100). Otherwise I also like round numbers that end in either 5 or 0. Much of it is a matter of personal preference really. what if the #1 print is actually the final one to be printed, and that's why it's the paper on top of the stack waiting to get numbered top to bottom 1-500!?
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Low Numbers, by Street Art Fan on Jan 13, 2015 14:17:22 GMT 1, It's not a strong preference for me, but the low number would indicate that I got a print in the earlier part of the release that's all. Some people want the last of the release (i.e. 100/100). Otherwise I also like round numbers that end in either 5 or 0. Much of it is a matter of personal preference really. what if the #1 print is actually the final one to be printed, and that's why it's the paper on top of the stack waiting to get numbered top to bottom 1-500!? But the real question - the one that's waiting to be asked really - is if a tree falls in a forest and no one is around to hear it, does it make a sound?
It's not a strong preference for me, but the low number would indicate that I got a print in the earlier part of the release that's all. Some people want the last of the release (i.e. 100/100). Otherwise I also like round numbers that end in either 5 or 0. Much of it is a matter of personal preference really. what if the #1 print is actually the final one to be printed, and that's why it's the paper on top of the stack waiting to get numbered top to bottom 1-500!? But the real question - the one that's waiting to be asked really - is if a tree falls in a forest and no one is around to hear it, does it make a sound?
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Deleted
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January 1970
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Low Numbers, by Deleted on Jan 13, 2015 14:22:56 GMT 1, low numbers look nicer
low numbers look nicer
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Oski
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December 2014
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Low Numbers, by Oski on Jan 13, 2015 14:23:44 GMT 1, It's not a strong preference for me, but the low number would indicate that I got a print in the earlier part of the release that's all. Some people want the last of the release (i.e. 100/100). Otherwise I also like round numbers that end in either 5 or 0. Much of it is a matter of personal preference really. what if the #1 print is actually the final one to be printed, and that's why it's the paper on top of the stack waiting to get numbered top to bottom 1-500!? I'd ask them to do it over.
It's not a strong preference for me, but the low number would indicate that I got a print in the earlier part of the release that's all. Some people want the last of the release (i.e. 100/100). Otherwise I also like round numbers that end in either 5 or 0. Much of it is a matter of personal preference really. what if the #1 print is actually the final one to be printed, and that's why it's the paper on top of the stack waiting to get numbered top to bottom 1-500!? I'd ask them to do it over.
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kbfrombk
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October 2013
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Low Numbers, by kbfrombk on Jan 13, 2015 14:26:58 GMT 1, what if the #1 print is actually the final one to be printed, and that's why it's the paper on top of the stack waiting to get numbered top to bottom 1-500!? I'd ask them to do it over.
:-D
what if the #1 print is actually the final one to be printed, and that's why it's the paper on top of the stack waiting to get numbered top to bottom 1-500!? I'd ask them to do it over. :-D
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Oski
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December 2014
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Low Numbers, by Oski on Jan 13, 2015 14:27:05 GMT 1, personally - I'd prefer a print from the middle of the batch, since at that point the printer has found his or her rhythm and the prints are bound to be more consistent I would figure that there would be a number of printer proofs before the actual edition is pulled. At that point they should have worked out the kinks and figured out the best approach I'd imagine?
personally - I'd prefer a print from the middle of the batch, since at that point the printer has found his or her rhythm and the prints are bound to be more consistent I would figure that there would be a number of printer proofs before the actual edition is pulled. At that point they should have worked out the kinks and figured out the best approach I'd imagine?
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Deleted
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January 1970
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Low Numbers, by Deleted on Jan 13, 2015 14:32:28 GMT 1, historically, if it's a print being pulled by hand, the quality of the first print would be the strongest, and each subsequent print would be of slightly lesser quality as the screen gets used and deteriorates. but with today's screens, inks, chemicals etc, this isn't really the case I would figure that there would be a number of printer proofs before the actual edition is pulled. At that point they should have worked out the kinks and figured out the best approach I'd imagine? yes, as far as registration, colors, and all that. remember too that Arches and other high quality paper is expensive... $1-5 a sheet, depending on size, so you try to work out the kinks ASAP and try not to have too many test prints
but from my own personal experience, it takes a few prints to get into a nice rhythm - the first few prints are fine (and wouldn't be given out if they weren't), but you hit a "sweet spot" - at some point - just enough ink on the screen, the perfect pull and stoke angle, the correct force etc.. and eventually your arms/back gets tired hahahah
again - this is just from my personal experience. I'm sure some of the larger print houses have automatic presses that take the human element out of the process
historically, if it's a print being pulled by hand, the quality of the first print would be the strongest, and each subsequent print would be of slightly lesser quality as the screen gets used and deteriorates. but with today's screens, inks, chemicals etc, this isn't really the case I would figure that there would be a number of printer proofs before the actual edition is pulled. At that point they should have worked out the kinks and figured out the best approach I'd imagine? yes, as far as registration, colors, and all that. remember too that Arches and other high quality paper is expensive... $1-5 a sheet, depending on size, so you try to work out the kinks ASAP and try not to have too many test prints but from my own personal experience, it takes a few prints to get into a nice rhythm - the first few prints are fine (and wouldn't be given out if they weren't), but you hit a "sweet spot" - at some point - just enough ink on the screen, the perfect pull and stoke angle, the correct force etc.. and eventually your arms/back gets tired hahahah again - this is just from my personal experience. I'm sure some of the larger print houses have automatic presses that take the human element out of the process
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Hairbland
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November 2010
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Low Numbers, by Hairbland on Jan 13, 2015 14:41:29 GMT 1, historically, if it's a print being pulled by hand, the quality of the first print would be the strongest, and each subsequent print would be of slightly lesser quality as the screen gets used and deteriorates. but with today's screens, inks, chemicals etc, this isn't really the case personally - I'd prefer a print from the middle of the batch, since at that point the printer has found his or her rhythm and the prints are bound to be more consistent Agreed...get that groove on.
But it is a conceptual remnant from an earlier time. From an easy Google search:
Numbering: Because of the variation in quality, lower-numbered prints in an edition are sometimes favored as superior, especially with older works where the image was struck until the plate wore out. However the numbering of impressions in fact may well not equate at all to the sequence in which they were printed, and may often be the reverse of it.
In later times, printmakers recognized the value of limiting the size of an edition and including the volume of the edition in the print number (e.g., "15/30" for the 15th print in an edition of 30). Tight controls on the process to limit or eliminate variation in quality have become the norm. In monotyping, a technique where only two impressions at most can be taken, prints may be numbered 1/1, or marked "unique". Artists usually print an edition much smaller than the plate allows, both for marketing reasons and to keep the edition comfortably within the lifespan of the plate. Specific steps may also be taken to strengthen the plate, such as electroplating intaglio images, which uses an electric process to put a very thin coat of a stronger metal onto a plate of a weaker metal.
The conventions for numbering prints are well-established, but other marks may indicate that a print has been made in addition to the numbered prints of an edition. Artist's proofs are marked "A. P." or "P/A", sometimes E. A. or E. d'A. (รฉpreuve d'artiste); monoprints and uniquely hand-altered prints are marked "unique"; prints that are given to someone or are for some reason unsuitable for sale are marked "H. C." or "H/C", meaning "hors de commerce", not for sale. These are usually prints reserved for the publisher, like Artist's Proofs. The printer is also often allowed to retain some proof impressions; these are marked "P. P." Finally, a master image may be printed against which the members of the edition are compared for quality: these are marked as "bon ร tirer" or "BAT" ("good to print" in French). In all, the number of the main edition can represent 50% or less of the total number of good impressions taken.
historically, if it's a print being pulled by hand, the quality of the first print would be the strongest, and each subsequent print would be of slightly lesser quality as the screen gets used and deteriorates. but with today's screens, inks, chemicals etc, this isn't really the case personally - I'd prefer a print from the middle of the batch, since at that point the printer has found his or her rhythm and the prints are bound to be more consistent Agreed...get that groove on. But it is a conceptual remnant from an earlier time. From an easy Google search: Numbering: Because of the variation in quality, lower-numbered prints in an edition are sometimes favored as superior, especially with older works where the image was struck until the plate wore out. However the numbering of impressions in fact may well not equate at all to the sequence in which they were printed, and may often be the reverse of it. In later times, printmakers recognized the value of limiting the size of an edition and including the volume of the edition in the print number (e.g., "15/30" for the 15th print in an edition of 30). Tight controls on the process to limit or eliminate variation in quality have become the norm. In monotyping, a technique where only two impressions at most can be taken, prints may be numbered 1/1, or marked "unique". Artists usually print an edition much smaller than the plate allows, both for marketing reasons and to keep the edition comfortably within the lifespan of the plate. Specific steps may also be taken to strengthen the plate, such as electroplating intaglio images, which uses an electric process to put a very thin coat of a stronger metal onto a plate of a weaker metal. The conventions for numbering prints are well-established, but other marks may indicate that a print has been made in addition to the numbered prints of an edition. Artist's proofs are marked "A. P." or "P/A", sometimes E. A. or E. d'A. (รฉpreuve d'artiste); monoprints and uniquely hand-altered prints are marked "unique"; prints that are given to someone or are for some reason unsuitable for sale are marked "H. C." or "H/C", meaning "hors de commerce", not for sale. These are usually prints reserved for the publisher, like Artist's Proofs. The printer is also often allowed to retain some proof impressions; these are marked "P. P." Finally, a master image may be printed against which the members of the edition are compared for quality: these are marked as "bon ร tirer" or "BAT" ("good to print" in French). In all, the number of the main edition can represent 50% or less of the total number of good impressions taken.
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Dexter Bulldog
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July 2013
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Low Numbers, by Dexter Bulldog on Jan 13, 2015 14:53:48 GMT 1, its just something people with lower numbers say when they list a print to make it seem like its more valuable
its just something people with lower numbers say when they list a print to make it seem like its more valuable
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kbfrombk
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October 2013
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Low Numbers, by kbfrombk on Jan 13, 2015 14:56:43 GMT 1, its just something people with lower numbers say when they list a print to make it seem like its more valuable Pretty much exactly, yes. Though for instance I have a print that's #50 of 50. I would mention that, because it's *COOL* :-)
Otherwise, to me it doesn't matter if your print is #2 of 450 (cough, Obey); your print is still, no matter what, only one of another 449 (plus A/PPs, etc. etc).
its just something people with lower numbers say when they list a print to make it seem like its more valuable Pretty much exactly, yes. Though for instance I have a print that's #50 of 50. I would mention that, because it's *COOL* :-) Otherwise, to me it doesn't matter if your print is #2 of 450 (cough, Obey); your print is still, no matter what, only one of another 449 (plus A/PPs, etc. etc).
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JAlternatiรณn
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December 2011
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Low Numbers, by JAlternatiรณn on Jan 13, 2015 16:25:58 GMT 1, Pretty much exactly, yes. Though for instance I have a print that's #50 of 50. I would mention that, because it's *COOL* :-) Yeah, I have 50/50 of Roamcouch's Rainbow inc, and would definitely mention it if selling it. As stupid as it is, it makes me smile each time I see it
Pretty much exactly, yes. Though for instance I have a print that's #50 of 50. I would mention that, because it's *COOL* :-) Yeah, I have 50/50 of Roamcouch's Rainbow inc, and would definitely mention it if selling it. As stupid as it is, it makes me smile each time I see it
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Wilson
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November 2014
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Low Numbers, by Wilson on Jan 13, 2015 16:47:03 GMT 1, Not for me actually, I don't see the added value. Similar with AP's that are identical with the edition version. Oh and welcome at the banksyforum. You will love it here. Thanks for the welcome. I do love it here. The Bisser release was my first attempt and success which has pretty much got me hooked. I am just at the stage when my wife is starting roll her eyes when I announce a new purchase. She moaned at the first few. A few more and she will realise it's futile and let me get on with it. I am sure a few out there have had the "why don't you wait and see what the ones you've got look like on the wall". :-)
Thanks for the interesting responses. I suppose just start worrying when I get a 51/50 from Ebay!
Not for me actually, I don't see the added value. Similar with AP's that are identical with the edition version. Oh and welcome at the banksyforum. You will love it here. Thanks for the welcome. I do love it here. The Bisser release was my first attempt and success which has pretty much got me hooked. I am just at the stage when my wife is starting roll her eyes when I announce a new purchase. She moaned at the first few. A few more and she will realise it's futile and let me get on with it. I am sure a few out there have had the "why don't you wait and see what the ones you've got look like on the wall". :-)
Thanks for the interesting responses. I suppose just start worrying when I get a 51/50 from Ebay!
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alexdb
New Member
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February 2012
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Low Numbers, by alexdb on Jan 13, 2015 16:53:00 GMT 1, Not for me actually, I don't see the added value. Similar with AP's that are identical with the edition version. Oh and welcome at the banksyforum. You will love it here. Thanks for the welcome. I do love it here. The Bisser release was my first attempt and success which has pretty much got me hooked. I am just at the stage when my wife is starting roll her eyes when I announce a new purchase. She moaned at the first few. A few more and she will realise it's futile and let me get on with it. I am sure a few out there have had the "why don't you wait and see what the ones you've got look like on the wall". :-)
Thanks for the interesting responses. I suppose just start worrying when I get a 51/50 from Ebay!
Go to spots with lots of street art and bring along your wife. It helped with my girlfriend. We now buy art together every now and then. ;-)
Not for me actually, I don't see the added value. Similar with AP's that are identical with the edition version. Oh and welcome at the banksyforum. You will love it here. Thanks for the welcome. I do love it here. The Bisser release was my first attempt and success which has pretty much got me hooked. I am just at the stage when my wife is starting roll her eyes when I announce a new purchase. She moaned at the first few. A few more and she will realise it's futile and let me get on with it. I am sure a few out there have had the "why don't you wait and see what the ones you've got look like on the wall". :-)
Thanks for the interesting responses. I suppose just start worrying when I get a 51/50 from Ebay!
Go to spots with lots of street art and bring along your wife. It helped with my girlfriend. We now buy art together every now and then. ;-)
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Dr Plip
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August 2011
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Low Numbers, by Dr Plip on Jan 13, 2015 17:06:26 GMT 1, This recent number talk reminded me of my Billy Childish/MBE Record Store Day single.
Numbered 320 out of 300...
This recent number talk reminded me of my Billy Childish/MBE Record Store Day single.
Numbered 320 out of 300...
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SW20
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December 2014
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Low Numbers, by SW20 on Jan 13, 2015 17:11:56 GMT 1, Ha ha that BC is cool. Most people pay more for hand finnished prints therefore technically higher numbers have more artist input so always get as many digits as you can.
In fact must start saying sorry mate single digits just don't do it. High number prints only.
Ha ha that BC is cool. Most people pay more for hand finnished prints therefore technically higher numbers have more artist input so always get as many digits as you can.
In fact must start saying sorry mate single digits just don't do it. High number prints only.
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poppa
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August 2009
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Low Numbers, by poppa on Jan 13, 2015 21:06:11 GMT 1, its just something people with lower numbers say when they list a print to make it seem like its more valuable Pretty much exactly, yes. Though for instance I have a print that's #50 of 50. I would mention that, because it's *COOL* :-) I got number 88 of the Ai Weiwei serpentine print. Very nice being Chinese and from a Chinese artist. But apart from that it doesn't really matter to me.
its just something people with lower numbers say when they list a print to make it seem like its more valuable Pretty much exactly, yes. Though for instance I have a print that's #50 of 50. I would mention that, because it's *COOL* :-) I got number 88 of the Ai Weiwei serpentine print. Very nice being Chinese and from a Chinese artist. But apart from that it doesn't really matter to me.
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Deleted
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January 1970
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Low Numbers, by Deleted on Jan 13, 2015 21:11:35 GMT 1, This recent number talk reminded me of my Billy Childish/MBE Record Store Day single.
Numbered 320 out of 300...
oops. someone fucked up
This recent number talk reminded me of my Billy Childish/MBE Record Store Day single.
Numbered 320 out of 300...
oops. someone fucked up
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tab1
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September 2011
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Low Numbers, by tab1 on Jan 14, 2015 2:04:40 GMT 1, Also some artists retain numbers 1-3 of an edition therefore they do not make it to the general market
Also some artists retain numbers 1-3 of an edition therefore they do not make it to the general market
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sake
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January 2014
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Low Numbers, by sake on Jan 14, 2015 8:50:37 GMT 1, Someone might say that the signature from the artist is better in the low numbers because they grow tired after a while.
I remember working in a storehouse when I was younger, signing maybe a hundred papers a day. That signature looked like crap in the end..
Someone might say that the signature from the artist is better in the low numbers because they grow tired after a while.
I remember working in a storehouse when I was younger, signing maybe a hundred papers a day. That signature looked like crap in the end..
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Oski
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December 2014
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Low Numbers, by Oski on Jan 14, 2015 14:07:06 GMT 1, Someone might say that the signature from the artist is better in the low numbers because they grow tired after a while. I remember working in a storehouse when I was younger, signing maybe a hundred papers a day. That signature looked like crap in the end.. That's a great point, and I'm amazed at how consistent some of the signatures are of artists over different editions and over the years.
Then I think about someone like Shep Fairey, who is as prolific as they come, seemingly coming out with editions of 450 nearly every other week, and has a steady stream of his fine art work on top of it. For example, the 50 Shades box set last year had 50 prints per box in an edition of 200 (each print individually signed)...that's 10,000 signatures in just one release!!! My mental movie is of him doing nothing but signing posters all day long while his staff churns out the work. (Full disclosure, I like and own Fairey's work)
Someone might say that the signature from the artist is better in the low numbers because they grow tired after a while. I remember working in a storehouse when I was younger, signing maybe a hundred papers a day. That signature looked like crap in the end.. That's a great point, and I'm amazed at how consistent some of the signatures are of artists over different editions and over the years. Then I think about someone like Shep Fairey, who is as prolific as they come, seemingly coming out with editions of 450 nearly every other week, and has a steady stream of his fine art work on top of it. For example, the 50 Shades box set last year had 50 prints per box in an edition of 200 (each print individually signed)...that's 10,000 signatures in just one release!!! My mental movie is of him doing nothing but signing posters all day long while his staff churns out the work. (Full disclosure, I like and own Fairey's work)
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Dungle
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June 2011
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Low Numbers, by Dungle on Jan 14, 2015 15:16:28 GMT 1, Someone might say that the signature from the artist is better in the low numbers because they grow tired after a while. I remember working in a storehouse when I was younger, signing maybe a hundred papers a day. That signature looked like crap in the end.. That's a great point, and I'm amazed at how consistent some of the signatures are of artists over different editions and over the years. Then I think about someone like Shep Fairey, who is as prolific as they come, seemingly coming out with editions of 450 nearly every other week, and has a steady stream of his fine art work on top of it. For example, the 50 Shades box set last year had 50 prints per box in an edition of 200 (each print individually signed)...that's 10,000 signatures in just one release!!! My mental movie is of him doing nothing but signing posters all day long while his staff churns out the work. (Full disclosure, I like and own Fairey's work) That's assuming that the artist signs in numerical order. He may start at 100 and work back.
There is literally no benefit (financially) to having a low number, it just eases some peoples superstitions.
Someone might say that the signature from the artist is better in the low numbers because they grow tired after a while. I remember working in a storehouse when I was younger, signing maybe a hundred papers a day. That signature looked like crap in the end.. That's a great point, and I'm amazed at how consistent some of the signatures are of artists over different editions and over the years. Then I think about someone like Shep Fairey, who is as prolific as they come, seemingly coming out with editions of 450 nearly every other week, and has a steady stream of his fine art work on top of it. For example, the 50 Shades box set last year had 50 prints per box in an edition of 200 (each print individually signed)...that's 10,000 signatures in just one release!!! My mental movie is of him doing nothing but signing posters all day long while his staff churns out the work. (Full disclosure, I like and own Fairey's work) That's assuming that the artist signs in numerical order. He may start at 100 and work back. There is literally no benefit (financially) to having a low number, it just eases some peoples superstitions.
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Lesson1
New Member
Posts โข 332
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November 2011
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Low Numbers, by Lesson1 on Jan 14, 2015 16:08:35 GMT 1, Not fussed me, but if I had the choice I would go for one of my favourite numbers that means something only to me or would match other prints I have.
Not fussed me, but if I had the choice I would go for one of my favourite numbers that means something only to me or would match other prints I have.
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