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TAMARIND LITHOGRAPHY WORKSHOP, INC.

DETAILS OF FELLOWSHIPS - #2

4. As soon as the "Bon à Tirer" is made, the artist will prepare the paper for the printing of his edition and of the Tamarind Impressions (see item 2, page 1) following instructions for handling of the paper by the printer. He then will assist the printer at the press, helping to lay the paper for each impression, examining  each impression for quality as it is pulled, and keeping count of acceptable impressions to insure against over-printing. The artist will place the newly printed impressions between newsprint slipsheets during this work period to protect them from fingerprints, dust, etc. until they are dry. When the edition is complete, the artist will notify the curator who will work with the artist to sign and number the edition in accordance with Tamarind procedure.

5. Should the artist wish to use the same stone as the basis for a new print, there must be substantial changes made in order to consider the resulting impression entitled to a “new” edition status. Should an artist wish to make minimal changes in the stone and reprint as a new edition, this can only be done with the approval of the Director or Associate Director. In such a case, the new version of the same work shall be called State II of the same print, and will be so marked by artist and curator. The artist shall be entitled to an edition of 10 impressions of such second states, but Tamarind may elect to take a full printing of Tamarind Impressions of the second state should the Director or Associate Director so designate. In practice, such second state impressions for Tamarind will be rare.


6. If, during signing and curating, the artist and the curator discover that an extra proof or two exist which were the result of miscount or borderline quality leading to indecision during printing, the artist will sign such impressions ARTIST'S PROOF, provided the number of such artist's proofs do not exceed three. These will belong to the artist. (This is more likely to take place on multiple-stone prints inasmuch as the printer must over-print the early impressions to allow for the attrition of error as each color is added.)

7. Proofs pulled prior to the "Bon a Tirer" which are part of testing the "Bon à Tirer" shall be known as TRIAL PROOFS and marked as such. No more than two such proofs shall exist for an edition unless it is a multiple stone print. In that case, one trial proof may exist for each stone beyond the first. These trial proofs shall be the property of the artist, shall be marked TRIAL PROOF, and all beyond the number indicated above shall be destroyed. Trial proofs on other than handmade paper will be allowed to exist only if none are available on handmade paper.

8. It is possible that an artist will do an experimental work for which proofs are pulled toward a "Bon à Tirer" but which, for technical or esthetic reasons, the artist may not wish to print as an edition.