Today's postings

  1. [Baren 44062] Re: Print Copyright Question (Tibi Chelcea)
  2. [Baren 44063] Re: Print Copyright Question (Barbara Mason)
  3. [Baren 44064] archiving prints/ (Andrew Stone)
  4. [Baren 44065] Re: Print Copyright Question ("Maria Arango Diener")
  5. [Baren 44066] Print Copyright Question ( slinders #
  6. [Baren 44067] RE: archiving prints ("Maria Arango Diener")
  7. [Baren 44068] Baren Member blogs: Update Notification (Blog Manager)
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Message 1
From: Tibi Chelcea
Date: Wed, 31 Aug 2011 14:36:43 GMT
Subject: [Baren 44062] Re: Print Copyright Question
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lt also depends on how you want to use it -- there's a fair use exception to
the copyright law, something to the effect that if your work is
transformative enough and does not harm the market of Frank Brangwyn, it
does not violate the copyright law. However, the line where that occurs is
not very clearly defined, and there have been cases where pretty big artists
got into trouble, while others did not. I found this that can be a source
for further reading:

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Message 2
From: Barbara Mason
Date: Wed, 31 Aug 2011 15:41:09 GMT
Subject: [Baren 44063] Re: Print Copyright Question
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Here is a follow up on this case and the copy write law did that was pretty interesting. When you see the work you can tell it is not derivative but a downright copy done in photoshop...pretty cheeky.

So I guess artists have been copying each other for eons...the secret is to copy and change it so it is yours...or give credit to who you copied it from... and oh yes, don't make any money from the copy.....
My best
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Message 3
From: Andrew Stone
Date: Wed, 31 Aug 2011 15:41:36 GMT
Subject: [Baren 44064] archiving prints/
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How do you more prolific printers deal with your unsold/ungifted printworks?

I'm beginning to produce a moderate number of print copies.

However, until my art career takes off and print sales soar; I have multiple copies (10-50) of individual prints.

I still don't own a flat file (but I'm looking) but have made a few acid-free small, shallow boxes using museum board and I put one or two editions in these boxes and they can stack up and be easily labelled/seen.

The rest are sort of slipped between a folder made of acid free paper and stacked one on top of another in a dry spot.

My question is mostly about efficient storage, retrieval; I have a note in each pack with how many printed, how many left etc. But I do have lots of little folders with loose prints in them sort of tucked everywhere in the house as my studio is too damp for long term storage of paper or finished work.

I would like to have a sort of portfolio/notebook of one of everything for portable storage/viewing/etc and the rest in one safe place/(or maybe two in case of fires/floods/etc).

So curious as to how others are dealing with archiving/storing/their prints.

Andrew --trying to organize my life--Stone
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Message 4
From: "Maria Arango Diener"
Date: Wed, 31 Aug 2011 15:59:54 GMT
Subject: [Baren 44065] Re: Print Copyright Question
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Or pay the original artist for the rights to make derivative works of their
work with their approval, as I did here:

Photographer was happy, I was happy, everything on the up and up and
transparent. I imagine if that engraving would have become "famous" and I
would have made millions of dollars from it, perhaps he would have objected.
But then again, I would have gladly renewed our contract and given him a

I think in this day and age, younger "net-people" generally tend to have a
sense of entitlement about anything that is "found" on the web. I don't
think it is a malicious point of view (I'll grab it if it isn't attached), I
think more it is the way of technology and the internet.

There is so much content out there that it really becomes difficult to give
credit to the originator. I see this in news blogs all the time where
content has been pretty much copied from one blog to another without so much
as a single line that says "according to Reuters, or CNBC, or BBC or

I think also that artists should be the MOST careful about such things
because, frankly, ALL we have going for ourselves is that we can create a
unique and original image out of nothing. We start copying and someone will
some day do the same to us and then we have nothing.



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Message 5
From: slinders #
Date: Wed, 31 Aug 2011 16:05:09 GMT
Subject: [Baren 44066] Print Copyright Question
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E. M. Washington...wood engraving 'copyist'? He made money
selling 'prints' but it didn't do his reputation any good! He
isn't loved by the wood engraving community.

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Message 6
From: "Maria Arango Diener"
Date: Wed, 31 Aug 2011 18:01:03 GMT
Subject: [Baren 44067] RE: archiving prints
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Once more time let me laud the huge advantage of a home-constructed database!

I have all my works in an Access database table. For this purpose only you could use a spreadsheet.

Once I was in your situation I added a LOCATION field where I could enter where the dickens the print was stashed. Prior to purchasing flat files I simply entered the name of the obscure place where I could find my prints. Some examples in those days: “bedroom closet”, “studio shelves”, “under bed storage”, etc.

In 2001-2003 I had repeated printmaking frenzy attacks and I ended up with so many stacks of prints that flat files were in order. I purchased them cheeeeep! from ebay. Some print-shop went out of business or something. There are TONS available on ebay for cheap. These happened to be nearby and I had them delivered also for cheap. Took me several months to find a great deal but they can be had. Since then I found some local auctions held by our local school district that would have been even cheaper but oh well.

I am now the proud owner of a stacked set of three 5-drawer files, called the Green Monster before I painted them a balmy and soothing tan.

Okay, next I numbered the drawers, top to bottom 1-15. From my database, I printed a “print inventory” report which at that time had the “location” field blank; really just a list of finished prints (could be a yellow pad, really). Then I just re-located all my prints (about a three-day job) and entered their location in the database, GM (for green monster) and the drawer number, GM 12, GM 14, GM 5, etc.

At the same relocation time it is a good idea to jot down how many are left in the edition.

For smaller prints I have four mail sorters each holding 12? sets of small prints. Again I numbered the Sorters 1-4 and stuck the prints in there. I have not yet nor do I feel the need to number each individual cubby hole but if I ever break an ankle or something that keeps me homebound I have it on my list of things to do when I’m too feeble to hike.

The main thing is to keep a master list, however you have it, of prints and their location. Then when you need a print, just look it up and find it fast. Easy as pie once you set it up, a bit overwhelming when you are looking at about 100 + print stacks. But now I have 300 print stacks and I’m glad I did it back then. Since I sell online, it is imperative that I find prints fast.

Disgusting, huh?




Digest Appendix

Postings made on [Baren] members' blogs
over the past 24 hours ...

Subject: God On Money
Posted by: Annie B

I've been wanting to make a series of prints about money for a long time, maybe since 2007 when Lynn and I experienced something of a reversal of fortunes and decided to downscale our lives before life did it for us. My usual approach to art making, researching a topic until I feel I have enough understanding to begin, didn't work this time. I audited a class on the history of American economics which did nothing to inspire me, and my own ambivalent feelings about money also didn't help me. But I've finally found a way in to the topic, a way which is purely visual.

This new series, called Loaded, is based on a simple conceit. Each print begins with an image isolated from the back side of a one dollar bill as the starting point. In the first print, Great Wave, the wave design came from below and to the right of the pyramid motif. For this print I've worked with a tiny crop that includes the word "god" from the "in god we trust" motto at the top of the bill.

Carving on a 24" x 48" shina plywood block by Annie Bissett

The words "in god we trust" have appeared on American coins since 1864, but have been written on paper currency only since 1957, and the words are controversial, as are all things having to do with religion in the United States. As I worked with the image, at first all I could see was the cynical view that we in the U.S. actually worship not God but Money. Which is certainly true in many ways.

But then I began to think about all the ways that money perhaps is sacred: the trust we have in each other and in our economic system that is essential to its functioning, the hopes and dreams that we all hold and that money can help us attain, money as a symbol and exchange for honest labor, money offered to another out of a desire to help and serve.

This morning, when I pulled a couple of dollars out of my wallet at the post office to send my mother news clippings about flooding in her beloved home state of Vermont, that was love in the form of money.

These have been my thoughts as this print emerges. Today I'll be adding the bees I carved yesterday.

[Long item has been trimmed at this point. The full blog entry can be viewed here]

This item is taken from the blog woodblock dreams.
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Subject: Birds In My Brain!

[This was a summary of the original entry. The full entry can be viewed here]

This item is taken from the blog Lori Biwer-Stewart's Printmaking Blog.
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