1、| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | BRITISH STANDARD BS 7876 : 1996 ICS 37.100
2、.99 NO COPYING WITHOUT BSI PERMISSION EXCEPT AS PERMITTED BY COPYRIGHT LAW Classification of printsThis British Standard, having been prepared under the direction of the Sector Board for Materials and Chemicals, was published under the authority of the Standards Board and comes into effect on 15 Dec
3、ember 1996 BSI 1996 The following BSI references relate to the work on this standard: Committee reference PAI/45 Draft for comment 96/121312 DC ISBN 0 580 26453 X BS 7876 : 1996 Amendments issued since publication Amd. No. Date Text affected Committees responsible for this British Standard The prepa
4、ration of this British Standard was entrusted to Technical Committee PAI/45, Prints, upon which the following bodies were represented: British Printing Industries Federation Fine Art Trade Guild International Fine Print Dealers Association Paper Federation of Great Britain Printmakers Council Royal
5、Academy of Arts Royal Society of Painter-PrintmakersBS 7876 : 1996 BSI 1996 i Contents Page Committees responsible Inside front cover Foreword ii 1 Scope 1 2 Definitions 1 3 Classification of prints 1 Annex A (informative) Additional information 3ii BSI 1996 BS 7876 : 1996 Foreword This British Stan
6、dard has been prepared by Technical Committee PAI/45. Grateful acknowledgement is made to the International Fine Print Dealers Association on whose classification the categories defined in this British Standard is largely based. Compliance with a British Standard does not of itself confer immunity f
7、rom legal obligations. BSI 1996 1 BS 7876 : 1996 1 Scope This British Standard establishes a system of categories for all print production and distinguishes prints according to the extent to which the artist named as inventor was actually involved in making the print. The Standard provides a means o
8、f describing prints without the use of such terms as original prints, or fine art prints. Through the years, these imprecise concepts have been frequently misunderstood. This standard allows non-judgemental distinction to be made between those prints in which the artist was involved in all the creat
9、ive processes, and those where a pre-existing image was multiplied with or without the artists participation. The system of categories should remain valid for whatever hybrid and unusual kind of prints may be produced by the most unorthodox artists using the latest technologies. For example, group A
10、 implies a total and singular involvement on the part of the artist; at the other end of the scale group F implies no involvement at all, either practical or sympathetic. NOTE. In the case of prints made prior to the nineteenth century, different attitudes existed towards the artist as inventor of t
11、he image and the collaborator(s) making the printing matrix. 2 Definitions For the purposes of this British Standard the following definitions apply. 2.1 print The impression of an image made by any method involving transfer from one surface to another. 2.2 printmaking The overall process of produci
12、ng a print. 2.3 edition All the impressions made of an image after it has been approved by the artist. NOTE. The edition may or may not be limited in number of impressions (see 4.2). 2.4 design Creative input and intention of the artist. NOTE. This may take the form of 1) an initial idea or concept;
13、 2) oral or written instructions given to another person carrying out the work; 3) the physical realization of the idea in another medium, preparatory to its translation into one of the printmaking media. A work made by an artist who is now deceased, who did not have a print in mind, cannot be held
14、to be that artists design for a print. 2.5 artist The originator of an image, regardless of how the translation onto paper or other support material occurs. 2.6 matrix (plural matrices) The material on which the image to be printed is prepared e.g. traditionally wood, stone, metal, the mesh of a scr
15、een. NOTE. Matrices can also be originated electronically. Several matrices are normally involved in making a colour print. 2.7 category The class into which the print falls (see clause 3). 2.8 collaborator(s) Any person(s) assisting the artist with expertise in making the matrix or printing from it
16、. 2.9 method The procedure used to produce the matrix and edition the print. 2.10 reproduction A copy of a work of art made by means of engraving, photography, or a similar process. 2.11 facsimile A copy attempting exactly to replicate a pre-existing image. 3 Classification of prints 3.1 General A p
17、rint is not necessarily better because it falls into one category rather than another. Some artists have deliberately used certain procedures because they have been attracted to the visual effects possible, or the conceptual meanings implied. Where it is difficult to be sure about a particular categ
18、ory or classification, considered may be added as a prefix. This British Standard requires the use of the words reproduction (2.10) or facsimile (2.11) whenever they are appropriate. Artists prints should be referred to by the actual process used in their making, such as aquatint, woodcut, etc. 3.2
19、Categories of prints 3.2.1 Category A A denotes that the artist alone created the matrix and made impressions from it. The inclusion of a print in this category implies the artists total and singular involvement. 3.2.2 Category B B denotes that the artist alone has made the matrix and a collaborator
20、, or collaborators, made the impression from it.2 BSI 1996 BS 7876 : 1996 3.2.3 Category C C denotes that the artist made the matrix with the help of a collaborator and that a collaborator or collaborators made impressions from it. 3.2.4 Category D D denotes that the artist neither prepared the matr
21、ix nor pulled the impressions. The physical labour was done by collaborators, but all activities were carried out with the artists supervision and permission. 3.2.5 Category E E denotes that the artist or the artists agent has authorized the making of a print from a pre-existing image, but has had n
22、o further involvement with it. 3.2.6 Category F F denotes that the print has been made without the permission of the artist or the artists agent. Inclusion in this category implies no involvement on the part of the artist, either practical or sympathetic. 3.2.7 Category G G denotes that a matrix use
23、d for a print in categories A to C is reprinted without the artists knowledge or permission (see A.6 and A.7 respectively). 3.3 Categories of ink and paper quality NOTE. The following categories for ink and quality paper apply to all categories of print given in 3.3. 3.3.1 Category 0 0 denotes work
24、that has not been classified under paper and ink quality control analysis. 3.3.2 Category 1 1 denotes work that conforms to the following standards. Paper : pH 7 to pH 9, 200 g/m 2 Inks : British Wool scale 6. 3.3.3 Category 2 2 denotes work that conforms to the following standards. Paper : pH 7 to
25、pH 9, 250 g/m 2 Inks : British Wool scale 6.BS 7876 : 1996 BSI 1996 3 Annex Annex A (informative) Additional information A.1 Signatures A print may bear the signature of the artist, but this does not guarantee that it falls into a particular category, except that it cannot fall into categories F or
26、G. Where an artist signs within the matrix, the signature (which may be inverted) appears on the impression. A signature added after printing indicates the artists approval. Facsimile signatures may also be added, for example, by the artists estate. This should be acknowledged in the labelling and m
27、arketing of the print. A.2 Numbering A print may bear a number, but this does not necessarily indicate the category into which the print falls. Artists number prints to indicate the size of the edition; they customarily signify which impressions are artists proofs, usually by A/P. A.3 Imprints Inkle
28、ss chop marks or blind stamps made on the margins of the prints may include, among others, those of the printer, publisher and collector. A.4 Value The monetary value or potential monetary value of a print is beyond the scope of this standard. A.5 Blind plate marks Unless the plate is larger than th
29、e sheet of paper on which it is printed, a plate mark occurs naturally in the intaglio process and is the distinguishing feature of such a print. The practice of debossing a non-intaglio (e.g. a photomechanical reproduction) print with an artificial plate mark, giving the illusion that it produced t
30、he print, should be acknowledged in the prints labelling and marketing. The impression of the matrix can sometimes be seen in a lithograph. A.6 Restrike This usually refers to a print from a pre-existing plate, block or stone made long after an edition was first issued. Sometimes those reprinting th
31、e image retain the cancellation marks made on the matrix; sometimes they are removed. The restrike of an Old Master print can usually be identified, either because the image has worn over time, or because the paper on which it is printed is not contemporary with the making of the matrix. A.7 Current
32、 impression Strictly speaking, current impressions taken from old intaglio plates are not restrikes if the matrices were intended for unlimited printing. Early impressions refer to those made during the lifetime of the creator of the matrix and late impressions are subsequent ones. A.8 Printmaking m
33、ethods The four main technical categories of printmaking are intaglio, relief, planographic and stencil. These may be used singly, in combination with each other, or as photomechanical procedures. Prints can also be made by photocopier, fax, computer and other forms of non-impact printing. A monotyp
34、e literally means a print giving only one impression, although cognate impressions, usually paler, can be taken from the residual ink. A monoprint is a print for which a worked matrix exists, but each impression from it is differentiated. To define the many techniques used in printmaking is beyond t
35、he scope of this standard. Detailed definitions can be found in: Gascoigne, Bamber How to Identify Prints: A Complete Guide to Manual and Mechanical Processes from Woodcut to Ink Jet London: Thames and Hudson, 1986, reprinted 1995.BSI 389 Chiswick High Road London W4 4AL | | | | | | | | | | | | | |
36、| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | BSI British Standards Institution BSI is the independent national body res
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