Fine Art Trade Guild

Is it acceptable to publish a print as both a limited edition and a greeting card?
It has not yet been found illegal to do so, but it is generally considered unethical and this practice would be detrimental to the reputations of both artist and publisher. When prints are registered with the Guild the publisher signs a legally binding declaration stating the extent of the limited edition print-run, and confirming that the image will not be seen in any other form (eg open edition, greeting card, stitch-work kit). The industry as a whole has taken the Guild's lead and followed this example, so reputable publishers would not produce a limited edition as a greeting card, unless accompanied by full disclosure.

Are prints or watercolours de-valued if you trim or fold the paper edges?
The professional framer sets out to conserve the original condition of the artwork, not to alter this in any way. Framers should only ever take intrusive action with the customer's permission in writing, and once they have explained to their customer that this is not recommended practice. Many framers would turn down jobs that required trimming or folding. Some collectors will not touch artwork that is imperfect; it is more likely that trimmed artwork will be difficult to sell than that it will sell at a reduced price.

Is is acceptable to stick-down artwork using fully reversible water-soluble adhesive?
The Guild's Five Levels of Framing specify that artwork can be stuck down at Minimum and Budget Level, i.e. when price overrides visual appearance and quality, or when providing a visually acceptable frame at a budget price, with no pretence made to protect the artwork. At Commended Level, artwork can only be stuck down with the customer's agreement and full understanding of the possible long-term implications of such an irreversible process. Even the addition of water-based adhesive alters the original condition of the artwork to some extent. At Conservation and Museum levels of framing, artwork should never be stuck down but should instead be properly hinged.

Can I still sell the right to reproduce one of my paintings as a print if I have sold the original painting?
Copyright is an entirely separate commercial entity from the original artwork. However, to exercise the right to copy, you have to have an appropriate quality image, either electronically or photographically stored. The owner of the painting does not have to allow access for copying. Copyright rests with the artist unless specifically transferred (assigned) which has to be in writing. However there are exceptions: if work is commissioned or created during employment, then copyright rests with the commissioner or employer, not the artist. Only the copyright holder has the right to reproduce the image, or license another to reproduce it. Each licensing deal will be accompanied by a contract stating the licensee's terms, some of which are likely to restrict the uses for which the image can be used in the future.

What is the best way to frame very fragile textile art?
You must not exert pressure on fragile fabrics, but should hand-sew them to a backing fabric. Choose thread that is less strong than that of the fabric itself, so that this would break first in the event of any undue pressure being exerted on the textile. Use a ballpoint needle, which will not pierce the threads of the fabric, for loose-weave fabrics, or a sharp-ended needle for fine fabrics. The backing fabric should then be laced in the normal way. If the fabric needs to be stuffed to add body, use conservation-quality pH neutral tissue paper. It is of course essential that the glazing does not touch the fabric, and glazing with a UV-filter is recommended for valuable textiles.

Can I dispose of customers' framed artwork if they don't come and collect it after six months? Am I allowed to charge storage for uncollected goods?
Only if you have followed the correct procedures. If so, you can dispose of it three months after first notifying your customer of your intention to sell the goods in writing. You need to be able to prove that you have tried to encourage the customer to collect the work, so copies of correspondence should be kept. Then you must send a registered letter describing the goods and stating your intention to sell them in three months' time (you must give a specific date). Specify the amount owed by the customer in your letter, and say that if the goods are not collected and paid for in full by the given date then you will charge storage at a given rate each day. Once you have disposed of the goods you are entitled to keep any money owed to you, plus storage and handling charges, but any other monies must be returned to the customer. Note that this procedure becomes invalid if there is any outstanding dispute over the goods.

What commission rate do galleries typically retain when they handle artists' work?
It would be misleading to just say '50%', though this is often the 'rule of thumb'. Galleries typically retain between 30% and 60% of the selling price. Before deciding whether a gallery's commission is reasonable, artists need to look at what the gallery is financing. For example, if the gallery is not asking the artist to contribute to the cost of the private view, mailing invitations, printing a catalogue, advertising, or PR, then the artist must expect the gallery to retain a higher percentage. A gallery that is only asking for a very low percentage might not be going to promote the artist's work properly. If the artist is contributing to the exhibition costs then the gallery should take a lower percentage. The anticipated level of sales may affect the percentage that the gallery takes, as any promotional work needs to be amortised by the income which could be numerous smaller amounts or fewer larger amounts. Artists also need to consider the sales history of the gallery; if the gallery has a proven record in obtaining high prices for pictures and holding sell-out shows, then the artist might be wise to agree to pay the asking commission rate, even though it appears a bit high.

It is acceptable to use self-adhesive tape when framing?
Masking tape, or other tapes intended for short-term use, have no place in the framing workshop as they will quickly fail. At the Commended Level of framing (see Five Levels of Framing (hypertext link), self-adhesive water-reversible white tape may be used to attach artwork (so long as the correct methods are used), and quality self-adhesive framing tape may be used to seal the back of the frame. At Conservation and Museum Levels it is not acceptable to use self-adhesive tape to attach artwork, nor to seal the back of the frame.

What is a giclée print?
It is a digital print. A giclée is the term for a fine art digital print, often a reproduction but occasionally a computer generated original. It is made from a file stored on a computer. Before the advent of fine art quality digital prints, the vast majority of fine art prints were made using offset lithography. Giclée is the French word for 'squirt', as this is the way that the ink is applied to the paper or canvas. Giclée prints have become an established part of the print trade in the UK since about 1999; before that time, giclée prints can be printed on demand.

What percentage royalty do print publishers normally pay their artists?
Many pay ten per cent of the net sales price, which is normally the trade price, though this varies between eight and 20 per cent. Some artists also receive a 'signing fee' for limited editions, often £1 per print, or an advance of a few hundred pounds. The publisher's reputation should be considered here; artists may be better off accepting eight per cent from a leading publishing house with a proven track record, than 20 per cent from another, who may not be able to command the best prices or generate the demand.

Canvas inkjet prints v Dye-sublimation?
Dye-sublimation (dye-sub) is a genuine alternative production method to inkjet, at the moment it is much more expensive than inkjet, but dye-sub uses dye based inks which have a poor record for lightfastness, whereas the right inkjet inks are pigment based and are already proven to be capable of lightfastness to Guild Standard levels. However, there are recent unproven claims that dyes can be as good as pigments using special supports, finishes and processes. The claim that inkjet on canvas will crack is only tenable when the inkjet canvas is badly handled. A dye-sub canvas should be stronger because the image is cooked into the weave rather than sitting on top of the canvas like paint. The process has been developed for outdoor banner use, where strength is more important than long-term lightfastness, but if inkjet canvases are treated gently and sealed properly they have shown themselves to be fit for the purpose of indoor art exhibition.

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