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Well, it's a very nice poster of some kind. Buy it because you like its aesthetics, but don't expect it to increase in value over time
Each print is signed by the artist but not numbered. Only the artist knows how many works will have been printed until he decides to stop publishing.
Most often in the size 61 X 46 cm. Editions vary between 20 and 600 copies depending on the year and the project. When the size varies, the price often changes in proportion to the size.
Generally in 2 copies + 1 artist's proof until 2015 then in 6 copies + 1 artist's proof.
Generally in 2 copies + 1 artist's proof until 2015 then in 3 copies + 1 artist's proof.
Letter press: since 2013 the artist has been publishing works made on an old Gutenberg press where the 24.5 X 33 cm paper is embossed on an engraved zinc plate. These works are published between 300 and 450 copies.
This term is invented by Shepard Fairey to designate the silkscreen prints or stencils made on a single support made from papers glued on a paper or wooden background, most often. The background of the work is made from printing on rice paper and allows to create unique backgrounds each time by superimposing images and patterns of your choice. Once the background is made, the work is silkscreened by hand on this always different support. The size varies from 30X30 to 125 X 92 cm and the editions fluctuate between 2 and 19 copies.
This translucent polyester support owes its name to its ruby colour. This is the matrix of the screen printing cover. Hand-cut, Shepard repackages it on a glued background (as for HPM) and places the rubylith on it. They are therefore unique works that do not necessarily have the size of the silkscreen printing they were used to create. They can be placed at any desired distance between the light and the screen printing frame when the latter is exposed.
They are very often unique pieces, they are made either directly on canvas, or on a collage of paper glued on canvas. They are generally in three sizes: 61 x 46 cm, 105 cmx 76 cm or 150 x 120 cm.
Silkscreen printing is Shepard Fairey's first work and artistic soul. It is thanks to this artisanal and low cost technique that the artist will develop all his work, At the very beginning, the first serigraphs are considered as pretty posters, and only a few rare pieces will be preserved in good conditions by their owners who will tend to punish them or to tape them to the walls !
Basically, silkscreen printing is a traditional technique of reproducing patterns using layers that allow the paint to pass through only in certain places. If you decide to create works in several colours, you need as many screen printing frames as there are colours. Then it remains to superimpose them very precisely so that the colours do not overlap. It is during the realization that small defects can appear from one silkscreen printing to another, they make all the charm and authenticity of the first works made by hand and confirm the artisanal aspects of the object. In 2001, Shepard Fairey began using mechanized machines to produce larger runs of prints. Once the adjustment is made, the works are produced fairly quickly and the thickness of the paint applied to the paper becomes thinner. This technique makes it possible to produce the same image in larger quantities. All that remains is to number and sign the works!
The silkscreen printing technique.
The principle of screen printing is very similar to the stencil technique. However, instead of letting the paint pass through the holes in the stencil, the paint is allowed to pass through a fabric screen to choose where the paint will diffuse, the screen is coated with a photosensitive emulsion that hardens with light and placed between the screen and a light source (such as the sun). The coated part of the weft in contact with the light hardens while the part protected by the stencil (in the shadow of the stencil) remains flexible. As soon as the film has hardened in the light, the entire screen printing frame is cleaned with water to remove the part of the emulsion that remains soft and corresponds exactly to the stencil. The film "insulated" by the light only allows the paint to pass through where the image was projected. All that remains is to penetrate the paint with a scraper between the meshes of the weft by placing it against the paper.