Peter Dietzsch – 2012
Noah plans his Ark
Original drawing transferred onto the computer
Martyrna Sobolewska Ex libris Addition of photos mere reproduction
Barbara Polenz 2013
Dandelion
Initial material: Silhouette and photography - digitally modified
CGD – Computer generated design
For traditional bookplate techniques we have one uniform term for both production and print; thus C3, X2 and others comprise the production of the matrix and its print. This (unfortunately) is different with the digital technique. There three terms, CRD, CAD, CGD, have been used so far. People who are not concerned daily with PC and graphics programmes do not understand these differences, and simplifying matters one speaks of a computer bookplate.
Whereas with common techniques the code describes production of picture and print, with digital techniques the description of the printing technique solely has priority.
CGD, the nowadays consistently used classification of digitally produced bookplates comprises production of picture and print and has its place among the FISAE classification codes for bookplates. One could leave it at that, but one would not do justice to the artists that have specialised on digital graphics.
There are (too) many people capable of using a computer who believe they are able to produce works of art – ex libris – with the PC. The result in quite a number of cases can hardly be accepted or not at all and damages the reputation of digital conceptual and printing techniques. The fact that some artists use a PC for the designing/planning of for instance an etching does not add to the appreciation of this technique either.
Before FISAE decided for the uniform term CGD for all digital ex libris, there used to be three classifications: CRD, CAD und CGD. The fastest of these that can be used by anybody is CRD (Computer Reproduced Design). A completed drawing, painting or photo is reproduced without using any programme. With CAD (Computer –Aided Design) an available picture is reworked. The primary material is a drawing, painting or photo that is scanned. This picture then is worked on with digital software (frequently Corel draw, Photopaint, PhotoShop or Illustrator) and printed. This painstaking but relatively simple editing results in interesting and varied images. What should be kept in mind: In the first place this is processing and only to a limited extent a new creation, rather a new composing.
Martin R. Baeyens –2011- , Opus 682
Krzysztof M. Bąk –2013 –Exlibris for W.Wissing
Development of a digital bookplate – K.M. Bąk
1.
Ideas are sketched.
2. Elements are generated
The key to computer supported digital design is the original picture. The majority of those who create bookplates prefer this technique which is used by both amateurs and artists. Some command it perfectly, others very poorly.
The creation of a CGD-bookplate (Computer generated design) in the sense of the word is comparable to traditional techniques.
The graphic is created comprehensively in virtual surroundings. Undoubtedly this digital technique is the most difficult one. Many years are needed to be able to transfer perceptions into the virtual world with the help of the software.
“Digital graphic artists must always keep in mind that the essence of creation must be its own style.” (K.M.Bak)
To achieve this in a purely digital graphic is extremely difficult. As a rule the collector will hardly be in a position to comprehend the exact process of creating a digital work and to distinguish between the methods of production. This, too, is the reason for FISAE to use the uniform code CGD.
Two representatives of digital bookplates, Martin Baeyens (B) und Krzysztof M. Bąk (Pl) – both being professors of digital graphics – have documented the creation of a digital bookplate.
3. …modified and 4. …put into their final form
5. supplemented, 6. levels of grey and text are
incorporated.
1. Photos that were available
2. Variations of fishes, water and text
3. water
4. photo 1
5. photo 26. fish7. final phase
In the example of K.M. Bąk all elements were drawn, placed and printed with the programme „Corel draw“.
Martin R. Baeyens works somewhat differently. Here is his description of creating a digital ex libris:
“There are many ways to build up a composition. Mostly various original documents, drawings, photographs, etc. are used. They are scanned in high resolution and processed in different layers. Sometimes up to 30 layers and they can in a certain way be compared with a silkscreen which is also built up in various printing stages. A good example to show the working process is an ex libris made for my friend Benoit Junod. (CH)
As usual the artist wants to have full artistic freedom. Reality, however, is different. Benoît asked me to find a way to symbolize our friendship – a special moment for instance – in the ex libris. Moreover it would be wonderful if it also showed the portraits of his children. And yes, it would be splendid if his house and garden…and if possible a reference to the ex libris congress.
We have to make a selection of this information and come up with solutions, always keeping in mind the collector’s wishes. For this ex libris two options were withheld: the house, as a first possibility - the portraits of the children as a second option. I have realized the second option with the various photos of the children. Other elements that could be incorporated were: - the lake, - water, - the congress - and the fish as a symbol of the congress. Finally the text was incorporated. Rather than just typing a text and adding it I prefer to handwrite a text, that I wish to keep for the future; a very conscious choice. The text is handwritten several times and the best example is chosen to be scanned.
At this stage the first proof is made on the inject printer. With this bookplate the focus clearly is on the composition of separately created individual elements.”
copy paper (unsuitable)
cotton paper (unsuitable)
photo paper (unsuitable))
Print on suitable paper
The final phase of each ex libris – conventional or digital is the printing process. You can use two techniques: inject or laser print. Both are possible, but teaching artists like Prof. Martin Baeyens or Dr. Krzysztof M. Bąk clearly prefer the inject method. Inject printing, especially with a plotter that has 12-16 colour cassettes, allows the use of valuable papers. The quality of the paper on which the bookplate is printed can be the most important element of the print. One should use excellent and durable (also handmade) papers as with the other graphic techniques. Computer and photo papers are fatal as colours are changed on these papers and the prints attain a poor quality. They resemble labels on bottles or chocolate wrappings, especially if high-gloss paper is used. The greatest disadvantage of the inject method is its instability towards humidity. A rough handling of the print, too, (hands that touch the printed parts) may lead to damages. Laser print is ideal for book-adequate ex libris that are used in books. These high quality prints (similar to offset quality) are better suited in this case. The prints are not as precious, but they are resistant against abrasion or humidity. Home copiers and home laser printers are not suitable for digital prints. The print is uneven, glossy and the toner used tends to settle fast.
We have shown the possibilities and the importance of digital techniques. Perhaps it has become clear, too, that employing digital techniques should be looked at in a differentiated way. This way the future of bookplates can be made accessible for the younger generation and at the same time safeguarded for all for many years.
In the DEG yearbook of 1998 already Axel Vater wrote: “Bookplates made with the help of the computer will not replace original graphics … but they will maintain their place beside them and the are worth being observed and collected.”
Anke POLENZ
Cooperators: Martin Baeyens (B), Krzysztof Marek BĄK (Pl)
Thanks go to Ewa Chorążak who put her original ex libris
at our disposal for the different printing samples.