Ex-libris is a branch of art that introduces and glorifies the book owner. Ex-libris are small-sized prints that book lovers paste on the inside cover of their books, with their names and pictures on different subjects. It literally means from …’s library, belonging to …’s library. It is the business card or title deed of the book. It introduces and glorifies the owner of the book and warns the borrower to return it. Ex-libris is an important communication tool. Although it was born as a necessity graphic, they are original works made with aesthetic concerns.

It brings art between people’s hands, into books, and makes them feel its mesmerising warmth.
Ex-librises are made to order for the living person or institution, reflecting their characteristics.
When we look at the creation process, it is seen that all the possibilities of the art of painting are used. When we look at its functional side, it can be considered as a graphic design product.

It is known that the first and oldest example of ex-libris was made on a tile in 1400 BC and was attached to the chests containing the papyrus rolls of the Egyptian king Amenhophis III.

In 1450, the first ex-libris on paper was made for the German priest Johannes Knabenberg, known by the nickname “Igler” (hedgehog). The ex-libris depicting a hedgehog biting a flower reads “Hans Igler can kiss you”.

Ex-libris in the real sense started to be made with the invention of the printing press.

Later, ex-libris began to be used not only for pasting on books, but also as objects of accumulation and exchange. It ceased to be a book-specific sign and became independent as an original graphic work.

From the 19th century onwards, associations began to publish bulletins, books, address lists and organise competitions for the exchange.

The long side of the ex-libris should not be larger than 13 cm. and should be reproduced and numbered as in printmaking. For reproduction, engraving/C3, wood printing/X2, linoleum printing/X3, lithography/L, serigraphy/S, offset/P7, photography/P8, computer-aided design/CGD are used.

Ex-libris in Turkey has been recognised with books bought from the West. Books with ex-libris, which are widely used in European countries, came to our country through second-hand sales, and when the owners of the books died, they were donated to libraries by their relatives or sold to booksellers.

Although the seals seen on manuscripts and printed books from the Ottoman period are accepted as a sign of ownership, they do not belong to the ex-libris type. However, with their unique calligraphic structures, they fulfilled this function as the coat of arms or logo of the people they belonged to.

In our country, since the 2000s, young people who make ex-libris have started to be trained especially in institutions where art and design education is given. Ex-libris design is taught as a course in 7 universities, including Istinye University. Universities and municipalities organise ex-libris competitions. Artists now open solo exhibitions and win awards in international competitions. There are 27 postgraduate theses on ex-libris. The only thing that is lacking is ex-libris collecting.

Nowadays, our artists and designers open personal ex-libris exhibitions, participate in international competitions and receive awards. The biggest deficiency in our country is ex-libris collecting.

Founded in Ankara in 1997, the Ex-libris Association now continues its activities in Istanbul. One of the 10 museums in the world, Istanbul Ex-libris Museum, with its collection of over 12,500 ex-libris, is located at Selçuk Ecza Holding, Altunizade, Mahir İz Cad. 45 Üsküdar address, awaits the interest of art lovers.

Ex-libris exhibitions have been held in 14 cities in our country and in Germany, Belgium, Belarus, China, Denmark, Finland, Italy, Canada and Russia.

Five international ex-libris competitions have been organised and the XXXIIIth FISAE International Ex-libris Congress was held in 2010 with the participation of 280 people from 40 countries.

* Istinye University, Faculty of Communication, Department of Visual Communication Design,
President of Istanbul Ex-libris Association, Founder of Istanbul Ex-libris Museum

There are 10 museums in the world that play an important role in preserving and disseminating the history of ex-libris art; that show interest in ex-libris art and exhibit these special collections.

1. Istanbul Ex-libris Museum (Turkey): It is the first ex-libris museum in Turkey with a collection of nearly 17,000 ex-libris belonging to the Istanbul Ex-libris Association founded by Hasip Pektaş. Established in 2019 within Selçuk Ecza Holding, it gained the status of a private museum with the approval of the Ministry of Culture in 2020. It is under the patronage of art-loving business person M. Sonay Gürgen.

2. Frederikshavn Ex-libris Museum (Denmark): Located in Frederikshavn, this museum has more than 1 million ex-libris covering the entire history of art. 500,000 of the collection, which was formed with the donations of 6 ex-libris enthusiast collectors, is shared on the website http://art-exlibris.net/. However, recently, the collection had to be moved to another location after the city municipality withdrew its support.

3. Gutenberg Museum (Germany): Located in Germany, this museum has an important collection of book art and printing.

4. Sint-Niklaas Museum (Belgium): Located in Belgium, this museum showcases the history and diversity of the art of ex-libris and has a collection of nearly 800,000 items. Unfortunately, it is currently closed as the city municipality has withdrawn its support.

5. Moscow Ex-libris Museum (Russia): Located in the Russian capital, this museum organizes exhibitions with international participation.

6. Museo Exlibris Mediterraneo (Italy): Located in Italy, this museum promotes the art of ex-libris in the Mediterranean region.

7. Shanghai Fuxihanzhai Exlibris Museum (China): Located in Shanghai, this museum focuses on ex-libris art in China.

8. Nancy Library (France): Located in France, this library houses ex-libris collections.

9. Lewych Museum (Odessa, Ukraine): Located in Ukraine, this museum contributes to the art of ex-libris.

10. Ex-libris Centre (Bulgaria): Located in Bulgaria, this center contributes to the art of ex-libris.

Important public collections in public institutions and libraries can also be added to these museums. In the UK, the famous Franks Collection at the British Museum, about 20 in Germany, 5 in France, 5 in the USA and the famous National Library collection in Austria, which Claudia Karoly is interested in. In Russia, both the Pushkin Museum in Moscow and the Hermitage in St. Petersburg have very important collections. In Switzerland, there are important public collections in Geneva and Basel.

Researchers, the first and oldest example of exlibris BC. It was made on a light blue tile in 1400 BC, and the Egyptian king III. They explain that it belongs to the library of Amenhotep (aka Pharaoh Amenhophis III). 62 x 38 x 4.5mm. It is estimated that this slab in the size of a tree was attached to the wooden crates used to protect the papyrus rolls. Ex-librisin, which has a very long tradition, dates back to BC. It is also said to be from the time of the Assyrian King Ashurbanipal, who lived around 600 BC and attached great importance to culture and art.

Before Gutenberg invented the printing press in the mid-15th century in Europe, books were written by hand in monasteries. Owners of hand-written limited edition books have sometimes made it a habit to put crests on the inside of the cover of the book in accordance with their own characteristics. These books were even chained to the legs of the tables in the libraries for fear of being stolen. With the proliferation of libraries with Gutenberg, the need for exlibris increased even more.

It is known that the first ex-libris was used in Southern Germany in the third quarter of the 15th century. According to the researchers, two of them were made in the name of the book owners Hildebrand Brandenburg and Wilhelm von Zell. These ex-libris consist of a simple hand-painted coat of arms and a word written by the owner’s hand. In the article; It is implored to pray for the souls of the owners of these books, which were donated to the Buxheim Abbey in Germany. The size of the ex-libris depicting an angel holding a shield with an ox with a ring on its nose, also known as the Brandenburg family crest; It is 63.5 x 63.5 mm. Made between 1470-1480, this unwritten ex-libris was printed on waste paper and colored by hand.

Another of the first ex-libris belonging to the same period is the ex-libris, which was made in 1450 for the German priest Johannes Knabensberg, known by the nickname “Igler” / hedgedog (German hedgedog), which depicts a hedgehog biting a flower in the meadow. The words “Hanns Igler, the hedgehog may kiss you” (Hans Igler das dich ein Igel kuss) are inscribed in a band at the top of the exlibris. The aim is to humorously remind the borrower that when he returns the book, he will be rewarded with a kiss, otherwise he will be the target of the hedgehog’s arrows. This first ex-libris, which was made with black ink but turned brown after centuries, is larger than today’s standard sizes; It is 190 x 140 mm.

Ex-libris, which lived its golden age in Germany in the 16th century, was also seen in other European countries in the same century. In England, the first ex-libris was made for Thomas Cardinal Wolsey in the early 1500s and for Sir Nicholas Bacon in 1574; In France, it was determined that it was made for Jean Bertaud in 1529 and for Charles Ailleboust, the bishop of Autun in 1574. The first ex-libris seen in America are those made for Henry Dunster in 1629 and for Stephen Daye in 1642 (Keenan, 2003, p.13). Ex-libris was seen in Portugal in 1585 and in Spain in 1588. It originated in Italy in the 18th century.

Ex-libris, which became widespread with the proliferation of books since the 16th century, was also made by famous artists. It is known that Albrecht Dürer (1471-1528) made a twenty-one page ex-libris for the famous statesman and scientist of the time Willibald Pirckheimer and Hektor Pömer until 1525. Albrecht Dürer painted grapes and wine inside the horn, which is a symbol of fertility, in the heraldry he made with woodcut technique for his friend Willibald Pirckheimer. Albrecht Dürer also used the inscription “SIBI ET AMICIS”, which means “for himself and his friends”, in this ex-libri of the generous Pirckheimer; so that Pirckheimer’s friends could also benefit from these books. The Latin word “LIBER” in front of the name means “Willibald’s books”. Later, the word Ex Libris was used instead of Liber. The size of this ex-libris made before 1503 is 149 x 119 mm. It is possible to see the engraving ex-libris (181 x 100 mm) made by Albrecht Dürer for Willibald Pirckheimer in 1524 and which includes his portrait, in the books of the Pirckheimer Library in the British Museum.

In addition to Albrecht Dürer, a group of artists known as “little teachers” made ex-libris at the request of their friends and book lovers. The reason why they are called small is because what they do is small in size. Also; Lucas Cranach (1472-1553), Hans the Elder Burkhmair (1473-1531), Hans Baldung (Grien) (1484-1545), Hans Holbein (1497-1543), Barthel Beham (1502-1540), and Jost Amman (1539- 1591) is one of the important names of those periods when this art was at its peak.

Ex-libris, which differs according to various tendencies and social environment, was made for monasteries, churches, priests, princes and wealthy families with very important libraries in 17th century Germany. Some book owners stuck these small leaves with their names on their books, while others just used them as coats of arms. Especially a group of book owners in Southern Europe had reliefs, signs and coats of arms called “supra libros” made by pressing on leather-covered book covers.

Ex-libris contained more emblems from its emergence to the first half of the 17th century. From the Middle Ages, weapons, armor, and shields had distinctive markings that allowed the cavalry hidden inside to be recognized even from afar. These weapons and materials were accepted among the cultured people of the library as a sign of ownership or a pennant that more quickly identified the owner of the book. There was no need for an inscription to indicate the person’s name. This can be attributed to the reason for the preference for rigging-themed ex-libris at that time. The original woodcut made by Swiss engraver Jost Ammann for Melchior Schedel in 1570 may not be considered an ex-libris at first glance, at 35.4 x 24 cm. This ex-libris, which looks like a coat of arms, was later used by a family member with a name change (by writing Sebastian instead of the first name) and colored by hand.

Ex-libris, which was not very popular in France until the middle of the 17th century, reappeared in the 18th century with the development of the art of bookbinding. Meanwhile, many famous people were also interested in this art. XV. Luis and his favorite Marquise of Pompadour, Chemist Antoine Laurent Lavoisier, President Henault, Writer Count de Mirabeau, etc., had ex-libris made.

Until the 20th century, many weaves (motifs) were included in the ex-libris. Crests were the most used knitting patterns until the 19th century. On top of these, a maxim or password is added alongside the owner’s name. In the 15th century ex-libris, the influence of Gothic style writings can be seen. In the 16th century, under the influence of the Renaissance, the surrounding of the coat of arms was decorated with architectural patterns and frames. In addition, typographic and portrait-oriented ex-libris have also emerged.

The influence of the Baroque period was seen in the 17th century ex-libris. Paintings were made on religious and erotic subjects, and descriptions and decorations began to be used more. While only architectural figures were used in the past, little angel pictures, figures and flowers from nature started to be used with the influence of the Italian style over time. In addition to the “crest of nobility”, where the profession of the orderer is easily understood, there was also an attitude suitable for the understanding of life.

From the 18th century onwards, nature and interior descriptions were directed, and these spaces were sometimes depicted as fantastic elements, sometimes as images from the library where the book was located. Some of the ex-libris of this period were decorated with sea shells and spiral flower braids in accordance with the artistic understanding of that day.

Ex-libris, which initially consisted of a simple name and symbol, was among the indispensable applications of large libraries at the end of the 18th century. From time to time, there are also studies that integrate with handwritten notes on the cover of the book.

The existence of the book was strengthened with the industrial revolution in the 19th century, and the foundations of scientific, economic development and intellectual change were laid with the invention of fast printing technology. Not only private libraries were developed, but large libraries were also established. An unprecedented number of books began to be produced. With the increase in book printing, simple seals, stamps and ex-libris have begun to be used in a narrower sense, instead of the designs specific to each book and book owner. However, despite everything, different trends and original studies that vary according to the social environment have always been seen.

At the end of the 19th century, there was a new revival in the art of ex-libris, and even mass-oriented studies were carried out. In this period, ex-libris collection was discovered and became widespread. Antique dealer Heinrich Lempertz from Cologne can be cited as the pioneer of this field. Lempertz published the ex-libris he collected in 1850 in a book called “Picture Books on the History of the Book Trade, Arts and Professions”. In those years, interest in old German art and the works of the “Heraldic Exlibris” (Heraldic Coat of Arms), which was about to be forgotten, increased again. Ex-libris, which is no longer made with the idea of ​​sticking it on books, but also started to be used as objects of accumulation and exchange, has become independent as an original graphic work, rather than a book-specific sign. Theoretical research on this subject began, books and magazines were published, and associations where collectors gathered were established.

In 1880, “A Guide to Ex-libris Studies”, also known as “Warren’s Guide”, was prepared by J. Leicester Warren, later known as the Lord of Tabley, in England; artists, ex-libris classification and old examples are included. (Castle, 1893, p. 16). And eleven years later, in 1891, the first collectors’ association called “Ex-libris Society” was established in London. (Butler, 1990, p. 10). Ex-libris associations established in Germany in 1891, in France in 1894, in Switzerland and Italy in 1908, and in Belgium in 1918, provided important developments for ex-libris with their printed books, educational bulletins and documents. Over time, these associations multiplied, they published magazines, address lists and organized competitions so that their members could exchange ex-libris beyond the borders of the country.

The first International Ex-libris Congress was held in Kufstein, Austria in 1953. In 1954 in Lugano in Switzerland, in Antwerp in Belgium in 1955, in Frankfurt in Germany in 1956, in Amsterdam in the Netherlands in 1957, in Barcelona in Spain in 1958, held in Vienna, Austria in 1960, Leipzig, Germany, 1961, Paris, France, 1962, Krakow, Poland, 1964, and Hamburg, Germany, 1966. Congresses are officially organized by the International Federation of Amateur Ex-libris Associations (FISAE), which was founded in 1966.

In 1900, many artists turned to new searches and reflected the styles and approaches of applied arts on ex-libris. These German artists of the new style, also called “Jugendsilkünstler”; Daniel Nikolaws Chodowiecki (1726-1801), Hans Thoma (1839-1924), Max Klinger (1857-1920), Lovis Corinth (1858-1925), Max Slevogt (1868-1932), Max Liebermann (1847-1935), Fidus di Hugo Höppene (1868-1948), Emil Orlik (1870-1932), Heinrich Vogeler (1872-1942), Alfred Kubin (1877-1959) and Franz Marc (1880-1916). These include artists such as Gustav Klimt (1862-1918), Franz von Stuck 1863-1928, Fritz Erler (1868-1940), Julius Diez (1870-1957), Mathilde Ade (1877-1953) and Willi Geiger (1878-1971). can also be added. Important names of the art of painting also made ex-libris studies. The first ones that come to mind are Edvard Munch (1863-1944), Kaethe Kollwitz (1867-1945), Emil Nolde (1867-1956), Paul Klee (1879-1940), Pablo Picasso (1881-1973), Karl Schmidt – Rottluff (1884) -1976), Oscar Kokoschka (1888-1980) and Frans Masareel (1889-1972).

Willi Geiger, who has made many exlibris as an ex-libris artist, has also maintained his competence in the field of painting. In addition, some people from all walks of life have used eclips. Some of those; US Presidents George Washington (1732-1799), Franklin D. Roosevelt (1882-1945), writer Jack London (1876-1916), producer, director, screenwriter Walt Disney (1901-1966), actress Gloria Swanson (1899-1983) , German statesman Otto von Bismarck (1815-1898), Austrian neurologist Sigmund Freud (1856-1939), French soldier and politician Charles de Gaulle (1890-1970), chemist Antoine Lavoisier (1743-1794), British director, actor and writer Charlie Chaplin (1989-1977), philosopher William Penn (1644-1718), writer Charles Dickens (1836-1858), Queen II. Elizabeth (1926-), Scottish writer Arthur Conan Doyle (1859-1930), Italian statesman Mussolini (1883-1945).

It is possible to create a very wide spectrum with today’s ex-libris artists. With intaglio ex-libris from Belarus Juri Jakovenko, Ivan Rusachek, Anna Tikhonova, Aleksandr Ulybin, Mirsad Konstantinovic from Bosnia and Herzegovina, Veselin Damyanov-Ves from Bulgaria, Marin Gruev, Julian Dimitrov Jordanov, Onnik Karanfilian, Hristo Naidenov, Eduard Georgiev Penkov, Peter Velikov, Jiri Brazda, Vladimir Gazovic, Robert Jancovic, Karel Zeman from Czech Republic, Lembit Löhmus, Juri Orlov from Estonia, Anneke Kuyper, Wim Zwiers from England, Peter Ford from Italy Maria Maddalena Tuccelli, Japan’s Katsunori Hamanishi, Takeshi Katori, Yukio Maekawa, Ichibun Sugimoto, Akira Tokuchou, Shigeki Tomura, Man Zhuang, Latvia’s Natalija Cernetsova, Lithuania’s Valentinas Ajauskas, Poland’s Marcin Bialas, Hanna T. Glow , Piotr Gojowy, Wojciech Luczak, Elzbieta Radzikowska, Alexei Bobrusov from Russia, Yuri Borovitsky, Olga Keleynikova, Andrey Machanov, Sergey Nesterchuk, Yuri Nozdrin, Irina Yelagina, Viladimir Zuev, Ivan Miladinovic from Serbia , from Slovakia Peter Augustovic, Igor Benca, Karol Felix, Ukraine Oleg Denisenko, Sergey Hrapov, Sergiy Ivanov, Konstantin Kalynovych, Woodcut, linoleum with high-pressure ex-libris from Germany, Ulla Günther, Axel Vater, Mauricio Schvarzman from Argentina , Austria Veronika Kyral, Ottmar Premstaller, Belgium Frank-Ivo Van Damme, Gerard Gaudaen, Mark Severin, Brazil Marcos Babtista Varela, Bulgaria Peter Lazarov, Czech Republic Miroslav Houra, Martin Manojlin, China’ den Hao Chen, Mingming Niu, Zhou Dong Shen, France’s Jean Marcel Bertrand, Polonyo’s Lukasz Cywicki, Ryszard Tobianski, Russia’s Evgenij Bortnikov, Anatolia Kalaschnikow, Valeriy Pokatov, Mikhail Verkholantsev, Ukraine’s Arkady Pugachevsky, Genna , Karel Benes, Marcel Hascic, Vladimir Suchanek from Czech Republic, Vladimir Gazovic from Slovakia, Hao Chen from China with lithograph / lithography ex-libris, Martin R. Baeyens from Belgium with silkscreen printing ex-libris, Japony Masao Ohba from a, Xiaozhuang Dong, Jing Zhang from China, Karoline Riha from Austria with computer design ex-libris, Martin R. Baeyens from Belgium, Christine Deboosere, Sylvia Dehuysser, Kurt Herman, Ann Kestens, Sophie Vael from Israel Rafi Münz, Krzysztof Marek Bak from Poland, Rastko Ciric from Serbia, Alexandrovich Vigovsky Ruslan from Ukraine are the artists that stand out.

Ex-libris are evaluated according to countries, artists, techniques, styles and even weaves and collected by many enthusiasts. Collectors get a large number of ex-libris by exchanging their double prints with other people. Their purpose in making this exchange is to improve their collections both in quality and increase in number. As a result of their collecting activities, these people also learn the art and printing technology of different periods. The works of well-known artists are the most sought-after ex-libris by collectors. Of these, those related to music and those involving erotic subjects are primarily preferred. These small prints must be signed by the artist. When, how many and with what technique it was printed must be specified. Aesthetic integrity, placement of inscriptions, technical competence are important issues that collectors pay attention to (Picture 1).

Figure 1: Yuri Nozdrin, Russia, C3/col. (125 x 118mm), 1995

Collectors collect ex-libris on very different subjects according to their interests and give orders to artists who work on subjects they are interested in. Heraldry, occupations, working environments, home interiors, weapons, clothing, music, musical instruments, books, libraries, print shops, architecture, engineering, medicine, art, mythology, astrology, sports, theatre, dance, nude, woman, child It is known that collectors collect ex-libris on many subjects such as portrait, typography, calligraphy, monogram, erotic, word games, botany, zoology, ceremonies, war, death and so on. For example, Erik Skovenborg (1991) states that “Polish collector Norbert Lippoczy, who has more than 1000 books on wine culture in his library, has collected over 5000 ex-libris containing wine motifs and later donated them to the Budapest Wine Museum”.

Collectors preserve and present their ex-libris in different ways. Ex-libris are usually kept by sticking on standard cards. These cards are A4 or 21 x 27 cm. in size; The title may include the artist’s name, year of birth – death, country, association he is a member of, printing technique of the exlibris, year of production, total number, name of the owner. If these cards are made into a volume of 80-100 sheets, it will be easier for those interested to examine them. However, considering the paper thickness of the ex-libris to be pasted on the albums, it is useful to put thickness on the backing parts of the leaves and thin paper between the leaves. The backs of the ex-libris should not be glued completely while gluing them to the cards. If the entire surface is glued, the work may become stained and torn when removed. It is most convenient to touch the glue from the upper corners and attach them, or fold the small round labels in half and stick one side to the exlibris and the other side to the card.

Another way of storing ex-libris is enveloping or boxing. In appropriately sized envelopes and boxes; They can be stored by classifying them according to artists, techniques, countries, periods or subjects. Despite the difficulty in presentation and examination; Boxing is the best method to protect the ex-libris from wear. Another economical and practical form of storage is filing by sticking to leaves. However, in order for the pasted papers to remain intact for a long time, it is useful to be a little thick.

The most curious issue for those who will have an ex-libris made on their behalf is the cost of the ex-libris. The ex-libris market varies depending on the countries, the reputation of the artist, the material used, the difficulty of the design, the number of molds / colors and prints. An average of 50 or 100 metal engravings for an ex-libris work abroad is ordered between 500 – 1,000 euros, and the same number of woodcuts, linoleum prints or lithographs ex-libris is ordered between 300 – 600 euros. A well-known artist may increase these figures for an original design. In Turkey, there is a base price determined by the Graphic Designers Professional Organization as 3,500 TL. The orderer and the artist determine the exact number by mutual agreement. The very old dated ex-libris, which are not easily found, followed by collectors, are sold above the normal price. For example, a Max Klinger ex-libris can be bought for 200 – 300 euros. It is possible to see them only in large collections. It can also be purchased from related sites on the Internet.

Ex-libris are also sold in bookstores in the form of adhesive labels. The customer writes the name of this ex-libris and pastes it on the inside cover of his book. Collectors define such ex-libris as “universal ex-libris” (Picture 2). Because anyone can take them and add their name. That’s why collectors prefer to collect personalized ex-libris. Designed and reproduced upon request by an artist or designer; ex-libris made on behalf of private individuals or libraries.

Picture 2:. Universal ex-libris, P7, (33 x 70 mm), Artist unknown.

Today, ex-libris collections are either obtained from auctions of previously shaped collections or are formed by exchanging excess copies among collectors. It is estimated that there are more than two million ex-libris collections and more than 2.000 ex-libris collections made since 1470 in the world. It is argued that there are over 300,000 ex-libris in Germany alone. Ex-libris lover Karl Emich, who even left his military duty in Prussia in 1890 for the development and protection of this art in Germany, left a collection of 40,000 ex-libris to the association he chaired in 1895-1906 after his death. Although the number is unknown, it is known that the Italian Gianni Mantero (1897-1985) has the largest collection in the world. One of the major collections is the 250,000-page collection of Irene Dwen Andrews Pace, which was donated to Yale University in the USA.

The important ex-libris museums of the world with their collections are Denmark Frederikshavn, Germany Gutenberg, Belgium Sint-Niklaas, Russia Moscow, Italy Mediterraneo, Shanghai Fuxihanzhai, Poland Malbork, France Nancy, Ukraine Odessa Lewych and Istanbul Ex-libris Museums. Frederikshavn Museum has one million ex-libris covering the entire history of ex-libris art and shares 450,000 ex-libris on the website “art-exlibris.net”. Gutenberg and Sint-Niklaas have about 800,000 ex-libris. There are also many collectors in America, Germany, Austria, China, France, England, Switzerland, Japan and Russia. It is also known that art museums in these countries have ex-libris collections, one of the important collectors, Luc Van den Briele’s 25,000 (Picture 3) and Benoit Junod’s over 35,000 collections.

Ex-libris lists are very important for collectors and historians. There are many experts who compile these lists and do research on ex-libris. Friedrich Warnecke, Sylvia Wolf, Andreas-Angela Hopf, Dr. Gernot Blum and Karl E. Leiningen, France Louis Bouland, Henri Bouchot, Jacques Clarles Wiggishoff and Eugène Olivier, Italy Jacopo Gelli, USA James P. Keenan, Audrey Spencer Arellanes and Edward K. Carpenter, Sweden Carl Magnus Carlender, Benjamin Linnig and Luc Van den Briele from Belgium, Klaus Rödel from Denmark, Benoit Junod from Switzerland are just a few of the experts who have done research on ex-libris. Benoit Junod is an art lover who served as the Cultural Undersecretary of the Swiss Embassy in our country between 1989-1993 and contributed to the organization of many artistic events and the establishment of our association. Colombian artists made about 200 ex-libris in the name of Benoit Junod, who popularized ex-libris in Colombia, where he worked before Turkey, and started this tradition there.

Benoit Junod, Luc Van den Briele, Dr. Gernot Blum (Picture 4), WJ C Van Eyck, Mario de Filippis, William E. Butler, Brian North Lee, Remo Palmirani, Lars C. Stolt, James P. Keenan, Eva – Maria Wimmer (Picture 5), Keresi Ferenc, Ichigoro Uchida (Picture 6), Martin R. Baeyens are also collectors with a large number of ex-libris.

Figure 3: Anatoli Kalaschnikow, Russia, X2/2, (72 x 92 mm), 1976

Figure 4: Marin Gruev, Bulgaria, C3+C5, (70 x 98 mm), 2007

Figure 5: Homma Yoichiro, Japan, X1/9, (80 x 95 mm), 1999

Figure 6: Arkady Pugachevsky, Ukraine, X6, (105 x 85 mm), 2002

There are also critical approaches to exlibiris collecting. Edmund Gosse, who wrote poetry, criticism and biographies in America in the 1895s, criticized the collectors; He emphasizes that ex-libris has been used as a kind of New Year’s card until today, sent to friends and colleagues by its owner, and its value is not appreciated. Edmund Gosse goes further in this regard; “Soon people will exchange handkerchiefs as well as ex-libris, maybe they’ll start collecting key chains and the like.” says.

Despite all the positive and negative approaches, this field of work will continue as a tradition as long as book owners, collectors and artists are interested. It should not be forgotten that ex-libris collecting is a beautiful and rational passion in which similar views and tastes are shared, leading to the establishment of new friendships and friendships.

*  Prof. Dr. Hasip Pektaş, İstinye University, Faculty of Communication, Department of Visual Communication Design. President of İstanbul Ex-libris Society.

Introduction

Ex-libris is a branch of art that promotes and glorifies the owner of the book. The book lovers are small-sized prints with their names and pictures of different subjects on the inside cover of their books. As a word, it means belonging to the library of …, from the library of …

It is the business card or deed of the book. He introduces the owner of the book, glorifies him, and warns the borrower to return the book. Ex-libris is an important communication tool. Although it was born as a need graphic, it is original works made with aesthetic concerns.

Ex-libris in Turkey

Ex-libris has been introduced to Turkey either by Turks going abroad or via books purchased from the West. Books containing ex-librises, which are used widely in European countries, have been brought to Turkey through second-hand sales, and when book owners passed away, their relatives either donated those books to libraries or sold them to antiquarian booksellers.

Ex-librises are found in some books on Turkey bought from auctions conducted in the West. For example, it is possible to see an ex-libris in a book, which is in the National Library, on Ottoman History printed in 1777 and bought from Germany in 1954 in exchange of 210 Deutsche Marks. There are ex-librises in some books of the library of Henry M. Blackmer that are related to the Ottomans, purchased by the Ministry of Culture from the Sotheby’s auction in London in 1989. There are ex-librises in some of the books bought from abroad, particularly those in French, and donated from the Cavit Baysun library to the Yapı Kredi Bank Library and from the Sedat Simavi and Şevket Rado libraries to the Press Museum.

The stamps present on handwritten manuscripts and printed books that date back to the Ottoman era may be recognized as signs of ownership. Although stamps do not belong to the ex-libris type, with their original calligraphic structures, they have functioned as the personal coat of arms or logotype of the person they belong to.

It can be argued that those who have first got ex-librises made in the real sense in Turkey were the expatriate bibliophiles of that period. That the teachers served in such foreign schools as the Üsküdar American Academy and the Robert College has got ex-librises made can be seen when the internal covers of the books donated to the libraries of these schools are examined. In the majority of the books of the Robert College library, which now belongs to the Boğaziçi Univertisy, a standard ex-libris is found. Starting from the 1920’ies, student yearbooks of the Robert College featured ex-librises that also contained blank placeholders for the owner of the yearbook to inscribe their names. Designed and applied by those in charge of the artistic aspects of the yearbook, this tradition was unfortunately suspended by the 1950’ies.

Neither enthusiasts nor collectors of this recently spreading art are many in Turkey. The number of bibliophiles as well as others, who get ex-librises done as a measure against theft by borrowers of books from their libraries, is increasing every other day. For example, İ. Gündağ Kayaoğlu, folk-culture expert and researcher-writer, get the ex-libris comprising a cartoon of Tan Oral and the inscription “Yâ Kebikeç” in Arabic on it done in 1985. (In the past, the word “Kebikeç,” which was thought to be the “Sultan of the Bugs” was inscribed on handwritten manuscript books to protect them from worms. The bugs were believed to scare from the Kebikeç and avoid approaching the books with this word on them.)

From time to time, persons who have just heard about the existence of such an art are witnessed to get interested in ex-libris with great enthusiasm. Nevertheless, these individuals will first deal with its functional side, and in time, just like the other collectors, they will adobt it and start accumulating in line with their areas of interest. As long as book owners, collectors, and artists continue to be enamored of ex-libris, I am sure this tradition will be well established in Turkey, as well.

The Ex-libris Society, which was first established in Ankara in 1997 in our country, has been continuing its activities in Istanbul as the Istanbul Ex-libris Society (www.aed.org.tr) since 2008. As one of the 10 museums in the world, the Istanbul Ex-libris Museum was also established and registered by the Ministry of Culture. Exlibris collection and library will be presented to researchers and exlibris lovers.

The Istanbul Ex-libris Society has opened exhibitions in 15 cities in Turkey as well as in the Turkish Republic of Northern Cyprus (TRNC), Denmark, China, Germany, Italy, Belgium, Finland, Belarıs, Canada, and Russia and thus publicized ex-libris. Numerous conferences have been delivered to promote the art of ex-libris and workshops, particularly in schools, have been conducted. The Istanbul Ex-libris Society also organized 3 international ex-libris competitions in 2003, 2007, 2010 and 2018. In 2010, the Society organized the 33rd FISAE International Ex-libris Congress in 2010, and hosted 280 artists and collectors from 40 countries in Istanbul. Next to the International Ex-libris Competition Exhibition in 2010, the Collections of Japanese collector Ichigoro Uchida, Austrian collector Heinrich R. Scheffer, Moscow Ex-libris Museum, China Ex-libris Association, and Shanghai Fu Xian Zhai Ex-libris Society as well as Stamped Old Book Pages, which reflect our tradition of stamping, a type of ex-libris, were exhibited. Işık University also organized a national ex-libris competition for high-school students in 2012.

Yapı Kredi Cultural Activities Arts and Publishing Inc. published Hasip Pektaş’ book “Ex-libris” in 1996 and the extended Fourth Edition of the book was printed by the Istanbul Ex-libris Society in 2017. In addition, the 10th issue of EX-LIBRIST, (http://exlibrist.net), the refereed online magazine of the Istanbul Ex-libris Association, edited by Hatice Öz Pektaş has been published.

The membership of the Istanbul Ex-libris Society was accepted in the FISAE (International Federation of Ex-libris Societies) Congress held in Boston in the year 2000 and Turkey participated to this organization, of which nearly 40 countries are members.

Since the 2000s, young people who make exlibris have started to grow up in our country, especially with the encouragement of printmaking and graphic design teachers in institutions that provide fine arts education. Now, our artists receive awards in ex-libris exhibitions and competitions abroad, and they make our voices heard in the work done in this field. In addition, ex-libris, which is quite new for our country, is taught as a course in 6 universities. Up to now, 19 post-graduate theses have been made on ex-libris. In secondary education, teachers who know and are interested in ex-libris also have their students make ex-libris.

The Istanbul Ex-libris Academy Association, which was established in 1998 and became a member of FISAE in 2018, also strives to spread ex-libris. In 2000, he organized “Ex-libris Istanbul”, in 2002 “Ex-libris Nazım Hikmet”, and in 2010 an exhibition called “Ex-libris Akdeniz”. However, it should not be forgotten that there is no ex-libris made for tourism purposes and on behalf of a deceased person in the world. Ex-libris can only function if it is done on behalf of living persons and institutions.

* Prof. Dr. Hasip Pektaş, İstinye University, Faculty of Communication, President of Istanbul Ex-libris Society

The first list of symbols of techniques used in creating and printing ex-libris was adopted in 1958 at the Barcelona Congress of FISAE. However, a major revision was needed.
A revised list, given below, was adopted at the XXIX Congress, Frederikshavn DK, in August 2002.
The list was prepared on the basis of the following principles:
– unnecessary changes were avoided as they would render earlier references invalid and thus create confusion. No major corrections of inscriptions in existing collections should be necessary.
– the list is limited to symbols for techniques used in printed ex-libris – i.e. abbreviations for non-printmaking techniques (drawing, pastel, etc.), or for styles (‘heraldic’, ‘calligraphic’, etc.) were excluded.
– the list does not include obscure and rarely used techniques, but remains generic, with the flexibility to be adapted perhaps again at a future date.
– the list differentiates between original and reproductive processes, as this is an important factor for collectors.

A basic subdivision enables even relatively uninformed collectors to observe an ex-libris and determine in which of the three categories it belongs:
Intaglio – The ink is deposited from the grooves of the plate
Relief – The ink is deposited from the reliefs of the plate
Flatbed/stencil/electronic – The ink is deposited from the flat surface of the plate, through a stencil or screen, or electronically

Intaglio, original

C – Intaglio printing (blank); embossing. The word ‘embossing’ was added in the English version, as it is a commonly used term.
C1 – Steel engraving Remains as it was in the 1958 list. It is a very specific process, which must not be confused with etched-steel printing, which bears P10.
C2 – Burin (graver or gouge) engraving, notably on copper This takes into account the fact that fewer artists use copper today than other metal supports, and that zinc and other metals are commonly worked with the burin, a traditional tool whose mark on the plate is easily recognisable.
C3 – Etching This term describes the widely-used scratched hard-ground etching, and is meant to cover also direct brush or pen etching.
C4 – Drypoint This form of engraving is easily recognised by the ‘burr’ on printed lines. Its tool or ‘needle’ can be used for stippling or in ‘crayon’ manner, as a mechanical method other than burin or mezzotint. The C4 category thus includes such techniques, insofar as they are made with a drypoint.
C5 – Aquatint This is a well-established and specific technique of direct acid etching.
C6 – Soft-ground or other ground-based etching This category covers forms of chemical process other than hard-ground and direct etching, and aquatint. It includes ÒsugarÓ etching, ‘salt’ etching and other variants of soft-ground.
C7 – Mezzotint This is fortunately a sufficiently specific and recognisable process so that its definition and symbol was not changed.
C8 – Intaglio engraving on linoleum, plastic & other materials This is a general category covering intaglio engraving on other materials than metals. The most frequent examples of non-metallic supports, such as linogravure and engraving of plastics (or acrylics), are specified.

Intaglio, reproductive

P3 – Heliogravure (manual line and tone photogravure), Photogalvanography
P4 – Commercial photogravure, rotogravure
The two categories of reproductive techniques cover the chemical and mechanical intaglio processes. Ex-libris using these techniques are very common during the 1890-1930 period, except rotogravure, of which only two examples are known. The formulation chosen was determined in a way to avoid linguistic confusion.
P10 -Etched steel printing (die-printing) This new symbol was added in order to cover a widespread category of ex-libris, particularly from the Nordic countries during the first half of the 20th Century, produced by ‘StahldrŸck’.

Relief, original

X -Relief printing (blank) This symbol was kept as the relief counterpart to C. Both are not very widespread in bookplates, but are important in their use for Braille. The symbol ‘B’ for Braille was omitted, as it corresponds to a type of ex-libris and not to a technique. Braille should henceforth be indicated as X or C according to whether intaglio or relief process has been used.

X1 -Woodcut
X2 – Wood engraving
X3 – Linocut
These were kept as they were in the 1958 list. The concept is that X1 and X2 relate to wood, in two different techniques; X3 relates to the traditional linocut, though the French term had to be specified to avoid confusion with intaglio-engraved linoleum (C8).
X4 – Relief-printed engraved or etched metal plates, notably metal cut
X5 – Relief-printed metal plates created for intaglio printing
X6 – Relief-printed engraving of other materials, for example synthetic ones
These symbols were problematic in the 1958 list as they referred to ÒengravingÓ (commonly associated with intaglio) of lead, zinc and plastic. As Òlead engravingÓ (or rather, Òlead cutÓ) is very rare, a modification of the definition field of X4 was introduced. It now refers to the printing in relief of metal plates etched or engraved for this purpose, and X5 _ in opposition to X4 _ is defined as the relief printing of intaglio-engraved or etched metal plates. The latter is a very common category, and a cheap way of making ÒpoorÓ impressions of intaglio plates. As to X6, it was widened to include other synthetic materials (including plastic) and those materials explicitely contained in X2 to X5 and X7 (wood, lino, metal, stone).
X7 – (Chinese) stone stamp This was included at the suggestion of experts in Asian art to define stone seals, in particular Chinese ones. The category must be understood to include all stone stamps.

Relief, reproductive

T -Typography, letterpress This has been placed within reproductive relief techniques which allows differenciation of ex-libris where the artist has used type rather than incorporating the text directly in the matrix.
T1 – Linotype, indirect letterpress This symbol has been attributed to hot metal typography such as monotype and other industrial type, to distinguish them from manually set type.
T2 – Photoxylography, facsimile wood engraving This refers to two processes relating to wood and includes photoxylography which was commonly used until the 1950s.
T3 – Commercial rubber stamp This common form of ex-libris was sorely missing. It must be noted however, that if an artist engraves or sculpts the surface of a rubber, and uses it as a stamp (examples are known), it would bear the symbol X6.
P1 – Line block (cliché) with or without photography Specifically covers both chemical and photochemical processes.
P2 – Half-tone, for example photozincography This covers chemical and photochemical relief processes other than line block, including on aluminium or titanium

Flatbed, stencil, electronic: original

L1 – Autolithography

L2 – Autography (transfer lithography)
L3 – Zincography
L4 – Algraphy
It was obviously insufficient in the 1958 list to quote such a complex series of processes as lithography as just “L”.
Lithography has thus been subdivided into the four, main, accepted technical categories, according to process (L1, L2) and according to the support. Autolithography includes all direct lithographic processes, such as pencil, pen and chalk lithography, Lithotint (wash-drawing), spatter lithography, scraped lithography, reservage (negative litho engraving), and lithographic engraving. Autography includes all non-industrial forms of transfer lithography. L3 and L4 refer to zinc and aluminium supports.
P8 – Original photograph, hologram The qualification of ÒoriginalÓ was added to distinguish P8 from P which remains as photographic reproduction. The hologram was added, although it is still rarely used as ex-libris.
S – Stencil, “pochoir” Stencil, as a technique, had to be added as it is often used, in particular by Asian artists. It is complemented by ÒpochoirÓ, a stencil variety much used in Epinal illustrations and prints in France.
S1 – Original serigraphy (screenprinting) This symbol was kept for screenprinting (‘silkscreen’), but (as in the case of photographs) adding ÒoriginalÓ, to distinguish it from P9 which was attributed to serigraphic reproduction.
S2 – Mimeography (dye stencil)
S3 – Katazome (oiled-paper stencil)
S4 – Kappa (Katazome made with persimmon juice)
Especially to assist non-Japanese collectors, the terms Mimeography, Katazome and Kappa were given a brief explanatory note.
CGD – Computer Generated Design
AIGD : Artificial Intelligence generated design
Digital technology has made, and is still making, rapid progress and there is a wide range of creative processes which the computer allows. However, only a simple division into original and reproductive process was retained even if perhaps in a few years’ time it will have to be revised. “Computer generated design” is to be understood as an original design created by the artist with digital technology. It may use elements (scanned, for example) which were not entirely created by the artist himself, but the design and composition are overridingly original. It was noted that in this specific field, the signature of the artist on the print is of particular importance to confirm the originality of the work.

Flatbed, stencil, electronic: reproductive

P – Photographic reproduction See note under P8
P5 – Collotype Unchanged. An uncommon process, but widely used by artists such as Whistler and von Bayros.
P6 – Photolithography, process transfer lithography Both major industrial forms of lithography were included under this reference. They are difficult to distinguish on the basis of a print.
P7 – Offset A very common industrial process of which Duotone is a bi-colour variant.
P9 – Serigraphic reproduction (photosilkscreen) Added so as to distinguish screenprinted reproduction from original screenprinting (S1).
CRD – Computer Reproduced Design
The earlier symbol, CAD, did not bring an answer to the question: has the computer been used to create a design, or just to reproduce a scanned drawing? The computer can be as creative a tool as the burin, or as servile as a photocopy machine. “Computer reproduced design” is a design of which a copy is effected by digital technology, even if its author has, to some degree, altered the original, or added minor original elements.
Y – Photocopy This symbol was added to indicate photocopy and xerography, as such items are frequently found with documentation in ex-libris collections and must be distinguished from other kinds of prints.

Other symbols

U – Technique not listed above, including Frottage, Chinese Rubbing and Collography This was added as a symbol to identify unlisted techniques and methods of image multiplication which are marginal to printing processes. Obviously, an artist is always free to give additional information, beyond “U”, as to how he made a print.
—/No Number after the technical symbols = number of passes through the press It is interesting to know how many plates an artist used to create a print, but often difficult to tell from just observing the end-result, especially if the register is perfect. The number of colours is also an interesting indication, but sometimes difficult to determine. Finally, the number of times the support (paper) passed through the press was retained as a more precise indication of the workÕs complexity. Normally, this information can only be given with certainty by the creator of the print
/.mon. Monotype The monotype, as a non-repeatable print, falls outside the category of printed ex-libris. Its quality, as a ÒunicumÓ classifies it closer to a drawing or painting. However, there are examples of prints (etchings, engravings) which have been overprinted in monotype. Each print has an added originality similar to hand-colouring.
/ col. Hand-coloured This must be understood as indicating that manual intervention by the artist on the print other than monotype has occurred, such as watercolouring, pencil shading, lavis or other.

In conclusion, although much work and consideration has been given to preparing the revised FISAE list, there is still margin for improvement. However, a moratorium on the suggestion for revisions of 4 to 6 years was decided by the XXIX FISAE Congress in Frederikshavn.

by Benoît Junod

Baskı Teknikleri ve Simgeleri

Ekslibris oluşturma ve basımında kullanılan tekniklerin sembollerinin ilk listesi 1958 yılında FISAE’nin Barselona Kongresi’nde kabul edilmiştir. Ancak, büyük bir revizyona ihtiyaç duyulmuştur. Aşağıda verilen gözden geçirilmiş liste, Ağustos 2002’de Frederikshavn DK’da düzenlenen XXIX Kongresinde kabul edilmiştir.
Liste aşağıdaki ilkeler temel alınarak hazırlanmıştır:
– Daha önceki referansları geçersiz kılacağı ve dolayısıyla karışıklık yaratacağı için gereksiz değişikliklerden kaçınılmıştır. Mevcut koleksiyonlardaki yazıtlarda büyük düzeltmeler yapılmasına gerek olmamalıdır.
– Liste, basılı ekslibrislerde kullanılan tekniklerin sembolleri ile sınırlıdır – yani, baskı dışı teknikler (çizim, pastel, vb.) veya stiller (‘hanedan’, ‘kaligrafik’, vb.) için kısaltmalar hariç tutulmuştur.
– Liste, belirsiz ve nadiren kullanılan teknikleri içermemekte, ancak ileriki bir tarihte belki de yeniden uyarlanabilecek esneklikte genel kalmaktadır.
– Koleksiyoncular için önemli bir faktör olduğundan, listede orijinal ve yeniden üretim süreçleri arasında ayrım yapılmıştır.

Temel bir alt bölümleme, nispeten bilgisiz koleksiyoncuların bile bir ekslibrisi gözlemlemesini ve üç kategoriden hangisine ait olduğunu belirlemesini sağlar:
Çukur baskı- Mürekkep plakanın çukurlarında bırakılır.
Yüksek baskı – Mürekkep plakanın kabartmalarından biriktirilir.
Düz, şablon ve elektronik baskı – Mürekkep, plakanın düz yüzeyinden, bir şablon veya ekran aracılığıyla ya da elektronik olarak alınır.

Çukur baskı teknikleri / Intaglio printing techniques
Özgün / Original
C = Çukur baskı / Intaglio printing (C = Chalcographie)
C1 = Çelik oyma / Steel engraving
C2 = Hakkak kalemiyle oyma (özellikle bakır üzerine) / Burin (graver or gouge) engraving
C3 = Asitle yedirme / Etching
C4 = Kuru kazıma / Drypoint
C5 = Akuatinta / Aquatint
C6 = Yumuşak-şekerli yüzeyde yedirme / Soft-ground or sugar etching
C7 = Mekanik doku yaratma / Mezzotint
C8 = Plastik gravür / Engraving on linoleum, plastic or other materials

Çukur baskı yeniden çoğaltma / Reproductive
P3 = Heliogravür (manuel çizgi ve tonlu fotogravür), Fotogalvanografi / Heliogravure (manual line and tone photogravure), Photogalvanography
P4 = Ticari fotogravür, rotogravür, Tifdruk baskı / Commercial photogravure, rotogravure
P10 = Kazınmış çelik baskı (kalıp baskı) / Etched steel printing (die-printing)

Yüksek baskı teknikleri / Relief printing techniques
Özgün / Original
X = Yüksek baskı / Relief printing (X = Xylographie)
X1 = Ağaç baskı / Woodcut
X2 = Agaç oyma baskı / Wood engraving
X3 = Linolyum baskı / Linocut
X4 = Rölyef baskılı oyulmuş veya kazınmış metal plakalar, özellikle metal kesim/ Relief-printed engraved or etched metal plates, notably metal cut
X5 = Oyma baskı için oluşturulmuş kabartma baskılı metal plakalar / Relief-printed metal plates created for intaglio printing.
X6 = Diğer malzemelerin kabartma baskılı gravürü, örneğin sentetik olanlar (lastik) / Relief-printed engraving of other materials, for example synthetic ones.
X7 = (Çin) taş mühürü / (Chinese) stone stamp

Yüksek baskı yeniden çoğaltma / Reproductive
T = Tipografi, yazı baskısı / Typography, letterpress
T1 = Lino kalıp baskı / Linotype, monotype, indirect letterpress
T2 = Agaç oyma yazı baskısı / Photoxylography, facsimile wood engraving
T3 = Ticari Lastik Damga / Commercial Rubber Stamp
Bu yaygın ekslibris biçimi büyük ölçüde eksikti. Bununla birlikte, bir sanatçının bir kauçuğun yüzeyini oyması veya şekillendirmesi ve bunu bir damga olarak kullanması durumunda, X6 sembolünü taşıyacağı unutulmamalıdır.
P1 = Klişe baskı (Fotoğraflı veya fotoğrafsız)/ Line block (cliché) with or without photography
P2 = Yarım ton klişe baskı / Half-tone, photozincography.

Düz, şablon ve elektronik baskı teknikleri /Flatbed, stencil and electronic printing techniques
Özgün / Original
L = Taş baskı – Litografi / Litography
L1 = Taş baskı / Autolitography
L2 = Transfer taş baskı / Autography (transfer lithography)
L3 = Ofset çinkosuyla baskı / Zincography
L4 = Alüminyum Baskı / Algraphy
P8 = Fotograf / Original photograph, hologram
S = Şablon Baskı / Stencil
S1 = İpek Baskı / Original serigraphy (silkscreen)
S2 = Boyama şablonla baskı / Mimeography (dye stencil)
S3 = Balmumu kağıtla şablon baskı / Katazome (oiled-paper stencil)
S4 = Kappa (Katazom yapımı Trabzon hurması suyu ile) / Kappa (Katazome made with persimmon juice)
CGD = Bilgisayarda tasarım / Computer generated design
AICD : Yapay zeka ile oluşturulan tasarım / Artificial Intelligence generated design
Dijital teknoloji hızlı bir ilerleme kaydetmiştir ve kaydetmeye devam etmektedir ve bilgisayarın izin verdiği çok çeşitli yaratıcı süreçler vardır. Bununla birlikte, belki birkaç yıl içinde gözden geçirilmesi gerekecek olsa da, yalnızca orijinal ve yeniden üretim süreci olarak basit bir ayrım korunmuştur. “Bilgisayarda üretilen tasarım”, sanatçı tarafından dijital teknolojiyle yaratılan özgün bir tasarım olarak anlaşılmalıdır. Tamamen sanatçının kendisi tarafından yaratılmamış unsurları (örneğin taranmış) kullanabilir, ancak tasarım ve kompozisyon her şeyden önce orijinaldir. Bu özel alanda, baskı üzerindeki sanatçının imzasının, eserin orijinalliğini teyit etmek için özel bir öneme sahip olduğu belirtilmiştir.

Düz, şablon ve elektronik baskı yeniden çogaltma / Reproductive
P = Fotografik çogaltma / Photographic reproduction
P5 = Fototayp baskı / Collotype
P6 = Fotolitografi baskı / Photolitography, process transfer lithography
P7 = Ofset baskı / Offset, duotone
P9 = Fotografik ipek baskı /Serigraphic reproduction (photosilkscreen)
CRD = Bilgisayarla çoğaltma / Computer reproduced design

Daha önceki sembol CAD, şu soruya bir cevap getirmiyordu: bilgisayar bir tasarım yaratmak için mi yoksa sadece taranmış bir çizimi yeniden üretmek için mi kullanıldı? Bilgisayar, burin kadar yaratıcı bir araç ya da fotokopi makinesi kadar köle olabilir. “Bilgisayarda yeniden üretilen tasarım”, sanatçı orijinali bir dereceye kadar değiştirmiş veya küçük orijinal unsurlar eklemiş olsa bile, kopyası dijital teknolojiden etkilenen bir tasarımdır.

Y = Fotokopi / Photocopy, electrostatic screen printing

Diğer simgeler/Other abbreviations
M = Monotip (tek tip) baskı / Monotype
B = Görme engelliler için kabartma baskı / Braille printing
MT = Karışık teknik / Mixed technique
TNC = Sınıflama dışı teknik / Technic no classification
U = Liste dışı, frotaj, kolografi, vb. / Unlisted, frottage, collagraphy, etc.
4/ = Kalıp sayısı (4/C3 = 4 kalıplı çukur baskı) / Number of plates used
/2 = Renk sayısı (S/2 = iki renkli serigrafi baskı) / Number of colours used
/col. = Elle renklendirme / Hand coloured
Karma teknikler, artı işaretleri ile ayrılan ayrı semboller olarak belirtilmelidir, örn. C2 + C3 + C5 / Mixed techniques must be indicated as individual symbols separated by plus signs, e.g. C2 + C3 + C5