Copy art

Xerox art (sometimes, more generically, called copy art, electrostatic art, or xerography) is an art form that began in the 1960s. Prints are created by putting objects on the glass, or platen, of a and by pressing "start" to produce an image. If the object is not flat, or the cover does not totally cover the object, or the object is moved, the resulting image is distorted in some way. The curvature of the object, the amount of light that reaches the image surface, and the distance of the cover from the glass, all affect the final image. Often, with proper manipulation, rather ghostly images can be made. Basic techniques include: Direct Imaging, the copying of items placed on the platen (normal copy); Still Life Collage, a variation of direct imaging with items placed on the platen in a collage format focused on what is in the foreground/background; Overprinting, the technique of constructing layers of information, one over the previous, by printing onto the same sheet of paper more than once; Copy Overlay, a technique of working with or interfering in the color separation mechanism of a color copier; Colorizing, vary color density and hue by adjusting the exposure and color balance controls; Degeneration is a copy of a copy degrading the image as successive copies are made; Copy Motion, the creation of effects by

moving an item or image on the platen during the scanning process. Each machine also creates different effects.

Xerox art appeared shortly after the first Xerox copying machines were made. It is often used in collage, mail art and book art. Publishing collaborative mail art in small editions of Xerox art and mailable book art was the purpose of International Society of Copier Artists (I.S.C.A.) founded by Louise Odes Neaderland.

Throughout the history of copy art San Francisco and Rochester are mentioned frequently. Rochester was known as the Imaging Capital of the World with Eastman Kodak and Xerox, while many artists with innovative ideas created cutting edge works in San Francisco. Alongside the computer boom a copy art explosion was taking place. Copy shops were springing up all over San Francisco, access to copiers made it possible to create inexpensive art of unique imagery. Multiple prints of assemblage and collage meant artists could share work more freely. Print on demand meant making books and magazines at the corner copy shop without censorship and with only a small outlay of funds. Comic book artists could quickly use parts of their work over and over.

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