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Frequently asked questions about Giclée Digital Printmaking
and Framing
Q: What is digital printmaking?
A: Digital printmaking utilizes computers to precisely control specialized
digital printers. Most fine art printmakers use ink jet printers that apply
ink to a variety of media, primarily high-quality watercolor papers and
canvas. The digital printmaking process is capable of producing exceptional
results for both original printmakers and for the reproduction of original
works of art; because of its extended color gamut and continuous tone
characteristics, digital printmaking is considered a superior technology for
printing all forms of art including photography. |
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Q: What is Giclée?
A: Giclée - pronounced "zhee-clay" -French for "that which is sprayed," is the
term commonly used for the world's most advanced digital fine art printmaking
processes. Giclée prints can be original art works generated with a computer,
multiple originals based on art work (created with or without a computer) made
with the Giclée process in mind, or high quality reproductions of original art
work.
Prints can be made on most absorbent media, from glossy or textured photo
papers to canvas to smooth fine art (watercolor) papers.
The Epson printers use seven highly stable color pigments, compared to four
color dyes used by the Iris Giclée printer, offering permanence
characteristics of 100+ years and an extended tonal range. Using roll stock,
the Epson printers can produce prints up to 44" in width and virtually
unlimited length.
Q: What kind of papers do you
use?
A: Epson and Parrot Digigraphic Papers - two examples:
Epson Premium Luster
This instant-drying paper produces vivid, lifelike images that rival those of
traditional silver halide prints. Premium Luster Photo Paper delivers highly
saturated prints by offering maximum ink coverage and a high D-Max for true
photographic reproductions. Its 10-mil RC base gives prints a photographic
feel, and keeps the paper cockle-free. This paper was designed for use with
EPSON Archival™ Ink, and has a remarkable lightfast rating of over 140 years.
This paper is engineered to give the highest resolution and color saturation
possible.
Epson Smooth Fine Art
Professional photographers require archival print media for their digital
photography. Now, in conjunction with the new EPSON Archival™ Ink, we bring
you this acid free, 100% cotton rag fine art paper. Capable of creating 1440
dpi high-resolution prints, this paper yields brilliant colors and deep
blacks. Epson technology optimizes the amount of ink released onto the page
based on the type of paper used.
Q: What type of inks do you use?
A: The most cutting-edge digital printing technology in the world is nothing
without the highest quality inks.
In recent years, significant advances in Giclée inks have resulted in
prints with broader, more saturated color ranges, as well as dramatic
improvements in color permanence. The Bremond House Gallery realizes that the
best results for your work can only happen using the best combination of ink
and paper, which is why we make it a point to offer the most recent
advancements in digital printing technology.
One of the drawbacks of early Iris prints was the durability of their inks;
the colors were rich and beautiful, but tended to fade noticeably in only 2-3
years. As Iris Giclée's evolved out of the Iris print process, however, the
permanence of the inks improved steadily, to the point where a typical Iris
Giclée now withstands fading for 30-60 years. Ongoing advancements in ink
technology are yielding remarkable results, including new inks that remain
stable for up to 75 years.
With the advent of more recent printing technology, the archival quality of
pigment inks has advanced dramatically. Epson printers use seven highly stable
color pigments - Black, Light Gray, Cyan, Magenta, Light Cyan, Light Magenta
and Yellow - that achieve substantially better highlight detail over the
traditional four ink systems, and offer archival longevity exceeding 150
years.
Q: How does
a Giclée print differ from an Iris print?
A: Giclée prints are sometimes referred to as Iris prints, but the
piggybacking of terms can be confusing - and misleading. Iris prints usually
refer to an earlier process developed for posters and proofs. Iris and Roland
Giclée's represent the evolution of the process used for making Iris prints to
the level of fine art, with a more refined system for fine-tuning colors and
inks that, on average, resist fading 10 times longer than those used in Iris
prints.
Q:
How do Giclée prints differ from lithographs and serigraphs?
A: Offset lithographs are created by taking a continuous tone image and
processing it through a screen. The result is an image created with a series
of dots, each one proportional in size to the density of the original at the
location of that dot. The human eye is consequently "tricked" into seeing
something that approximates a continuous tone image. Most printed material
such as newspapers and magazines are printed with this process.
Serigraphs are really screen prints. These prints are made by creating a
set of screens, each representing one color. Ink is then squeegeed through the
screen and onto the media. For fine art reproduction purposes, the number of
screens required to approximate the tonal qualities of the original are
typically from 20 to more than 100. The larger the number of screens, the
closer a serigraph can appear to be continuous tone and the more expensive it
is to produce.
Giclée prints have many advantages over both the offset lithograph and the
serigraph. The color available for Giclée processing is limited only by the
color gamut of the inks themselves. Therefore, literally millions of colors
are available and the limitation imposed by the screening process does not
exist.
The Giclée process uses such small dots and so many of them that they are
not discernible to the eye. A Giclée print is essentially a continuous tone
print showing every color and tonal nuance.
Giclées are printed on beautiful fine art papers, and the result is a print
befitting the definition of fine art in every way. Giclée has the additional
advantage of being reproducible, allowing you to "print on demand." This means
that you only have to print what you need now and can reorder additional
quantities as you need them.
Q: Can a print still be "real" if a computer is used to create it?
A: Giclée prints are not "computer-generated," in the common way we know that
term. Instead, computers are used to control the complex and technologically
advanced printers that create the reproductions, much as computers are used to
create offset lithographs and, increasingly, serigraphs. The Giclée process is
simply a new and significant step forward in the creation of limited edition
fine art prints.
Definitions
Here are some of the basic terms associated with the printing process:
Acid free paper:
Original works of art and fine art prints are created on acid free paper
that has a ph rating of 7 or higher. With proper framing and care, they
will last for generations. Low ph paper and framing materials that are
not acid free will cause yellowish discoloration and damage after 30
years.
Artist’s proofs (AP):
There are two related definitions for artist’s proofs. First, they have
originated from an old tradition of reserving a quantity of prints for
the artist’s use, usually 10% of an edition. Second, as fine art prints
are being created, the artist or printing specialist will pull
individual prints off the press to directly check against the original
for quality assurance. These prints are also referred to as artist’s
proofs. Either way, a hand-written “AP” distinguishes them from the
other art prints.
Since they were personally pulled from the press, on rare occasions
there may be a fingerprint or ink smudge on the outer edges. It could
even be from the artist. These prints are usually individually numbered
with an “AP”, inspected for image quality, and signed by the artist.
Since they are directly used as part of the printing process, they are
considered to be the second most valuable item to collect (next to
remarqued prints) if the original can’t be acquired. They are more
expensive and fewer in number than regular fine art prints. Artist’s
proofs are usually 10% of each edition; therefore if the edition size
consists of 1000 prints, there will usually be around 100 artist’s
proofs. There may also be artist’s proofs available from the first
printing of an open edition. A certificate of authenticity usually
accompanies each artist’s proof.
Certificate of authenticity:
A certificate issued by the publisher, artist, or gallery that
accompanies limited edition art reproductions. It states the total
quantity of prints in the edition and confirms authenticity of the
artist’s signature and the specific number acquired.
Diptychs and triptychs:
Diptychs are when two images relate to each other. Triptychs are when
three images relate to each other.
Fine art prints:
Fine art prints are a reproduction from the original drawing or
painting. They are printed on acid-free archival quality paper with
fade-retardant inks and conservation framing is highly recommended. With
proper care, they will last for generations.
Giclée printing process:
Giclée is a French word meaning “spraying of ink”. The image of the
artwork is scanned into a computer and printed by a special high-speed
ink jet printer. Accurate true colors are sprayed directly on to the
same type of canvas or watercolor paper that the original was created
on. The result is a reproduction that is difficult to distinguish from
the original. Giclée reproductions on canvas are stretched on wooden
stretcher bars and may be framed without glass. The reproductions are
created one at time, so the quality is excellent and the edition size
can be very small. But each individual Giclée fine art print costs
significantly more to produce than if the lithographic printing process
was used.
Insurance:
It is not uncommon for an art collection to be valued in the thousands
of dollars. Most insurance companies will insure artwork and fine art
prints. This is highly recommended. Sometimes a damaged print can be
returned and replaced with a new one and covered by insurance.
Limited edition:
A predetermined number of fine art prints are published. They are
usually individually numbered, inspected for quality, and signed by the
artist. If the prints are created by lithographic process, the plates
are destroyed after the print run. Once the edition is sold out, the
limited edition prints are no longer available from the publisher and
their value dramatically escalates. A certificate of authenticity
usually accompanies each limited edition print. A print with smaller
dimensions of the same image may be offered as an open edition at the
same time as the limited edition.
Lithographic printing process:
First, color separations are reproduced from the original piece of art.
Every color is comprised of a mixture of four basic colors: cyan,
yellow, magenta, and black. Color separations are a dissection of the
artwork into those four colors much like the way a television screen
works, consisting of the overlaying of minuscule multi-colored dots. The
color separations are burned on to metal plates, similar to the way that
something would be embossed on to paper. The plates are then attached to
large rollers on a large press. As paper is pulled through the rollers
on the press, the image is reconstructed on to the paper. The artist or
the printing specialist supervises the operation to assure quality and
that the reproductions closely resemble the original. At least several
hundred prints most be created to make the lithographic printing process
cost-effective.
Open edition:
An open edition fine art print is a reproduction usually printed on the
same type of paper or canvas as a limited edition, but there are no
restrictions as to the number of copies made.
Original work of art:
The original work of art is the actual hand-drawn, painted, or sculpted
work by the artist. It is the most valuable investment because it is
unique and one of a kind.
Personalized prints:
Sometimes artists have signings where they will write a personalization
on a print. This increases the value of the print, to the one that it is
personalized to, especially if they plan on keeping it for life. It also
makes a great heirloom to be kept in the family. Conservation framing is
essential. But the resale value of personalized prints is greatly
hindered. An elegant way to personalize a print without altering its
original state is to add a brass plate to the matting.
Poster:
A poster may also be created from the lithographic printing process, but
it usually is printed on thinner, cheaper paper and has graphics and
text also printed on it. It is usually much lower quality than a fine
art print.
Printer or publisher’s proofs (PP):
Printer’s proofs are similar to artist’s proofs. The difference is that
artist’s proofs are created during the printing process, and printer’s
proofs are created at the beginning, in the setting up of the initial
press run. Since printer’s proofs are used to establish the color,
detail, and quality, they are also referred to as the “set ups” and
sometimes have very inconsistent quality. They are usually destroyed
because they are not up to the artist’s standards. On rare occasions,
printer’s proofs may be released if they pass the artist’s inspection
for quality. They are not always announced or issued at the time of
publication and may be released after an edition has completely sold
out. But the printer’s proofs will be more expensive than the artist
proofs. It is not uncommon to find ink smudges or fingerprints outside
of the image area on printer’s proofs. They are usually individually
numbered with a hand-written “PP”, inspected for quality, and signed by
the artist. A certificate of authenticity may also accompany each
printer’s proof.
Remarqued prints:
A remarqued print has an original drawing created on it by the artist.
This is the next best thing to acquiring an original work of art. A
small quantity of remarqed prints may be issued within an edition and
accompanied by a certificate of authenticity.
Secondary market:
The secondary market consists of retail galleries or individuals that
are willing to sell prints that are sold out at the publisher for a
higher price.
Serigraph:
A hand pulled serigraph is also known as a silkscreen and is created
much in the same way that a t-shirt is. Designs are made where
individual silk mesh screens separate each color, and ink is pushed
through each screen onto the paper.
Sold out prints:
These are fine art prints that are no longer available to the public
through the publisher, artist, or gallery. They may be available through
the secondary market for a much higher price. Once an edition is sold
out, the value of each print usually dramatically escalates and they are
very difficult to obtain.
Special edition (SE):
A special edition is usually the same as a limited edition, but they are
special because they may have important signatures or they are
specifically used to establish a scholarship or endowment. A handwritten
“SE” distinguishes them from other prints. These prints are usually
individually numbered with a “SE”, inspected for quality, and signed by
the artist. A certificate of authenticity usually accompanies each
special edition print.
FRAMING FACTORS:
The following are important factors to proper matting and framing of
originals, art prints, and photographs:
Matting and backing:
1) The art or subject matter should never have direct contact with the
glass; otherwise condensation may form causing mold and mildew, thus
causing major damage. The purpose of matting is to provide an area where
air can circulate between the glass and art.
2) Always use acid-free mats and backing boards; otherwise the mats will
yellow in time and cause the art to discolor as well.
3) Mats and frames are used to compliment an art piece. They bring out
the colors in an image while drawing in the eye. The proper choice of
matting and framing is essential for showcasing an art piece; otherwise
the piece could get lost on the wall. Also, at least 3 inches of
equidistant matting is recommended to encase images over 10x14.
Dry mounting and conservation mounting:
1) Dry mounting is the process of applying a mild adhesive to a foam
board or backing board and vacuum pressing an art print to the board.
This keeps the print from waving, but the original state of the print
has been altered, thus hindering the print’s ability to appreciate in
value beyond its current price. Dry mounting is not recommended for
limited edition prints if there is a possibility that they may be resold
and reframed in the future. Original paintings or drawings should not be
dry mounted, unless the artist purposefully dry mounts the art.
Photographs are sometimes sold dry mounted. It is also common to dry
mount diplomas and certificates because they are not going to be resold.
2) Conservation mounting is the use of acid-free corners that hold an
art piece to a backing board rather than permanently affixing it. The
art can then be easily removed from the board. This is the best way to
mount limited editions, but waving will usually occur.
3) Waving is a common occurrence with any type of art on paper,
especially originals, where the paper has a slight noticeable wave. This
is caused by the weight of the paper and humidity. The best way to make
an art print flat is to dry mount it; but then you’re basically choosing
between the print waving or loosing it’s ability to appreciate in value.
Floating:
An art piece is floated in a frame when it is fixed to an unseen foam
board or backing board, and that board is affixed on top of a mat that
is visible. This makes the art look like it is floating above the bottom
mat. A strong, removable acid-free adhesive is used that does not hurt
the art.
Glass:
1) Most prints are framed with a standard high quality picture framing
glass. It is simply called regular glass, but there are other types of
glass available that provide much better protection against ultraviolet
light. Conservation glass and UV clear glass is premium quality picture
framing glass that is the best to combat the negative effects of
ultraviolet light. It is more expensive, but worth it, especially if the
artwork will be in a bright sunlit room or has to be under fluorescent
lights. Avoid hanging artwork in direct sunlight or under fluorescent
lights. The colors will fade out rapidly.
2) Non-glare glass may be used if glare and reflection is a concern.
Most of the non-glare glass that has been traditionally available is not
recommended. It historically causes the image to be distorted and fuzzy,
but new technology in conservation reflection control has been
developed.
3) Original oil paintings should not be framed with glass. The oil paint
needs to breathe. It is recommended for originals in all other mediums
to be framed with glass for protection.
4) Plexiglas is often used as a substitute for regular glass when
requested or for very large framed pieces. It weighs less, causing less
strain on the overall frame when it is hung. Some Plexiglas has
ultraviolet light protection. It also has less potential for breakage
during transportation and shipping. It does require special cleaning
care. Use a soft damp cloth to clean only. The abrasive qualities of
cleaners like Windex cause scratches to appear on Plexiglas.
Canvas framing:
An original or Giclée on canvas is usually stretched on wood stretcher
bars without matting or glass. A linen liner may be used between the
canvas and the frame. It accents the art as a visual break between the
art, frame, and the wall.
