| In this article I am going to outline the basic | | | | get started. You just have to be less picky about |
| procedure for making Giclée prints of your | | | | the accuracy of your print colors and the clarity |
| artwork. I hope to make this clear and simple | | | | of larger prints. However, with patience and |
| since there seems to be a lot of confusion with | | | | practice you can create amazingly good prints and |
| the recent explosion in printmaking technology | | | | save a lot of money in the process. If you’re |
| over the past decade. | | | | very prolific and create multiple paintings in a |
| First of all I want to give you a definition of what | | | | week which you’d like to print then you |
| a Giclée is: | | | | should probably go this route. |
| A Giclée is any print created using pigmented | | | | Step 2: Prepare Digital Files for Printing: |
| archival inks on archival paper or canvas using a | | | | Once the digital file is uploaded to an image editing |
| high fidelity digital inkjet printer. | | | | program it is cropped to size and carefully |
| The important thing to note is that a Giclée | | | | reviewed for minor flaws such as scratches, |
| does not have to be on canvas. This is a | | | | blemishes, and dust particles. These can be |
| common misconception. These prints can be | | | | corrected easily on-screen. The image can be |
| created on a wide range of archival fine art | | | | compared to the original painting and any obvious |
| papers such as textured watercolor paper or | | | | color problems can be addressed. Resolution and |
| photo paper. It is also important to note that just | | | | output print size is checked. Most print makers will |
| because something is printed on canvas it is not | | | | perform these services at no charge with your |
| necessarily a Giclée. There are many inferior | | | | print job. |
| quality canvases that are not archival grade. In | | | | At this point an artist signature can be removed |
| most basic terms a Giclée is an archival inkjet | | | | from the digital image for artists who like to |
| print. | | | | personally sign every print without a duplicate |
| Now I will outline the entire process that you as | | | | original printed signature (there may be an extra |
| an artist will need to go through in order to create | | | | charge for this). |
| Giclée prints, and offer my suggestions and | | | | Step 3: Proofing and Color Correction: |
| options to help you get the results you are after. | | | | This stage can take from 5 minutes to 5 hours |
| Step 1: Digitally Capture Your Artwork | | | | depending on the quality of the digital image and |
| This is the most important step in determining the | | | | the desires and budget of the artist. |
| quality of your prints. You basically have three | | | | A first small proof print is usually made almost |
| options, varying in price and quality, but each with | | | | immediately for direct comparison to the original |
| its own benefits: | | | | artwork. From there, necessary color corrections |
| Scanning Your Artwork: | | | | can be performed. For highly accurate color |
| The best way to turn your art into a digital image | | | | correction proof “strips” are made. These |
| is to have it scanned on a specialized high fidelity | | | | are 2”-3” segments of the artwork which |
| fine art scanner. These machines cost upwards of | | | | can be laid directly on the surface of the painting |
| $100K, and therefore scans can be pricey - | | | | for a direct comparison. Good proof strips will |
| expect to pay $60-$200 per scan dependent on | | | | virtually disappear when laid on the painting. |
| the size of your work, and your desired final print | | | | Color corrections can become costly so if |
| size (prices are usually based on file size, with | | | | you’re an artist who is VERY particular about |
| current market prices at $1 per megabyte). The | | | | colors and accuracy then you should definitely go |
| Cruse brand of scanners, made in Germany, are | | | | with a scan to capture your artwork as that will |
| typically considered the benchmark in the industry, | | | | give the most accurate results and require less |
| so ask your local Giclée printer if they use one | | | | color correction. Print makers will charge |
| of these. | | | | anywhere from $50-$150 per hour to color |
| If you use this method, a resolution of 150 dpi | | | | correct your work. |
| (dots per inch) or ppi (pixels per inch) will suffice | | | | A reliable Giclée printer will provide you with a |
| at your desired print size. If you wish to enlarge | | | | proof for free or a very minor fee prior to |
| then you can go up to 600 dpi or more. The lens | | | | printing the full size print. Make sure to inquire |
| on one of these scanners will cross your painting | | | | about this up front as any print maker who |
| up to 300 times and then compile all the | | | | can’t do this may be trying to hide poor |
| information into one large digital image of | | | | quality work. |
| unparalleled detail. | | | | Step 4: Printing the Final Piece: |
| These scanners never touch your artwork which | | | | After proofs have been reviewed by the artist |
| is placed facing upwards on the bed of the | | | | the final print is made. Today’s Giclée inkjet |
| scanner (as opposed to face down on traditional | | | | printers will print at resolutions of 1440 ink |
| flatbed scanners). | | | | droplets per inch or higher, giving unsurpassed |
| Another great benefit of these scanners is that | | | | detail. A 24” x 36” print will take |
| you will never have problems with glare, highlights, | | | | anywhere from 7-25 minutes to print depending |
| or shadows caused by impasto or heavy | | | | on print resolution. |
| brushstroke techniques. The scanning head has a | | | | Giclée inkjet printers typically use 8 or more |
| light which is always shining directly onto the piece | | | | pigment-based ink colors (as opposed to |
| of the image being captured, eliminating these | | | | dye-based inks which fade more quickly). This |
| problems. | | | | gives Giclée prints the ability to match virtually |
| Professionally Photographing Your Artwork: | | | | any color an artist can create. Traditional printing |
| An effective “second best” method of | | | | presses use only 4 ink colors. |
| digitizing your artwork. You can achieve beautiful | | | | A quick aside: Despite the technology used in |
| Giclée prints from high quality photographs, and | | | | Giclée print making, it is a popular myth that |
| bringing a portfolio of work to a professional | | | | “you can’t distinguish a Giclée from the |
| photographer should cost you less than scanning. | | | | original.” I have yet to see a Giclée print |
| Typical costs in Fort Lauderdale right now are | | | | that looks identical to the original painting in every |
| $30-$50 per artwork, and I imagine that is fairly | | | | single way. To the untrained eye this may be the |
| representative of nationwide prices. | | | | case, but to artists and printmakers it is virtually |
| There are some disadvantages inherent to | | | | impossible to achieve. Having said that, technology |
| photographing work: | | | | comes extremely close - just bear this in mind as |
| - The camera is much further from the artwork | | | | you work through the process of making your |
| than a scanner, and therefore the detail will never | | | | first Giclée prints. |
| be the same. Minor changes in color due to | | | | Step 5: Protective Coating of the Print |
| ambient light between lens and artwork can also | | | | This separates the good prints from the best |
| be a problem. | | | | prints, and applies only to prints on canvas. Some |
| - Distortion may occur towards the edge of an | | | | printmakers will use canvas that is already finished |
| art piece, especially in larger artworks. This can | | | | in glossy, matte, or satin coating prior to printing. |
| result in the colors or shapes breaking up and | | | | In those cases the ink is the last layer of the |
| losing definition at the edge of an image. | | | | print, and therefore very susceptible to scratching |
| - Shadows, highlights, and glare are more | | | | and atmospheric damage. The best Giclée |
| apparent, especially with very “brushy” | | | | prints are coated post-printing with a varnish or |
| paintings with high build oil or acrylics. If you paint | | | | veneer formulated specially for the materials |
| in this style you should give careful thought to | | | | being used. This coating helps protect from |
| scanning despite the higher cost. | | | | scratches, UV damage, and moisture. Without this |
| - If you need to enlarge an artwork in its print | | | | coating I doubt that a print can actually qualify as |
| form it may be more difficult than with a scan. | | | | being archival. |
| However, working with a professional | | | | The coating is applied by foam roller or spray for |
| photographer in a correctly lit studio can yield | | | | a perfectly smooth finish with no brush strokes. |
| excellent results. This is still the most common | | | | Or, it can be brushed on to simulate paint strokes. |
| method of capturing artwork, and with | | | | At this point the Giclée print is finished and |
| improvements in digital cameras every year, the | | | | ready for sale by the artist. However, some |
| results can only get better. | | | | artists take it one step further. |
| Photographing or Scanning Artwork Yourself: | | | | Step 6: Embellishing Giclée Prints: |
| If you’re on a budget then this is the way to | | | | This stage can actually be performed before or |
| go. It is entirely acceptable and great Giclée | | | | after step 5, it’s up to the discretion of the |
| prints are still possible this way. | | | | artist. In order to create one-of-a-kind prints for |
| You will need a digital camera with at least a six | | | | collectors, many artists “embellish” their |
| megapixel capability. The more megapixels, the | | | | canvas prints with paint strokes. This works |
| larger you can go with your prints. Remember, | | | | especially well for artist’s who create brushy |
| you need about 300dpi resolution at the print size | | | | impasto style originals. Although the strokes can |
| you want. | | | | be clearly seen on a Giclée print, the texture is |
| You should also have a tripod, and a room lit with | | | | missing. By adding brush strokes to the print, the |
| natural light or full spectrum bulbs. Or photograph | | | | artist adds texture, originality, and value to their |
| outside on an overcast day. I will write a future | | | | Giclées. Typically an embellished Giclée edition |
| article on photographing your own work - for now | | | | is limited to 25 prints or less to maintain high value |
| just experiment with lighting and camera settings | | | | among collectors. |
| until you get decent results. | | | | And that’s about it from start to finish. I |
| Alternatively, try scanning your work on a regular | | | | know it was a little lengthy, but I hope it has |
| flatbed scanner. You can stitch multiple scans of | | | | illuminated the somewhat misunderstood process |
| larger works together on image editing programs | | | | of Giclée printmaking. |
| such as Adobe Photoshop or Photoshop Elements. | | | | If you have any questions please don’t |
| Obviously this method is less reliable than | | | | hesitate to contact me. Thanks for reading! |
| professional solutions, but it’s a great way to | | | | |