Giclée 101 -
Introduction
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Giclée
Defined |
| A fine art Giclée is created from the artist's
original artwork. An extremely high-resolution* digital image of the artwork is made, and then printed
by a high-resolution printer onto fine art paper
or canvas. Since the digital image includes
every subtlety and nuance of the original - including
the smallest details of light and shadow and the
textures of the paint and canvas or paper - the fine
art Giclée
is often indistinguishable from the original work
of art. Brush strokes have the appearance of brush
strokes, even though they are two-dimensional images
on paper. |
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*Resolution: The fineness
of detail that can be distinguished in an image.
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| Why make Giclée prints? |
In most cases the general
public gets to view less than 10% of a Museum’s
permanent collection due to limited gallery space.
The Giclée process makes it possible to view
and purchase the highest quality reproductions of
rarely viewed works of art. In many cases, paper
originals for example, an Archival UltraGiclee™ will
outlast the original.
Giclées are superior to traditional lithographic reproductions, which
require editions of hundreds if not thousands of prints to be cost effective;
Giclées can be produced in very small quantities…as few as one
at a time.
Giclée prints are accepted in museums and galleries throughout the world.
Produced and sold by many respected artists, Giclées are an established
medium in the fine-art community. |
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| What makes an UltraGiclée
Archival? |
| Our Archival Fine Art Giclées,
approved by Museum Curators, are made with a combination
of EPSON UltraSmooth 100% cotton-rag, acid-free Fine
Art Paper, EPSON UltraChrome™ pure pigment
inks and high-resolution EPSON printers. Under
normal conditions the EPSON UltraGiclee™ will
not yellow or fade for at least 75-100 years. |
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UltraGiclée 101 - The Process
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Creating
an UltraGiclee™ from start to finish
is a lengthy process…
Steps
Involved
1) Image capture
2) Scanning
3) Proofing
4) Curating
5) Printing
6) Archiving
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1 - Image Capture -
A precise image of the artwork is obtained in either film or digital format.
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Traditional Film Cameras
The original work of art is photographed by a skilled, experienced professional
in a highly controlled environment. The highest quality cameras, lenses and
film are used in order to accurately capture the subtle colors and delicate
details of brush strokes and surface texture. The result is a color film
Positive Transparency, in either a 4 x 5 or 8 x 10 size, which will be scanned
as explained in step two.
Digital Cameras
A digital camera stores images in a
digital file. They require the same skill, experience, and attention to detail
as a film camera. However, because digital cameras “read” light
and colors differently, the photographer must also understand what kind of
printer will be using the digital file in order to set up an appropriate “profile”*.
This profile guarantees that the digital file contains information the printer
will understand and print accurately.
*Profile: A calculated and calibrated measurement based on the abilities of the
input or output device.
Digital Cameras, Scanners, Monitors and Printers use profiles to match colors
across different devices.
The digital file must be a certain resolution for accurate color and detail.
An ideal digital file must contain "xx" pixels per inch resolution,
and be a physical size of "xx" for accurate reproduction. A digital
file does not require scanning and can move directly to the proofing stage. |
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2 - Image Scanning |
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This
process creates a digital file that will be
used in the proofing process. Usually a 4x5
or 8x10 transparency of the original artwork
is scanned. Scanners vary in type:
Drum scanners
The transparency is wrapped around a rotating cylinder while a "fixed optical
sensor" records the image to the digital file.
Flatbed scanners
The transparency is placed on a flat, optically perfect glass as a “moving
optical sensor” records the image to the digital file.
During the scanning process, the operator has the ability to control the scan
resolution, color range, and color profile. The scanning is so precise
that a scratch or dust particle 1/4 the width of a human hair can be recorded
along with the image. These “flaws” are cleaned up in the proofing
process (step 3). |
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- Proofing |
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The
proofing stage is definitely the most involved
step of the process. The digital file
moves to a computer workstation, and in the
image editing software Adobe Photoshop™ the
first proof is sent to an EPSON 7-color printer
and referenced to the original 4x5 or 8x10
transparency or a match-print under controlled
lighting conditions.
The operator then adjusts the image using the software until it exactly matches
the source file. The operator considers all aspects of the final image during
this stage:
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• Color
• Detail
• Brightness
• Contrast
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• Dust & Scratches
• Brush Strokes
• Texture
• Lighting
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• Cropping
• Brightness
• Contrast
• Etc…
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The use of calibrated and profiled monitors assist the operator in getting
the most accurate reproduction possible. Once the operator is satisfied
with the print, the proof is sent to the Museum for curating. |
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- Curating |
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The Museum Curators are instrumental in
this process, for they have the final approval
of the proofed image. If the original
artwork is available, the proof is compared
to it in every detail. If the Curator
notices a color that is slightly off, a detail
that is missing, or a shift in the overall
contrast, another proof may be required.
This proofing/curating process continues
until the Museum Curator is satisfied.
The print is now ready to be printed and offered
to the public. |
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- Printing |
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The Giclée is ready to be printed.
Final print sizes must be determined. It
may be offered on EPSON UltraSmooth Fine
Art Paper or Canvas, using EPSON UltraChrome
pure pigment inks and EPSON printers. This
combination of media, ink and printers create
what is known as an EPSON UltraGiclée™.
Under normal viewing conditions the EPSON
UltraGiclée™ will not yellow
or fade for 75-100 years.
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Data source: Wilhelm Imaging Research, Inc.
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| 6
- Archiving |
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After all the steps in creating the UltraGiclée™ are
complete, we digitally archive the images
in our database. This archiving allows us
to accommodate requests from Museums or customers
for any special sizes that are not generally
offered.
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Producing an UltraGiclée™ is
a difficult and lengthy process requiring precision
equipment, the latest technology, and the finest
archival materials. Moreover, each step in
the process requires the coordinated efforts of many
talented individuals experienced in diverse areas
such as photography, computer hardware and software,
fine art printing, art history, and Museum art Curation. Their
meticulous work results in the finest, most enduring
re-creations of great art currently available - the
UltraGiclée™. |
