The giclées can be printed on either a special coated paper or on canvas,
dependent on either/both the size and/or the artist's choice, with availability
of choice(s) listed in the individual description of each individual piece.
The smaller giclees are not available on canvas. As a rule, paintings with
texture look better on paper.
The giclées on canvas are stretched.
Please make sure to state your choice in your order, as available.
The smaller prints are made either on SOMERSET VELVET paper (which tends to make
the print look more like a watercolor) or on EPSON MATE HEAVYWEIGHT paper.
This choice is made at the discretion of the artist, since it is part of the
desired effect of each individual work.
It is strongly recommended that when prints are displayed, they should be framed
under glass to protect them from environmental contaminants, insect residues,
tobacco smoke, scratches, fingerprints, and other harm. Giclee on canvas
received their own protecting coat.
Few words about prints:
Commonly called SERIGRAPHY. This process historically used silk fabric
stretched on printmaking screens. But now more effective screen fabrics are
used. A stencil is cut out and attached to the fabric screen. When ink is
squeezed through the screen to the paper on the other the side the stencil
protects the areas where the artist wants does not want ink. Thus a design is
formed. The resulting image is called a stencil or pochoir print.
MONOTYPES or MONOPRINTS
If the artist develops a flat unaltered printing surface and makes a single
print, it is called a monotype. The imaging is executed in two basic methods;
subtractive and additive. In the subtractive method the surface of the plate is
completely inked then the image is wiped from the dark field.
In the additive method the image is painted directly onto a light field with
brushes, rollers or even fingers. Works that combine monotype with other
printmaking techniques are called monoprints. Currently there is a
growing interest in developing handmade prints with a unique image.
This is the most commonly known method. Offset printing means that the
image on the plate was initially printed on one surface and transferred to
another surface for the final printing. Offset printing is really useful for
prints involving a lot of colors done with multiple plates.
As the printmaking surface is developed, proofs are pulled to study the state
they are in. These proofs are labeled 1st state, 2nd state. The first
proofs pulled from the completed surface are labeled AP for artist's proofs. Up
to 10 percent of the edition can be made ethically as artist's proofs. The
smaller the edition, the more valuable each print in the edition. This is why
too many artist's proofs would mislead the serious collector who wants to know
how many prints were in the total edition.
The artist determines the total number of the actual edition, not including
the proofs, before all the prints are done. As the prints are made they are
numbered in sequence and this number is placed over the total of the edition in
the margin of the print surface. The notation is a fraction. For example if 20
intaglio prints were made the notation would read 1/20 for the first print pulled.
A collector considers the early prints pulled to be more valuable. However, this
is not always the case. The artist usually signs and numbers an edition after
the entire edition is pulled. Most likely impression number 1/100 was actually
the last pulled and ended up on top of the stack. For giclées, all the prints
Also note that high print editions, for example, 1,000 should not be
considered as valuable as the lower editions. It could really be considered an open-edition.
An open-edition can be done over and over and does not have the same collector
value as some of the other type of prints. But if you want the image-go for it!
Fine art prints should be done on good paper. The paper should never be a
thin weight and always acid free. When paper is acid free it won't turn funny
colors like costume jewelry. It depends on the amount of pH in its fibers. (7 pH
is neutral, 0 pH is highly acid). Papers with less that 5.4 pH lose strength and
disintegrate. The gallery or artist will know about the paper quality and should
be asked. Remember it's more than just the image.
WHAT IS DECKLE EDGE?
Deckle edge is the "hairy" irregular edges on a sheet of handmade
paper. These endings occur when pulp runs out under the deckle frame. Deckle
edges were, at one time, were cut off. But today we consider them a sign of
quality. So keep an eye on those edges.
MAKE SURE YOUR PRINT
Randy Rosen, an expert on print collecting, states "...The difference
between a signed and an unsigned print by a major artist can be a matter of
hundreds, even thousands of dollars".
Most artists, sign their prints in pencil. It is difficult
to detect a printed signature under glass signed in ink. The whole purpose is to
authenticate its quality for the buyer.
The goal of
these prints is to provide artwork for clients that liked the image but could
not afford an original yet.