Giclee

So some  equate giclee with reproductions; it couldn’t be farther from the truth. Although giclees can be reproductions of original art work, half of the giclee we produce are digital photographs. With film pretty much gone, photographers now print direct to digital. Many now use giclee to print one piece. Some even delete the digital file and there is only one “record” (the giclee) of the art work. It can’t be more unique than this!

Unfortunately some gallery owners and show directors don’t get it and they still thinksk that a print from a negative is an original and a giclee from a digital file is not. Hey, I have been a traditional photo printers for many years and made multiple prints of a negative. So, I really don’t see the different except that the medium is not the same.

I keep seeing all these promotions for say an 18X24″ gallery wrap canvas for less than $40. There is absolutely no way anyone can make a profit (or even break even) by selling at such low prices. So, what’s going on? Well, a couple of things are happening with the low ball offers: first, some companies are now producing in China. You upload a file to a company with offices in the US and they have the canvas produced in China, where people make a fraction of the wages here. Now, I am all for global trade but I find it disturbing that this is not told to the customers. In addtion, here is some food for thought to all people thinking about ordering from these outfits:

-Your digital files are going to China (Piracy potential anyone? Any legal options if this happens?)

-We asked for Chinese made samples just to see the quality of canvas and art papers. Well, let’s just say that they looked cheap, felt cheap and I would not ever pass them to my customers as high quality giclee materials.

-Same for inks; Inks are a major expense for any fine art commercial printer. We spend thousands of dollars a month in inks made to stringent standards. All the inks are OEM (original equipment manufacturer) and we would never settle for anything of a lesser quality.

Now I don’t want to put all the blame on cheap overseas manufacturers or domestic printers who make giclee prints with substandard materials. There is a market for KIA and a market for BMW. But do not make the mistake of believing that you can sell a fine art giclee print and get away with cheap, substandard printing. You don’t want customers calling in a few months or a year complaining that the expensive canvas print they bought is now fading, bubbling or simply falling apart. Chances are, it will. Look at printers who list the brand and type of canvas. There are many giclee canvas printing studios that keep things transparent as it always should be.

I’m sorry to say but our giclee printing company is not accepting new clients for at least the next month. Our current clients are so successful at selling prints that we cannot accomodate any more new customers. We keep expanding by buying new giclee printers but it has got to a point where playing catch up seems to be an endless task. One factor that keeps me from continuing the expansion is not the machinery but the lack of high end qualified personnel. All the work we do is high-end color critical. These skills do not come easy….

This post is for all who are not familiar with the term giclee;. Here is a little background both under an historical as well as technical point of view. The word comes from a California printmaker is response to advances in inkjet technology (namely the Scitex line of proofing machines). Jack Duganne realized that these printers were able to do much more than create proofs for the pre-press industry. The Iris 3047 and the Realist where so advanced in their color and dot rendition that they could handle thick materials such as watercolor paper. At the time (late 80s and early 90s) there was nothing quite like it. Instead of using the term inkjet print, which was not flattering considering the crappy line of many low quality machines, Duganne wanted to differentiate the output made with the high-end Iris. A 3047 model cost more than $100,000. The results were amazing and many artists and photographers looked at this medium as a revoulutionary way to create exquisite prints.Fast forward 20 years; while the Iris is now defunct and considered old technolgy (there is still a reincarnation called Ixia), a new crop of incredibly sophisticated printers made by Epson, McDermid and Canon has reached now heights. In conjunction with super high resolution, these new printer utilize pigmnet inks that have archival ratings of 75+ years. Instead of 4 inks, 6 to 12 color are used and the gamut is also wider.Although there is no set guideline to differentiate a giclee from an inkjet print, here is my take, which is pretty much accepted by most professional shops: First, the use of pro graphics printers; second, the emplyment of archival pigment inks and papers. Third, the skill of the printmaker. Unfortunately the field is also filled with companies and individuals who use printers that cost $99, buy cheap materials made in China and do not have the necessary skills to produce quality. So, how can you tell who is who and what is what? Ask for references. Ask what printers, inks and papers are being used. Would you buy a car without knowing which brand and model you are getting? Don’t make this mistake with giclee prints. Just being told you are buying a glossy canvas print without knowing who makes the canvas is the same. Why? Chinese made canvas costs $80 a roll. US or European made canvas costs twice or three times as much. You get what you pay for.

Given our sales growth every year and seeing how our vendors (who supply us with papers, inks and equipment) are doing, there is no doubt giclee is expanding at a very fast rate. We get calls from first time customers who never tried to print a giclee on canvas or watercolor. Once they do, they are amazed by the quality. Our customers are mostly professional painters and photographers; we really do not cater to people who want to print a snapshot. So, is it true that giclee is a sure way of increasing revenue? Well, our most successful artists definitely have the proof; but what is an essential component, is the willingness to market the art. No matter how good you are as a painter or photographer and how good we are at making the best prints, your art will not sell by itself!

Now to the debate issue: I see posts and especially one web site in particular saying that a giclee is nothing more than an inkjet print. OK, and…..? What is their point? Let me explain: their theory is that because an inkjet print is from a machine, it can’t possibly have any value as an investment. Wasn’t the Gutenberg Bible made with a machine? Just google “Gutenberg Bible” and see how much it costs to buy it (if you can find it being sold)! My point is simple: it is always about offer and demand. If people want something, no matter how low it is in intrinsic value, it is its rarity that commands price. Making limited edition signed giclee prints can be very profitable as long as you can build demand. Celebrity photographers, well known artists have been selling signed giclee prints at a high price point. The web site that is so against giclee as a valued process is doing a disservice to the people he/she is trying to elevate to an uncompromising “I-only-sell_originals” standard: the artist. In the process, he/she is hurting them: if he/she knew anything about how most artist live, he/she should should they spend countless hours drawing and painting. Once they sell the original, most are lucky if they worked roughly at minimum wage. Why not making giclee prints? Why not enjoying the fruit of labor for years to come? Why not having more people enjoy your art rather just just one individual or household? Giclee hater man, I am asking you, what is wrong with this picture?