04/04/2020
SuperiorGiclee - The process of reproducing fine art.
Step One: The museum quality digital capture.
In this critical first step a series of photographs are taken of the art using a proprietary lighting, camera and x/y easel set-up.
I also employ a vacuum surface for shooting 2D paper art such as watercolors or pastels. This enables me to light and photograph art that is perfectly flat. I can then rake light from the top down so the camera will pickup the surface texture of the art in case reproduction prints will be printed onto a smooth surface. This enables the resulting prints to have the native texture showing. If I am to be printing on a substrate that has its own textured surface I will illuminate the artwork from two opposing directions, thus eliminating any distracting visual effects that can become apparent when an image with texture is printed onto a substrate/paper that has it’s own texture. I should also note that The focal plane of the cameras internal sensor array is aligned perfectly parallel to the surface plane of the art being photographed. This allows for every inch to be in perfect focus and without lighting hot spots!
After the entirety of the art is shot in small sections at a time using the x/y easel I run each image section through a program that compensates for any uneven lighting that can still occur.
Once I have processed all the images shot for a particular piece I then run all the images through another program that seamlessly stitches each shot together into one entire composite image. Now I am ready for the next step.
Step Two: Creating an Artist Proof Print.
The Artist Proof Print is is used to show the artist or client a comparison up against the original art for approval before a open or limited edition of prints are created.
I take the composite raw digital image into Adobe Photoshop and print a first look on the substrate chosen by the artist. I then evaluate the test print up against the original that is still up on the wall under the the exact same lighting conditions used to photograph the art. I take notes, first regarding the sharpness of the fine details and texture. I also start to analyze the density and color accuracy of the print to the original. I then make adjustments to the image file on the computer and print out another test print. I do this over and over until I achieve as close to a 100 percent faithful reproduction print as possible with the technology I’m using. This process can take an afternoon or more often may days and weeks to achieve the results that are acceptable to my and my eyes. Once I get a print that Is acceptable to me and that I would allow to leave my studio I then label that print as an “Artist Proof” print. I then invite the artist to come and view the artist proof side by side with the original using there eyes. If the artist is happy and signs off on the artist proof print as acceptable I then will go to step three. Also, this is the point in the process where the original is given back to the artist since it is not needed by me anymore. The resulting signed and dated artist proof print which is owned by the artist is kept in cold dark storage here at the SuperiorGiclee studio. I will use it as a quality control measure when future prints are ordered. It becomes a color and density proof that I use to not only insure at every subsequent print made matches the signed proof which matches the original but it also allows me to guarantee that each subsequent print ordered in the future witless be an exact match time and time again. Also, in the unlikely event that a specific substrate becomes unavailable or changes in any way, or there is an issue with a lot of canvas or paper or a malfunction in software or printing I will be able to identify and remedy the situation before prints are made. If the artist is having me create a limited edition of prints the artist proof prints as well as some preliminary proof prints can be given back to the artist to sell or keep at the end if an edition.
Step Three: The Print Order
Once an artist proof is approved signed off on, prints are made for the artist.
I should also note that many enhancements and options can be offered during the second and third steps such as retouching/cleaning up dirt and imperfections in the art. Creating additional print sizes larger or smaller, different styles if gallery wraps can be created for prints on canvas. Deckled edges can be created on most paper prints. Specific sized borders can be added for safe handling, matting and framing, having extra room in the bottom for signing your prints when selling, etc…
Protective U. V. Water resistant, chemical and scratch resistant coatings can be applied to your prints as needed. All canvas prints get this protective coating which not only doubles the lightfastness and archival ratings of your prints but can also enable one to frame a paper print without eluding expensive archival glass. If you’ve never been able to experience the visceral affect one has when walking up to a framed reproduction print without glass between you and the art you are missing out on a very unique and special experience one usually only gets from viewing original art.
I hope you’ve enjoyed this glimpse into the process I use to create museum quality fine art reproductions. This is my passion and I am grateful to be able to work with so many talented artists and fine art photographers helping them achieve the quality results they want and deserve.
I have a 25 plus year background in graphic arts, pre-press print production and digital imaging. Between 1984 and 2003 which was the year I started my Giclee printing business I worked in various design firms and ad agencies honing my skills in color correction and printing. Other than a few courses in image editing and page layout back in 1988 I am self-taught and enjoy being self employed.
Be safe, healthy and happy and live your life from a place of love and kindness towards others!
Dan
