Familiarizing yourself with the physical steps of Giclée printing is important in understanding this New Art Medium.

The digital revolution that is now taking place has left many an artist or gallery wishing to join in, yet unsure of exactly how to enter the fray. The arrival of Giclée, or Iris, printing took place with such speed that it has left many in a state of uncertainty. The issues of longevity, color space, perceived resolution, and media have all been meticulously explained and absorbed by artist and publishers. Numerous articles educate the art world on the realities about the art of Giclée printing. Many people, however, remain fuzzy about the basic procedures involved in creating a Giclée print. Here, then, is a overview of the steps by which an original becomes a Giclée.

The first step is to convert the original art into digital format. How this is accomplished is dictated in part by the medium and size of the original art. Scanning is the process by which the original art is converted into digital format. If the original art is flexible, as in the case of art on paper or unstretched canvas, then it may be scanned on a drum scanner. Large or inflexible originals can be scanned on flat-bed scanners.

Small originals can also be scanned by digital cameras that record the image in digital format as opposed to film. Very large originals-for example 4x8 feet-must first be photographed conventionally and then scanned.

Photography of an original as a step prior to scanning should not be limited to oversized originals. The advantages offered by first photographing an original are many. Chief among these is preservation of the original.

Once the original is photographed, the transparency in effect becomes the original and is used for all subsequent steps. The transparency(typically large format 8x10)can also be used for collateral materials associated with edition printing (catalogs, brochures, advertising media) while the original remains safely locked away. The transparency can also be used for other methods of fine art printing, such as lithography and serigraphy.

Not all photography is created equal, however. To be able to use a large format transparency for reproduction, be it Giclée or any other method, it must not only be faithful in terms of color but more importantly tonal range and textural integrity.

The transparency must be able to maintain both highlight and shadow details. These two critical elements combined with color and textural information are what ultimately maintain the "feel" of the original. Put more simply, the transparency must look and feel in every way like the original. There should be no room for interpretation. This is a highly specialized form of photography and is absolutely critical to successful results.

Unlike a conventional press that can print at high speeds, the time it takes to produce one Giclée can be as long as an hour.

Next begins the proofing process. Typically proofs are smaller than the final output size(unless the final is small itself, say 8x10 or 11x14) and are printed on the same paper or canvas selected for final output.

The aim is to provide a proof that is as true to the original as the process allows. Changes and corrections are made at this time, and there is a tremendous amount of latitude in what can be done. Image manipulation, another possibility, is only limited by the imagination of the artist and the skill of the printmaker. Flaws or damage in the original can also be corrected and in most cases quite effortlessly.

Printmakers can be placed into four categories; reproductions that are faithful to the original; reproductions in which the artist enhances the original to create a print that stands its own; printing from original transparencies or negatives using watercolor paper; and true digital art(art created using software and only existing in digital format). After the artist or publisher is satisfied and approves the proof, the final process of output begins.

Unlike a conventional press, the Iris printer, on which Giclées are printed, is a drumbased technology. The substrate is wrapped around the drum, the drum spins, and the four nozzles each containing a separate color (CMYK)travel along the drum spraying ink and forming the image.

The virtually continuous tone inkjet technology, with its micro drop size and 1800 dpi perceived resolution, has the ability to reproduce 512 levels of gray per color. Unlike a conventional press that can print at high speeds, the time it takes to produce one Giclée can be as long as a hour.

Large format inkjet printing is best suited to limited editions. One big advantage of this technology is the ability to print on demand. The only initial investment is cost of the original separations. The file remains archived, and prints are made only as needed.

There now remains one final process.Typically, finished prints are given a topcoat that protects the image from moisture and damaging ultraviolet light. The effectiveness of topcoats vary depending on the media. It is virtually impossible to waterproof watercolor papers. Coated stocks, such as canvas, are much more effectively waterproofed.

The topcoats can be applied in different ways: screened, brushed, rolled, or sprayed. They are available in matte and glossy, although when applied to watercolor papers the finish of the paper is not affected.

The coatings manufactured specifically for Giclées are generally inert. The precise impact of coatings on Giclée longevity depends on specific ink, paper, and coating combination. Testing is not well enough along to pinpoint the exact effects, but the coatings appear to have little impact on longevity either way. But varnishes and other popular off-the-shelf type coatings are definitely not recommended.

Giclées are appearing in the finest galleries. Understanding the process is becoming a necessity for everyone who wants and needs to be up-to-date on the current state of the art world.

Written by : Greg Ortega / President & Owner of Gamma One Conversions, Inc.