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Giclée
Prints
This is
the term used to describe a digitally produced print.
Giclée was
first coined by Jack Duganne in 1991, from the French verb 'to spray' (as from
a nozzle). Hence the direct object of 'spraying nozzle' is giclée
and refers to ink-jet technology that directs ink onto the substrate (paper).
The
first commercial ink-jet printer was the Iris which was developed by Scitex,
and is now used as a generic term, an 'Iris' print.
The inks being water-based dyes, have to be thin enough to go through the nozzles
but this structure does not make the dyes very lightfast. Which is key for any
print, as no one is going to want a picture that will fade after a couple of
years. Early ink-jet printers ink tested below 4 on The Blue Wool Scale. This
is the standard by which lightfastness is measured (1 for low and 8 for high).
All the traditional print processes use lightfast inks, so this is not a problem.
It was therefore important that archival or lightfast inks were developed for
ink-jet printers, with a strong resistance to fading. This has now been achieved,
giving results better than 6 on the Blue Wool Scale.So, the correct inks must
be used, especially when printing in more than 4 colours.
Next there is the picture, scanning the original or being created by the Artist
on the computer, will digitise the image. Either way the quality of reproduction
must be maintained and approved by the Artist, before signing and numbering the
prints.The important thing to remember is that a digitally printed image, is
in essence an original, everytime it is printed, because it is produced from
the original data. Therefore, certification of the size of an edition is more
critical than with any other process, purely because additional reprints can
be easily produced.
The final element is the paper, and this obviously relates to the other processes
as well, where longevity is required. Standards have been in place for many years
regarding quality, in particular pH that can affect image colour and also the
yellowing or ageing of the paper. Now there are manufacturers producing substrates
specifically for ink-jet technology, that meet the required qualities.
The Fine Art Trade Guild are developing working standards for this process
and it is planned that a Giclée should be imprinted with the details
of the ink and paper used as well as stating it meets the FATG standards.
Before being
signed and numbered by the artist, and the edition being certified for publication.
So, when purchasing a Giclée, just checkout the ink and paper quality,
and make sure the seller (whether artist, publisher or gallery) understands the
process otherwise buyer beware!
(Should you have any concerns when purchasing Art please contact the FATG)
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Identifying
Print Marks
Marks were first used on prints during the mid 1400's.
Usually placed inside the image area, and the meanings
for the inscriptions, codes and numbers varied.
- Referring to provenence, attributions, historical details,
catalogue placements etc.
- It was common for engravings made from paintings or
drawings to have the imprint of the artist , publishers
and the engraver. This being the case with our series
of
- J.M.W. Turner prints, which were originally Lithographed
by M.H.Long and published between 1864 and 1886 by George
Rowney & Co. (London, UK). Being verified and approved
for reprint by Art for All by the Tate Gallery and Rowney & Sons
Ltd.
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- In the past an Artist would only sign a print at the
request of the owner, until Albrecht Durer began the
practise. The current custom of limiting the edition,
each being signed and numbered by the Artist, began in
the 1800's. One who profited from this (and rightly too)
was James McNeil Whistler who realised that his imprint
could double the price of his prints.
- Now what are his prints worth today ?
- A lot more than double the original retail price !
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- Common Abbreviations & Terms:
2nd ed -
Second Edition - prints produced from an altered or enhanced
original image used for the First Edition.2nd
st - Second State - prints produced from the original
image used for the First Edition but significantly changed.
- AP - Artist's Proof intended for personal use, usually
up to 10% of an edition. Sometimes referred to as E.A. or
(French) épreuve d'artist and located in
the lower left corner of the print.
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- H.C. - (French) hor's d'commerce are prints to be
used as samples for the industry.
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- Inv. -
(Latin) incidit. Usually inscribed next to the
artist's signature to state they designed the image
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Lith. - Lithographed
by, then followed by the printers name
- PP -
Retained by the printer as a reference, often signed
by the Artist as a gesture of appreciation
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- Remarque - Small
sketch by the artist in the margin of the print or mount
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Restrike - Additional print made from the master plates,
block, stone after the original edition is exhausted.
- TP -
Trial proofs are test proofs so that the artist can examine,
refine and perfect the print prior to approval to print
the edition.
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enquiries@art4all.co.uk
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© Art for All (J.Lilley)
2000
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