When it comes to fine art reproduction technology, painters and photographers
consider giclée prints the most viable medium because of the beauty, colors, and
resolution. Giclee art prints are coveted by collectors and displayed in
museums. Giclée reproduction offers beautiful tonal renditions, providing the
right materials are used. I have come across a few websites and also some ill
informed people on internet boards that believe it is ok to procure regular
canvas or watercolor and print on it. While it is possible to achieve average
results by doing so, the reasons why it is much better to use inkjet coated fine
art materials are many.
When the pigments sprayed by the printer on canvas or watercolor paper combine
with the top coating there is a binding reaction. In addition these coatings are
made so that the printer can create the widest and most continuous gamut
possible.
Fine art giclée printing is made on different papers including canvas, watercolor
and resin coated. Microencapsulated pigments are used with an archivability of up to
100 years. No secondary market but only brand names should be used for
reproduction. A giclée print can be treated to insure a degree of proofing
against water and UV damage. Some papers and pigments do not require any
post-printing treatment. As with anything printed or painted, it is a good idea
to keep your work not under direct sun light. For coating canvas you can use
spray, liquid or even a laminator. The latest laminators use an extremely thin
layer without giving the canvas a plastic look. As for the spray, Sureguard and
Bulldog make great products. The liquid coats can be a little tricky to evenly
apply but are cheaper in the long run.
A giclee printing studio must strive to match colors through the different
papers used to print your giclees. This is another reason to choose materials
that are designed for giclee printing. These media are continually monitored and
manufactured to be consistent time after time. Through the employment of custom
made ICC profiles prepared for each specific paper, a color consistency is
expected. Because profiles are based on a device - independent color space (CIE
LAB), they provide "food" for the RIP software to adjust to the paper type. This
said, when printing giclees on one type of paper compared to another, there are
inherent gamut differences. Delta E (The difference expected for different
batches) on inks and papers is usually less than 1 but can exceed this number
with some art media such as canvas. In simple terms, expect to order a second
set of giclees on the same paper i.e. six months down the road and there should
be virtually no change in print colors.
Experimentation will lead to better results. Just keep in mind these media are
expensive and, as with many things in life, you get what you pay for. A cheap
printer or cheap media will lead to average prints. There is something I call
the "Digital Imaging Chain": any weak link in it will spoil everything. Start
with a great image, scanned or captured with a high-end device, printed on a
professional grade printer and output on the best papers and your efforts will
show.
Canvas or watercolor printing can render beautiful results providing a
professional grade printer, specialty inkjet substrates are used. Believe me, if
I could get away with using unprimed materials I would for cost reasons and the
chance to use any possible art paper! The reality is that to create long
lasting, tonality correct and accurate giclees all the right components have to be in
place.
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