All digital prints are not created equal. In the sophisticated era described by the first decade of the 21st century all industries are experiencing convergence.
The digitization of manufacturing workflows allows for the same computers and/or data bases to be used for multiple purposes; sometimes simultaneously. So, once an image has been digitized, it could conceivably be used for display on television, on computer monitors as the skeleton for a three dimensional sculpture, for display on signage, or manufactured as a high-quality, collectible art reproduction. This is quite an exciting phenomenon, but it’s also confusing to a consumer. It’s still the case that confusion is the single biggest impediment to product acceptance and market growth. Hence, “giclee fine art”.
A number of companies have, over the last ten years, developed by design or coincidence a similarity of manufactured product. These printing companies were originally formed specifically and most often exclusively, to produce fine art reproduction products. As they responded to their customers demands for “quality”, “longevity” and “authenticity” they created a standard commonly referred to as giclee. Giclee fine art is the reproduction of fine art originals to the highest quality available at that time. By definition fine art would command the finest reproduction standards. Lower reproduction standards diminish the perceived value of the original. So, as ink, paper, canvas, and coating technology, equipment and software evolve, the definition of giclee fine art evolves as well.
How do you know giclee fine art when you see it? The easiest way is to look for a giclee standard emblem printed upon the piece of artwork. Such standards as the Tru Giclee™ trademark are commonly found. The individual organization that offers the trademark would have the specific information regarding digital manufacturing techniques and materials. If there’s no emblem then you would have to commence the arduous task of identifying the manufacturer and securing from the manufacture their current process and materials. In addition, you’d have to understand how the combination of the materials used might interact with each other. That is to say, all materials are not compatible. Even the use of excellent materials that are not compatible with each other will produce a product which will fail.
The importance of a product’s durability is, in practice, a function of the buyer’s expectations. Although these expectations could be set by the seller, they’re in fact set by the price. The more someone pays for any product, the higher their expectations. So, giclée fine art reproductions are not necessary if the product is being sold as a consumable or disposable item of décor. It’s only when the original artwork is perceived to be fine art that the artist and /or publisher need to be protected by fine art giclee standards.
When fine art giclee standards are not employed, the product will fail either the test of saleability or the test of time. As it turns out artists who have developed, over many years, specific styles and techniques have one thing in common: their techniques are difficult to replicate. An artist who has a very pleasing style that is easily copied by another artist finds it impossible to create brand name identity. So, consciously or unconsciously, they have developed a specific color, texture, composition palate that is the brand name identifier; the key to saleability. If the digital reproduction does not capture the authentic image, as described by the original, it doesn’t sell. This may sound very philosophical, but it’s the basic mechanics, that defines today’s reproduction market. The people who understand and work with this premise are the successful artists/publishers.
Presuming the digital reproduction passes the sellability test, it now must pass the durability test. Digital prints are made from extremely small droplets of ink. Droplets approximating the size of human red blood cells. Droplets these sizes are vulnerable to contamination and color change by light, atmosphere, and chemical exposure. The more unstable the combination of ink, canvas and coating is, the quicker it will fade, change color or crack. The better the chemical relationship between the ingredients, the more stable the initial product is. Product incompatibility is the single biggest cause of print deteriorization. Beyond optimizing the materials, protection from extreme light, very high humidity or exposure to caustic chemistry is necessary.
Giclee fine art is a standard for quality. It’s protected by the integrity of the manufacturer. It’s highly encouraged that you research the people and processes that handle the art you’re having produced. If you’re not in the art business and you just want a good giclee, look for an accredited association’s emblem before you buy.
Author: John S. Doe
Date Published: March 8, 2005
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