Giclee Fine Art Prints

Giclee Fine Art Prints can be the final art work in itself or they can be part of the ansamble for a more complex illuminated work such as our lamps.  The word “Giclee” may have been derived from the French verb “gicler” meaning “to squirt”.

The Giclee’s soul is the Modified Photograph which is sprayed onto archival papers, using dye base or pigment based inks. The archival papers are acid free 100% cotton, all rag canvas. The inks were developed especially for this highly technical canvas paper.  There will be no noticeable fading in our lifetime. After the spraying, via, serigraphy, 2 coats of water resistant varnish are applied for extra durability.

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The process used to spray the canvas is called Giclee (zhee-klay). The final artwork is not called a painting or a photograph. It is called a Giclee The French word “Giclee” is a feminine noun that means a spray or a spurt of liquid.

CLICK on image to see fine details of this Giclee



My Giclee start with a series of digital photographs at a resolution of 10.1 million dots per square inch. I am currently using a Nikon D200 camera combined with a Macro1/1 lens for close up work. When I photograph, perhaps 20 shots are taken of the same subject. Once a selection of these photos is made, a composite of the shots are restructured in a Mac Pro computer, which is specially designed for graphical art. The 30 inch live color screen lets me live inside the work in progress.

It’s a beautiful world. With this computer I use a program called Adobe Photoshop CS5. Hundreds of adjustments are made before it is ready for a trial printing. In my studio I have an Epson Stylus Pro 9600 plotter printer for the printing of the Giclee As many as ten test print are made to adjust color, luminosity, hue, contrast, brightness, saturation and other technical. Once I feel it is ready, it takes a few hours for the plotter to spray out the final work. The canvas is then mounted on a hand polished natural wood frame or embedded in a stainless steel shade structure. The wooden frames are hewn from hand planted trees of Cypress grown on the mountains of Las Angels in Costa Rica. Germans, who wanted to duplicate the ambiance of their homeland, planted these trees generations ago. However, the forestry department in Costa Rica now has incentives for their replacement by native trees. These cypress trees dry the soil and are a detriment to the ecology. Other woods I use are from the banks of streams and rivers in the jungles and fincas from this same area in Costa.Rica.


GICLEES THAT ARE ILLUMINATED FROM WITHIN


We offer transmitted light going through the Giclee.
Sandwiching a backlight film and canvas is unique to our studio.
We transpose a transparent film onto the reverse side of the canvas.
This is perfectly matched in form and color with the artwork on the canvas.

Most artwork is viewed via direct light not reflected light. Reflected light originates from the sun or bulb and is projected directly to the surface of the work. This light is then reflected back to the eye for viewing. Reflected light could be dulled from the surface of the object. In contrast, emanated light originating from behind the canvas and transparent film, travels through the Giclee and picks up the colors directly. This same light keeps traveling to our eye and lands in our vision. There is nothing reflected. Therefore colors are true and intense.

When an inflorescent or an incandescent bulb is referred to concerning watts, you need to understand that this wattage is referring to the amount of energy that a bulb consumes. It does not refer to the intensity of the light. Because a florescent bulb uses 4 times less wattage to produce the same amount of light, a 20-watt florescent throws 4 times the light of a 20-watt incandescent. Therefore we get a very strong, cool light using less energy.


A transparency is glued permanently to the revers of the Giclee.

production-printing-yeu_35191In this way when the full range white light passes threw the canvas, the work emits a vivid translation of the colors to the viewer. This creates a lively image with emitted rather than reflected light. The difference is striking. This technique was developed in our studio over the last two years and is the basis for our unique creations.


Symmetrical Illuminated Giclees

About half of our Wall-Hangings have what I refer to as SYMMETRICAL GICLEES. These have the transparency on the reveres side of the canvas as all of my Wall-Hangings do, but I flip it horizontally. When illuminated from behind the image appears different, such as a reflection of the same animal but from a different perspective, or a branch may then look like a spider drinking from a lake. All very unique and super creative.


What is the quality of the Gicllee reproduction method?

Giclées are one of the finest reproduction methods available today. The depth of color far surpasses that of lithographs. Lithographs use the same process as printing a magazine. Pigment based inks are superior in archival quality than dye based inks (dye fades quickly) Lithographs are generally printed on paper made from a mix of rag and pulp. Also litho inks have dyes in them that are subject fading. When a lithograph is printed on a rag paper the colors are lifeless and dull because much of the ink is absorbed into the paper. The “dot gain” causes the printed dot to expand into the adjoining dot, which muddies the color. A watercolor artist fights this when an opposite color will contaminate a color he is laying on his paper. To counter this problem, printers may print on pulp made papers that have a coating. The coating minimizes the dot gain, but the acid in the paper yellows and attacks the ink over time.
Major Museums and galleries showing Giclees include:
Metropolitan Museum, New York Philadelphia Museum of Art, The Corcoran Gallery, San Francisco Museum of Modern Art, Museum of Contemporary Art, Los Angeles, The British Museum
Recent auctions of Giclee prints have fetched $10,800 for Annie Leibovitz, $9,600 for Chuck Close, and $22,800 for Wolfgang Tillmans (April 23/24 2004, Photographs, New York, Phillips de Pury & Company. These pieces were unframed. They were not illuminated nor incorporated into a multi media form. They were not considered Integrated Art.


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