The ability to capture a piece of artwork digitally such that its reproduction is a total success in the eyes of the artist involves uniquely specialized knowledge, many years of experience, talent and love of the work. It is where the rewards for our work are found.
In addition, the solutions we offer for the beautifully lifelike digital capture of fine artwork are based upon our highly specialized systems which were custom designed to capture every nuance of fine detail from within the subtle wisps of the lightest light tones down through to the deepest darks in the depths of a work.
No matter the method by which the artwork is captured and digitized, in each case the goal is to respond to the aesthetic of the piece and reproduce its essence and character as faithfully as it is possible to do.
We apply this same care to the process of crafting our prints which in every way reflect the beauty and character of the original works of art or supplied image files. We use only the finest OEM pigment inks (HDR, HDX, HDR Pro12) to craft stunning prints on some of the worlds finest quality cotton and high alpha-cellulose papers from Hahnemuhle, Canson, MOAB, Ilford, Awagami etc. See descriptions of many of our papers here.
In terms of pricing: it is always advisable to meet with us to review the specifics of your art and your requirements for its reproduction. From this we can provide a precise quote. But, we are always available to discuss by email, ZOOM and / or telephone. Contact us anytime.
The term “Giclee” (English = “a squirt” or “spray”) was coined in 1992 by one of the print makers at Nash Editions, a French-American by the name of Jacque Duganne. Nash Editions was a fine art print studio started by Graham Nash of the music group Crosby, Stills and Nash (later plus Young). Nash was an avid photographer who wanted to use an early professional inkjet printer called IRIS Inkjet (which had been designed for accurate prepress proofing in commercial printing by IRIS Graphic Systems) for the purpose of printing editions of his own work as well as fine art printing. But galleries were not pleased by this new device. To them any print made by digital means had very bad connotations in the art world. No fine art repro-gallery wanted to believe that anything printed by digital means on an industrial machine that sprays ink could be considered “fine art.” Conventional photographic, fine art, darkroom printing processes with their limited editions still had a strong hold on that. So, he came up with an alternative, synthetic, French term to describe the prints. Hence, the term “GICLEE” was born.
Similarly, Nash and Mac Holbert, manager of Nash Editions, came up with the name “digigraph” for this type of print. But, GICLEE stuck, unfortunately. Steak Poivre sounds so much better than Pepper steak and Serigraph sounds better than screen printing.
Now, the term “Giclee” has come to be associated with the combined processes of digital reproduction of fine artwork which culminates in an archival pigment inkjet print as opposed to a standard lab print on basic papers that one might purchase from Walmart or Costco or other pedestrian photo lab.
Instead of “Giclee,” we prefer to use the term “Digital Capture”as described at the top of this page and “Archival Pigment Inkjet Print.” These are much longer. But they are accurate, whereas “Giclee” is simply a term which was coined to try to overcome a stigma. Nevertheless, a rose by any other name…..