Frequently asked Questions
What is meant by the term "Giclee"?

Pronounced (szhee-clay), this term actually describes a type of print process used in the creation or reproduction of the image. The word is actually a french word that roughly translated means "ink spray".

When an artist or publishing company wants to reproduce an original work (usually a painting), they will often use this most recent reproduction process. In the past, prior to the availability of this technology, an offset litho process was used instead.

It was first coined or used by the Iris Company, whose printing technology is often used in the process. The same type of print is sometimes referred to with the synonymous description of an "Iris" print.

It should be emphasized that since this term first came into use as such, there are now two other major printing technologies available to the artist. These recent printers are the Epson Printer, which uses six process colors and the Roland printer which uses eight process colors. The Iris printer uses a four color reproduction process.

All three technologies are considered to be of archive quality that utilize pigmented inks for long lasting color fastness. My prints are currently produced with an Epson printer.

How can these limited edition prints be considered "originals"?

My prints are created with this particular print process in mind. I know the limitations of this print medium and during the conceptualization of the image I am aware of what can and can not be done. This is a legitimate print medium and just as an etching or serigraph is considered to be an original fine art print, then for the same reason, these prints are also original, archive quality, fine art prints.

How do these prints differ from other "Giclee" type prints?

Even though my limited edition prints are made with the same technology that is used to make a giclee print, my prints differ. Typically, the designation Giclee means the work is a reproduction made from an original painting. By comparison my prints originate in tangible form at this stage off the process. There isn't a singular work or painting in existence that is then reproduced via photography and then scanned as is the case with most Giclee prints. In order to avoid confusion I refer to my prints literally as "pigmented digital output" prints.

In comparison, the image has been created using a computer as a tool in the creative process and then output in an original form from a first generation digital file on an archive quality device with pigmented inks. On might say this approach is similar to traditional fine art print media by substituting a digital file for the more familiar metal plate in the traditional etching process.

Also, an important qualitative difference is that my digital file at this stage of production exists in a "primary" form. That is to say it has not been created by photographing the original work and then scanning the resulting transparency or negative in order to get a "secondary" digital file. I say secondary because the process or approach is subject to changes or distortions during each of the various steps used in the reproduction process. Most notably these could be changes in an overall color shift and/or image sharpness.

Ultimately, as is the case with any piece of art, there is an element of craftsmanship associated with its production.

What role does the computer have in the production of your art?

As one who was educated to utilize traditional mediums for the creation of works of art, I find that using the computer can not only accommodate those techniques that I utilized in the past but it also opens new doors in the way of visual techniques available to the artist.

When I first started using a computer and the various associated program applications, it benefited me in two specific ways.

First, it benefited me as an effective way to apply color to my existing line drawings. The functions of masking out areas and then adding soft color transitions which might have been accomplished with delicate brush work in the past can now be obtained with additional control and precision. There are also more options available to the artist as far as trying alternative variations in overall color, composition, etc.. In other words, having the ability to change or tweak the resulting action is something that just doesn't exist in the same way with traditional media.

Secondly, it served as an excellent way of "amplifying" the muscular movements of the hand while drawing. I get more dexterous control when the muscular motion is confined to the hand than when I'm trying to work at a larger scale were the drawing lines are derived not just from the active hand but also from the motion of the arms and upper torso. Digitizing this smaller sketch with all of its direct vitality to a larger scale is a distinct advantage in using the technology.

I also find it easier to make a smaller scale drawing and to see the "big picture" all at once on the page in front of me. When I scan the image I can enlarge it considerably and get a very dynamic curve or stroke that is different than if I were to try and make it by drawing it "same-size".

How long will these prints last?

I have heard estimates from the printer manufactures that rate image ink stability from anywhere between thirty-five to two hundred years without noticeable visual changes to the image. One variable in longevity to print or artwork longevity is to make sure that the work is properly framed. When it is hung make sure that it is not exposed to direct sunlight. According to museum experts it should not receive more than five to fifteen footcandles or fifty to one hundred fifty lumens (European) of light exposure. All of my images are printed on acid-free pH neutral paper stock and as such will not take on a yellow color cast over the years.

Can I get a print on canvas?

While any of my images can be output on canvas, I choose to print on paper. I use this substrate because it preserves a very important attribute of my work; a level of detail. I prefer a smooth paper finish because it helps to reveal this detail without any distortion.

If one really wants canvas however, then I do create works intended for canvas. These are usually paintings and are conceived with this mode of production in mind. Being that these canvas works are by the same artist (me) the art collector will get the same concepts and themes but of course done in a slightly different medium.

Another alternative that I do offer, in a lower price range, are reproductions of the canvas works. Since the original is painted on canvas, I have no problem outputting to canvas.

Where do you get your ideas for your images?

It's a combination of preconceived ideas and in many cases an evolutionary process that begins at the drawing stage. With experience one begins to recognize certain compositions that are implied as I make marks on the paper/canvas. In the latter instance one could no doubt attribute the role of the subconscious at work to determine the final composition.

In the final analysis, I reserve judgement of the merits or acceptance of the piece largely until I've had some "distance" from the work. When I leave it sit for a matter of days to as long as weeks and look at it fresh, I often find that I see it in a whole new way. At that point, I know if I like it or not.

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