An artist who I admire recently advertised ' limited edition prints' for sale recently. On further investigation these turned out to be Giclee prints of existing work, not print based, but which were reproduced, scanned or photographed and printed digitally. Many artists ( and Galleries) who sell these reproductions use phrases such as 'numbered', 'signed' and 'limited'. The name 'Giclee' itself lends these digitally printed copies an air of sophistication and professionalism, but is no more than the French term for inkjet. Let's be perfectly clear...these are not limited edition prints, in truth they are reproductions; glorified photocopies, albeit on conservation grade paper and utilising high quality, light fast inks, but reproductions never the less. The truth which lies behind the phrase 'limited edition' is the fact that any fine art print substrate such as a copper or steel etching plate, lithographic stone or plate, woodblock or a screen print screen, will eventually break down - and the fidelity of the original image will be lost. This loss of fidelity to the original is crucial. This accounts for the fact that, for instance, a first printing of a Rembrandt etching is now worth substantially more than prints taken from a particular plate at a later date. The image degenerates imperceptibly with each print pulled from the substrate, in Rembrandts' case, the copper etching plate. The limitation of the number of prints able to be produced is not an arbitrary number decided upon by the artist; it is a limitation produced by the process of print methodology involved. Digital printing does not and will never involve this limitation. The number of copies which could be printed are endless. Artists who sell Giclee prints should probably label them 'endless copies' instead. But of course, they will not; this artificial exclusivity and the increased price it engenders, is something that a growing number of artists are willing to participate in. But in truth, the buying public should be made aware of the fact that they could easily purchase a piece of truly original, truly 'limited' artwork for the same price, or less, as they pay for a colour 'photocopy'. Perhaps it would be pertinent to mention that at the time being, digital inks still have a relatively short conservational lifespan, the highest quality of which are predicted to last no more than the 50 to 60 years...but only if you keep the print in the dark.
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AuthorCameron Ross has taught Fine Art Printmaking at Grays School of Art, Aberdeen, Scotland since 1988. His practice encompasses a wide range of print media, painting, collage and multiple production. Archives
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