Everything you wanted to know about Giclée Prints, but were afraid to ask!
Giclée prints are widely accepted in museums and galleries. Many museums, in those in the United States particularly have either mounted exhibitions of Giclée prints or purchased prints for their permanent collections. These include: the Metropolitan Museum of Art (New York) and the Guggenheim (New York). Auctions of giclee prints have fetched $10,800 for Annie Leibovitz, $9,600 for Chuck Close, and $22,800 for Wolfgang Tillmans. Europe is a little behind but catching up. For example The Louvre Museum is using the process for reproduction and display of works which cannot be allowed out of the museum cellars, and otherwise would never be shown to the public. The Tate online shop sell giclee prints for about €400 each.
The ‘fancy word’ Giclee (zhee-klay) – this French word is a feminine noun that means a spray or a spurt of liquid. Images are generated from high-resolution digital scans and printed with archival quality pigment inks onto various substrates including canvas, fine art, and photo-base paper, all of which we use. The giclee printing process provides better colour accuracy than other means of reproduction. Giclee prints are created typically using professional 8 to 12 colour printers. We use an Epson which prints up to 44 inches or 110 cm wide. These printers have a built-in vacuum system which holds the substrate dead flat, so print consistency is guaranteed. Printers such as this are capable of producing incredibly detailed work for both the fine art and photographic markets. Giclee prints are advantageous to artists who do not find it feasible to mass produce their work, but want to reproduce their art as needed, or on-demand, and this is what we do.
Once an image is digitally archived, additional reproductions can be made with reasonable cost. The prohibitive up-front cost of mass production for an edition is eliminated. Archived files will not deteriorate in quality as negatives and film inherently do. Another great advantage of giclee printing is that digital images can be reproduced to almost any size and onto various media, giving the artist the ability to tailor prints for a specific client. The quality of the giclee print rivals traditional printing methods in terms longevity and fade resistance. The term “pigment print” is used generally for any type of printed image that uses strictly pigments. Pigment printing processes have been utilised since the middle of the 19th century. The image stability of pigment printing is superior to that of any other method of printing, including traditional silver-halide or metal-based.
To order or request a comprehensive price list or to have your work photographed, scanned or printed contact Mark at email@example.com
All artwork is printed on archival fine art German Etching paper.
Prints on demand service & samples upon request.
How do I price my prints?
This is one of the most frequent questions we get when talking to artists and photographers about entering the print market. Artists and photographers just starting to sell prints of their work usually price either too high for their market or too low and so do not make a profit. Here are tips on striking the right balance, the ‘happy medium’.
1. The easiest method to calculate your print price is to figure out how much the print cost you to produce, and then multiply that number by four to get your retail price. For example, if you are selling an unframed, 21cm x 30cm print on Hahnemuhle fine art paper, and the print cost you €25 to produce, your retail price would be €100 This pricing system works well if you are selling through a gallery that takes a 50% commission. After the gallery takes its €50 you are left with €50 Out of that you subtract your print cost of €25 and end up with €25 in profit for an unframed limited edition print. Not bad if you sell a lot!
2. If you are not selling in galleries or shows that charge a commission, then you have a lot more leeway. Try multiplying print cost x 3 – in the case of the above-mentioned 21cm x 30cm, your retail price would be €75. When you subtract out your cost of €25, you are left with a profit of €50. In this case, you can play around with the numbers to see what “feels” right. If €75 seems too high for your customer base, try multiplying by 2.5. Round figures up, so if you get €62.50, make it either €63 or €65.
3. If you spent €50 framing your €25 print, then you have to make €75 to break even. If you are selling through a gallery, and they are taking 50%, then you have to at least double the cost of the framing (€100) and then add that to your print cost x 4 (€100). You won’t make money on the frame, but you won’t lose, either, and your profit will be the same as in #1. Some artists tack on a “framing fee” to the original framing cost. Even if you are just using celo-bags and cardboard backing to your print, you have to add that cost into the “cost to produce the print.”
4. When you are first starting out, it is better to sell for as low as you can and still make a profit. Another way to keep your costs down is to produce smaller prints, and order many to see if you get a reduction.
5. When establishing the price, try to keep it under the “barrier” numbers. So instead of €50, sell for €49. Instead of €100, sell for €98. Strangely, once you’ve broken a barrier, you can go higher. For instance, if someone is willing to pay €125 for something, they’d probably not blink at €149.
6. Sell in “package deals.” One 20 x 30 is €39. If you buy two, you get them both for €59. But if you buy three, you get them all for €65. Guess what they sell most of? Yep, three prints. Originally written by Kate Dardine of Fine Print Imaging USA, edited to suit the Irish market by Adrienne Geoghegan