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Category: Art Business
What Does Giclee Even Mean? A Guide to Understanding Fine Art Prints Lingo
Art prints, fine art prints, giclee prints, archival prints, limited edition prints, monoprints, relief prints, photography prints…I could go on and on. “Prints” is a word we use often in the art world and it can have vastly different meanings. In this blog post I will break down the lingo that artists use to describe fine art prints, and what you should know as an informed collector. Let’s dive in, shall we?
First, there are two main buckets that can be used to describe art prints: reproductions and originals.
Reproductions
Reproductions are what you see most often for sale online or in retail stores. Prints, art prints, fine art prints, giclee prints, or archival prints are all terms used to describe printed reproductions. Putting terms like “art” or “fine art” in front of prints doesn’t necessarily mean anything, but it likely signifies the quality of the print. I use the term “fine art” when I refer to my prints because I am printing giclee prints that are sourced with archival inks and luxurious, archival paper. I also use it to indicate that the original image that is being reproduced was a piece of original fine art.
Archival:
Archival is a broad term that indicates that the artwork is made with materials that are “suitable for long term contact with important objects, safe and stable to museum and library standards” (source). It is important for artwork to be archival, meaning that the art will not yellow or deteriorate over time. It’s recommended that artists and conservators use archival inks, papers, adhesives, and plastics in artwork. You can read more about what archival means for art materials in this informative blog post.
Giclee:
Giclee printing is a term referring to a professionally produced print using inkjet technology with archival inks, archival paper, and color quality control. The word “giclée” comes from the french word for “nozzle” (giclur) because of the wide format spray of the inkjet printing process (source). A giclee print is now considered the standard for high quality fine art printing.
Originals
The term “original art prints” refers to art made with traditional printmaking techniques. These can include, but are not limited to, etchings, lithographs, woodcut, linocut, silkscreens (seriographs), drypoints, collagraph, aquatints, or mezzotints. For each of these prints, the artist has to physically create each print from the matrix. The matrix is the block, screen, or plate that has been carved or etched, so that it holds the image that will be printed. The matrix is usually made by hand.
Printmakers usually create their work in a series where there are a limited number of prints made of the same design. So while each print is technically one-of-a-kind because it is run by hand using a printing press, hand rolled ink, and the matrix, it will be one-of-many prints bearing the same images. Prints made in a series come numbered in this style 1/50, 2/50…50/50, indicating their place in the series. Here is a wonderful resource on how a printmaker should label their series, including proofs and other hand-modified prints.
Monoprints are a unique form of traditional printmaking because they are truly one of a kind. Monoprints or monotypes are typically made when the artist applies ink or paint to a non-porous surface, like plexiglass, and then creates a print from that. Only one print can be pulled using this technique.
Open Edition vs. Limited Edition Art Prints
Artists have the option to create either open edition or limited edition prints. With open edition, the number of prints that can be created and sold are unlimited. Limited edition prints are just that, limited. The artist will select a number of prints for the image and cannot create more prints. This creates a scarcity, and therefore an artist will charge more for a limited edition print (source).
Traditional printmaking series are by default a limited edition. When you see a label like 1/50, 2/50…50/50. Then you know that the size of the edition is 50.
Some caveats to limited edition fine art prints:
Artists can open a new run of limited edition prints of the same image, but they will typically change something, such as the substrate or a color so that the new run of prints is different. Artists will also make prints as part of a limited edition that are called artist’s proofs. There is no limit on the number of artist’s proofs, and they are not counted in the edition total, but they can be sold.
Digital 2D Artwork Prints
The terminology for reproduction prints can be applied to digitally created artwork. The artist can choose to print in an open or limited edition and select the quality of the inks and colors that are used. In this case, the digital file is considered the original work of art.
Photography Art Prints
In fine art photography, an original photograph used to refer to the photograph that was made directly from the negative. However now, with the rise in digital photography, original photographs are more like original prints, where they are printed in series. A photographer may also choose to print their photographs as open edition reproductions. You can read more about original photographs vs. reproductions in this informative blog post.
Thoughts, questions, or comments? Leave them below and I’ll do my best to answer them!
PS. My fine art prints shop is opening on September 5! In the meantime, you can shop originals directly from the studio here.
My 6 Most Recommended Podcast Episodes for Artists
I listen to a lot of podcasts. Like, a lot. I use podcasts to stay connected to other artists, learn about art history and contemporary art issues, and learn professional development for art and entrepreneurial business. Today I’m sharing a list of my 6 most recommended podcast episodes for artists.
This blog post basically wrote itself because I heard myself referencing all of these episodes in conversation over and over again and realized that I needed a concrete list to refer people back to. I hope you enjoy!
1. Do it For the Process: Instagram for Artists
We all wish we could crack the algorithm and garner a large following, like artist and art business educator Emily Jeffords. I’ve listened to tons (literally tons) of podcast episodes about Instagram tips and tricks, but for artists, Emily’s advice in these two podcasts is spot on.
Instagram for Artists (part 1): tips for creating a VIBRANT and ENGAGING account
Instagram for Artists (part 2): tips for creating a VIBRANT and ENGAGING account
2. Beyond the Studio: Amir H. Fallah Interview
I have enjoyed many episodes of this podcast. I feel that Amanda and Nicole ask smart questions and share practical advice for working artists. In fact, this podcast was the inspiration for the post I made a couple weeks ago on understanding your numbers, where I broke down my income buckets for 2019. If I had to pick one episode to share, it’s this interview with Amir that stands out. Before this episode, I had never considered what expectations I might have for a gallery that represented me. Amir talks candidly about how he found and considered his gallery representation and it made me rethink how I would approach and structure a gallery relationship in my own art career.
3. Don’t Keep Your Day Job: John Tabis of Bouqs
This episode caught me by surprise. John Tabis, the founder of Bouqs, a flower delivery company, talks about starting his business. In it, he shares a story about how he realized that if he truly believed in his company, he should personally reach out to his friends and family and ask for support. I was convicted by his passion and confidence so much that I drafted my own version of “the email” to send to my close friends and family. If you are going into business for yourself, you can’t assume that people know what you do or how they can support you. Listen to this episode and be inspired to take a bold step and share your art or business directly with your community.
How Rejection Made a Flower Company Blossom – John Tabis of Bouqs
4. I Like Your Work Podcast: Applying to Academic Jobs in the Arts
This episode is a gift. Oh my gosh. Erika is invited to record a conference panel discussion where the discussion topic is applying to academic jobs in the arts. Different speakers share their advice for applicants based on their own experiences applying or on search committees. One stand out speaker pair review the timeline of an application, each from the perspective of the committee and the applicant that ultimately got the job. I have never found this much insider information about academic hiring in the arts ANYWHERE else.
BONUS: Applying to Academic Jobs in the Arts
5. Artist/Mother Podcast: Jaime Rovenstine
This artist/mother episode made me cry, in a good way. I’ve heard a lot of artist mamas talk about how they were inspired by the life that they were creating and in response their art practice soared. I love those stories, but my own experience wasn’t like that. I had so much anxiety during pregnancy about how my life would change and I struggled with the lack of control I felt during the whole experience, that I practically stopped making art. It also took me a long time to return to art postpartum. When Jamie shared her story, I felt relief because I wasn’t alone. Art is a long game.
Jaime Rovenstine Shares About Finding Time To Paint In A Busy Season Of Life
6. Art for Your Ear by The Jealous Curator: Ashley Longshore
I’ve been listening to this podcast since it launched. Seriously. Danielle, The Jealous Curator herself, is one of my art heroes. It feels impossible to pick one episode to share because she has recorded so many incredible interviews with artists. She is conversational, funny, and engaging. I especially love in the first couple of seasons where she continues to record artists “after the interview” and then shares that segment on the podcast. Artists are real people and in these episodes I get a sense of that.
When Danielle relaunched the podcast in 2019 she changed the format away from artist interviews. I’ve enjoyed the new format, and if I had to pick one to link to, it would be the episodes with Ashley Longshore. Ashley Longshore is a pop artist in New Orleans that is leading an art empire. She breaks all the rules and is unapologetic. I find her episodes refreshing and inspirational in a no-excuses-get-your-ass-to-work kind of way. Be warned, lots of gown up language in these episodes.
ASHLEY LONGSHORE: muses ‘n more
ASHLEY LONGSHORE: optimistic as f*uck
I hope you enjoyed my list of the 6 most recommended podcast episodes for artists. Are you also a podcast aficionado? Leave your recommendation in the comments!
Artists, do you know where your money is coming from?
One of the foundational ideas behind creating a successful and sustainable business as an artist is to establish multiple income streams that can support your art career. Very few artists can support themselves on their art sales alone, so they have alternative income sources, such as teaching, licensing, wholesale, or a day job.
In my experience, all artists have a unique balance of these things that support their career.
I know one artist who has a paid artist-in-residence postion, teaches workshops all over the country, and sells her artwork.
I know one artist who teaches as an adjunct, licenses her images, and sells her artwork.
So, when looking back at my year in 2019, my first year in business as an artist, and notably, a year that I wasn’t also teaching, I felt that I needed to assess where my money was coming from. There is important financial freedom in understanding how my art business functions, and so I created the following chart to help me understand this essential aspect of my business.
Here’s what I learned.
My biggest source of income was selling art. By far. I was shocked and happy. It means I should spend more time making and marketing my artwork. I will continue to set up at 1st Saturday Art Market and have online shop launches this year.
Both CAMH and curating artwork for local shows are low earners. These things take a lot of my time and if I want to continue to do them, I need to find the value that they bring to my business beyond income, such as network connections or enjoyment. I will probably do less curating in 2020 based on this information.
Do you know where your money is coming from?
I encourage you to do this exercise. Download a .csv from your bookkeeping software. I use quickbooks self employed and I highly recommend it (that’s my affiliate link if you want to save some $). Then sit down and spend 30 minutes doing a little sorting.
- Think about the categories where you earn revenue and what you want to track.
- Color code or otherwise sort your revenue for the year based on the categories you selected.
- Use excel or numbers to load the data into a pie chart.
My big tip.
Think about what you want to learn. Perhaps you include your day job, or perhaps you don’t. I chose to separate commission revenue from other art sales. Commissions take a different amount of effort and time and I wanted to know how they measured up.
I was inspired by @closecallstudio, one of the two artists behind my often recommended podcast, @beyondthestudio, to do this exercise. I hope you find it valuable to understand where your money is coming from.
Let me know if you have any questions about making your chart in the comments. I’m happy to help.
How To Be In An Art Fair: 5 Lessons From My First Fair
In October, I participated in my first artist-centered art fair, and whoa, was it an eye-opening experience. Mostly positive, and definitely a learning opportunity.
First, let me give you a little background on art fairs. Art Fairs have existed in the art world for decades. The famous ones being Venice Biennale, Miami Basel, etc. They bring the elite sellers and buyers of the art world together in one location. The art is stunning, the money is flowing.
Recently, as with all other markets, the art world is seeing a push toward the direct-to-consumer interface. Artists can use the internet and social media to connect directly to buyers. And yes, even art fairs have embraced the direct to consumer trend. Some examples of art fairs where artists represent and sell on behalf of themselves include The Other Art Fair by Saatchi Art or stARTup Art Fair.
I was showing at stARTup Art Fair, which is unique because it takes place in a hotel, and all of the artists are given rooms in which to set up, display, and sell their artwork. You can move furniture around, decorate, etc.
So, here are my major takeaways from my experience and tips I have for you if you are interested in how to be in an art fair.
1. Visit the fair before you participate to determine if it is the right fit for you.
I was given this advice from Jodi Walsh, a Houston ceramicist, and I think it’s brilliant. If you are going to consider spending big money on rental fees and shipping/travel, then you want to make sure that the fair is going to attract the audience and numbers that you are searching for.
2. Shit happens.
For our room in the hotel, we were advised to hang with non-damaging strips. Well, we had a terrible time getting the work to stick on the walls. Most of the art fairs allow you to use nails or appropriate picture hangers, but if for some reason they don’t, then I highly suggest you bring an alternative hanging system. I saw some elegant ones where artists used ladders or false walls. Some of our artwork was damaged because it fell. This was so frustrating.
When talking to the organizers, I found out that this happens to at least one artist in every fair. Shit happens. Traveling with your art increases the likelihood that you’ll experience this, but hopefully, you find that the benefits outweigh the cost of some damage or other bad luck.
3. Get creative with the cost-benefit analysis.
“So…have you sold anything?” This question was asked by all artists that came through the room. We were all curious to know if the others were making sales. When you spend $2000 for a booth/room and still have all of the supply/packing/travel fees, the pressure to make your money back is high. But, the answer is complicated.
Most of the artists I talked to did not make their money back in a clear sales to spend ratio. However, many of them had conversations with likely follow-up sales, made a connection with a curator/gallerist that seemed hopeful, or saw sales from their existing fans based on being at the fair (you can read more about this “for sale” phenomenon in my post about hosting an open studio sale). The promotion of being at the fair, being featured online, and showing as an active artist, are all non-quantitative aspects that you may find valuable.
That said, the cost of doing business in this way is incredibly expensive, so don’t spend money you can’t afford to lose. For clarity, I shared my room with three other local artists, and we were sponsored by a local non-profit arts organization. Our room fees were covered, but we did pay for supplies and other expenses. You should also factor in the cost of your time.
4. Consider sponsorships or other ways to make your money back.
To that end, I have some thoughts about sponsorships that may help an artist make an opportunity like this financially viable. I think it would be interesting to see artists create and sell merchandise to help pay for their booths. Artists could also look to be sponsored by a brand or company where you sell that company’s merchandise and/or present their name as your title sponsor.
Most original artwork is selling for hundreds or thousands of dollars, and your Average Jane doesn’t come strolling through a fair expecting to spend that kind of money. Make sure you have some small, affordable artwork or prints for sale so that Jane can take something home for $50 or less.
5. Bring help or partner up.
After this fair, I will never set up to do something like this alone if I can help it. When I was preparing for the event, I had all these great thoughts about networking with other artists and meeting new people. In reality, I hardly ever left the room. Most artists seem to feel pressure to be present to represent their artwork and be there in case that special person walks through. Thank goodness I was sharing a room with other artists so that we could take turns covering our space while the others got a chance to look around, meet other artists, and generally take a break or eat our meals!
Working As An Artist: 5 Things I’m Doing In 2019
I get asked a lot about what work looks like for me these days. If you know someone who is an artist, then you know that their job is more than just making and selling artwork. Here’s a peek at five of the things I’m working on this year.
Selling Artwork Online
In March I launched my online shop for the first time with a small collection of collage explorations. One of my big goals this year is to connect my shop to Instagram, so hopefully, you will see that come through in the next month. I also have plans to go through my studio inventory and add work from my older collections to the shop. I want to make it easy for you to support my work and add to your home.Curating the New Forth and Nomad Gallery
In May, Forth and Nomad will open in their new location and include a gallery concept that we are partnering on. The gallery will show local emerging artists with a focus on selling to new collectors and providing collector education. We want to bridge the gap between today’s young art buyers and the elusive “art world.” I have a blog post coming soon to introduce the gallery concept in more detail. I’m excited about this opportunity.My First Solo Show
In July I will have my first solo show at the Forth and Nomad Gallery. Forth and Nomad has been selling my work since they opened and I am beyond thankful they want to continue to support my work with a show. Moreover, the ideas I’ve been sketching for this show are bringing me energy. All of the collage explorations from my store launch and the sketches you see on Instagram are part of the research I’m doing to develop my next body of work.CAMH
I will continue to lead educational group tours at the Contemporary Arts Museum Houston (CAMH). I love keeping my toes in art education and staying abreast of the new shows that move through the CAMH.Open Studio Sale
Yes, I plan on having at least one more of these in 2019. I’m kind of playing with the idea of opening my studio for White Linen Night in August and maybe once more before the holidays.So, that’s all for now. I have some ideas of what I might work on in the fall, but I’m keeping them quiet until that time comes. In the meantime, keep following along on Facebook or Instagram, and I’ll be sure to let you know what’s new.
Oh, I’m also starting to collect emails for my newsletter. Sign up at the bottom of my website if that interests you!
5 Things I Learned From Hosting My First Open Studio Sale
Partner with other artists and makers.
I reached out to several of my local maker friends to ask if they would like to pop up at my studio sale. To my surprise, many of them said yes. I contacted artists that work in diverse media so that customers would get the chance to shop many different kinds of items. For example, I had jewelry, ceramic sculpture, functional ceramics, and visual art present at this sale.
Ceramic artist Amanda Barry set up for the open studio sale. Promote it as curated and intimate.
Think of the competition. Markets pop up throughout the city almost every weekend. Stand out by sharing that you partnered with local artists that you respect. Your guests will rest easy knowing that they are buying pieces that you agree are high quality.Make sure the community knows it’s a sale.
Many of the large collective art studio buildings have open studio days regularly. Make it clear that your event is a sale set up for your guests to shop. You want guests to come prepared to purchase something or at least price shop for a future purchase.Make the experience unique.
Unlike the large art markets, I was opening up my personal space. I included special touches like refreshments, seating, and a sign-in book. I chose to reach out to a local brewery and had some beer donated for our guests as well as some water and lemonade. Since I held my sale in the summer, I also had fans and bug spray set around to make the environment outside more tolerable. Don’t forget the basics like trash cans, info on parking, and a solution for a restroom.
Jewelry set up by artist Adriane Wiltse at the open studio sale. Be patient and have some low priced items for impulse buyers.
I was grateful that all the artists that partnered with me made sales at the event, especially since this was the first one I ever planned. In reality, the artist that made the fewest sales was me. I believe that this is due to two main reasons. First, visual art is often more expensive than the other art that was at the sale. Second, visual art is rarely an impulse buy.All the items I sold were $80 or under and three of those purchases came after the sale from follow up requests. I did, however, have two larger pre-sales from friends that have followed my work for years. Since I don’t have an online shop, the studio sale acted as a catalyst to urge these friends to finally make their purchase.There you have it.
Overall, the open studio sale was a success. I will look to host one again in the spring and build upon these lessons. Do you have any experience selling directly from your studio? How did it go for you?Artists featured Adriane Wiltse and Amanda Barry. Photos by Kentra Gilbert.
