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Tag: Collecting Art
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.
Things To Look For If You Buy Art At An Art Market
‘Tis the season for art markets, craft fairs, and flea markets. The artists and makers are here, ready to sell you beautiful, handmade artwork. But how do you know if it’s worth your money? Here are my tips to help you buy art at an art market with confidence.
Do you like it?
Liking the art is the first and most important thing. An art purchase is a personal choice, there is so much variability in fine art, and we all have our own tastes. What I like is different than what you like, and that is a beautiful thing.
So, we’ve established that you like the art. A lot. Here are some other things to look for.
Is it an original, a limited edition print, or a print?
There is nothing wrong with any of these options, but the difference will significantly affect the price of the artwork. An original will be the most expensive because it is one of a kind. The artist toiled over this artwork, and you are taking a tangible piece of that artist home with you. A limited-edition print is more valuable than a print because there is scarcity. The limited editions will be numbered, and you can see that you will own say 1 out of 50 of that print. Regular prints have no limits on reproduction.
Do you feel that the quality is high?
There is an intrinsic value to a work of art. Does the paper look or feel dense and luxurious? Does the paint appear well applied? Is the canvas frame heavy and robust? Is the artwork sealed?
Look for these markers of high-quality art-making. If the art is high priced, you should feel that the price aligns with the value of what you are buying.
Does the artist speak knowledgeably about their art?
There is also an added value to the artwork that depends on the artist and their experiences. Have they been creating art for years, do they show work elsewhere, or are they in prominent collections? Admittedly, these questions are harder to answer, but you can get a feel for the “validity” of the artist through a conversation with them.
Sure, it might be strange to ask them for their CV, but most artists probably have one handy, or at least on their website. For that matter, check their website. If you are about to spend hundreds (or thousands!) of dollars on a piece of art you just happened upon at an art market, the artist should not be offended if you want to do your homework.
Is the market curated?
The art market that I’m a part of, 1st Saturday Arts Market in the Heights, is a curated art market. This means that I had to apply and submit images of my artwork and website to become an approved artist vendor. Other big art festivals are most definitely curated. But not all are, so that’s one easy check.
Does the artist have a consistent voice?
Emerging artists seem to be everywhere, but when it comes to thinking of art as an investment, you want to buy from an artist that has consistency in their artwork. Might their art develop and change in the future, yes, but you can take comfort in selecting artwork from an artist that has gone through the work to establish a consistent style. These artists are typically further along on their career path and likely to continue to make art moving forward.
Does the pricing make sense?
Do the prices make sense to you? Are the small pieces cheaper than the large ones? Are there a lot marked at a steep discount? This may seem counter-intuitive, but you probably don’t want to see art marked at a significant discount because that means that there is a good chance you will buy a work of art in a series from that artist, and then three months later someone else will buy one for half price. By fluctuating their prices, the artist is changing the market value of the artwork that you purchased. Better to see that the artist holds prices steady or even increases them over time. That’s a good sign for your investment.
PS. I’m so glad you want to buy art at an art market. If you’re interested in collecting, here are some more tips on buying art in my post on Collecting Art 101. So, ready to go shopping this season? Here are the details for the art market I’ll be set up at this weekend.
Saturday, December 7
11 am – 6 pm
530 W. 19th St. Houston TX. 77008
What You Can Expect The First Time You Buy Art From A Gallery
Galleries are an essential player in today’s art world, and they serve many functions. A gallery supports the artists on their roster through showing, promoting, and selling their work, as well as behind-the-scenes support like financial management or book publishing. Galleries are knowledgable about art history, the art market, and current art trends. Buying through a gallery can give you peace of mind in the quality of your art investment.
Shopping at a gallery for the first time can feel intimidating, but it shouldn’t be. I recommend following the gallery you like online and getting to know their artist roster and point of view. Go to their art openings and events. Research the artists they represent and the price point of those artists. Galleries typically share prices on request, and there will be a price list posted for every art opening.
For this article, I’ve collaborated with local gallery owner and art historian, Cindy Lisica of Cindy Lisica Gallery (Houston), to help you know what you can expect the first time you buy art from a gallery.
How does a new collecter typically approach you for the first time?
If it’s a new person approaching the gallery, I wouldn’t necessarily know if they are a collector. So, anyone new is potentially a collector. People come to the gallery all sorts of ways, whether it be their first time in a gallery or just their first time in my gallery. Sometimes it is an opening or event that draws someone in, or perhaps a certain artist or show that they heard about. Or, they may just be “in the neighborhood.” I meet new collectors at art fairs and through social networks as well. In any case, I always make sure to welcome and encourage conversations, and I have converted art lovers into art buyers. Bringing art into the home is such a special and meaningful way to engage with the world and what you love.
I think sometimes the reason shopping at a galley is intimidating for first-time buyers is a lack of understanding of the value of the art. What do you recommend that a new collector do to be confident in the value of the artwork they are acquiring?
There are multiple answers to this. If they are concerned about the monetary value (beyond the aesthetic or “I just love it” connection), then there is nothing wrong with doing a little research on the gallery, its owner and the artists that show there. Reputable galleries and serious artists will serve as a guide to this through their activities, such as upcoming exhibitions, art fair participation, an active studio practice, museum shows, list of collections in which their work is found, and of course, their CV. Some artists have a history of gallery representation in multiple cities and therefore would have consistent prices and exhibitions between those venues, giving the collector the assurance that the work will continue to gain value into the future.
If a collector wants to look at work from an artist that is not currently displayed, how should they ask you about it?
Often I invite collectors into the “back room” and we also have inventory in art storage on site and off site. We have images and databases and can “pull” pieces from storage any time. I am always happy to show other work that is not currently on display. The gallery is constantly working to promote all of their artists, so the exhibition in the gallery space is just one facet of the whole business. We exhibit and represent artists working in various media as well (sculpture, painting, photography, new/mixed media, installation, etc.) so we welcome requests or inquiries accordingly and for specific needs.
What advice do you have for first-time art collectors looking to shop at galleries?
Look at a lot of art, and ask questions, but always pay attention to and trust yourself. It’s a bit cliché, but it’s true: buy what you love, and you can’t go wrong. Why talk yourself out of something that moves you? If you want it, have it. Treat yourself, if you can, and you will enjoy it more than that one time you saw it in a gallery. An artwork can be consistently “fresh” if it gives you that initial sweet reaction every time you see it. That is something that great art does – it speaks to you over and over, not just because it’s “new”. You have a relationship with it (and the artist/gallery that you’ve supported through its purchase). Someone created that unique piece, and now you get to live with it. Your collection is something that you can also enjoy sharing with guests, and you can be proud to have art in your home. Who wants to be surrounded by blank walls or empty space all the time, anyway?
You can find Cindy Lisica Gallery online here for current and upcoming exhibitions. The next opening reception at Cindy Lisica Gallery is for artist Diane Burko, opening on Friday, May 3. This summer at Cindy Lisica Gallery is great for new collectors, as they are teaming up with PrintMatters Houston with a group exhibition of (affordable) limited edition prints in an International exchange show from Medellin, Colombia and HTX. And they’ll have another summer popup called “Heat Wave” which highlights local artists.
Additional questions? Leave them below.
If you’d like some additional reading, here is a helpful article from Artsy that details some critical steps for buying from a gallery. I also have a post on buying original art you can read here.
What To Do When Your Artist Asks To Borrow Artwork Back …And Why It’s A Good Thing
Borrowing back artwork is something that I’d never heard of until I entered the art world. It’s not surprising if you haven’t either.
An artist may ask a collector to borrow back a previously purchased artwork to have it in an art show. Artists can have art shows in galleries or juried spaces like museums or art centers. Most likely the artist submitted your piece to be in a show before it was purchased and found out after it was in your collection that it was accepted. Or, if you own work from a highly established artist, they may have early-career or retrospective shows in a museum where your piece is needed.
This recently happened to me. In January I found out that an art museum accepted one of the pieces I submitted into their curated show. I gleefully contacted my gallerist to ask for the artwork only to find out that it had sold!
So, what are you to do if you are on the collector side? Here’s what I recommend.
- Ask questions to be sure you understand the details. When you purchased the artwork, the artist or gallerist may have mentioned this possibility to you or maybe not. You’ll want to know where the work will be shown, for how long, and who will make the arrangements.
- Request that the institution pay for shipping and insurance (this is standard) and credit you in either the brochure or wall label. If you are working with an emerging artist and the show is in a small institution, there may not be standard insurance. Ask the artist/gallerist/curator about this upfront and come up with an arrangement that makes you feel comfortable. Perhaps you allow the artist to self-insure the work by offering to fix it or replace it with something else if it gets damaged – they made the first one after all!
- Ask the artist/gallerist/curator for a loan agreement. Make sure that all of the conditions of the loan are clear and signed in writing. Most institutions will have a loan agreement on file.
- Only say yes if you are comfortable with the arrangement. If the artwork is fragile or the risk of damage due to travel is high, then it is acceptable to decline. Navigating this situation could be touchy, but ultimately you own the artwork and can choose not to participate.
Now, why should you go through all this trouble?
It’s a good thing when an artist asks you to loan back a work of art. It means that the artist’s career is flourishing and the investment you made when you purchased their artwork was a good one. Each time an art piece is in a show, that specific piece increases in value. It is exciting to own artwork that has a long show history.
Most importantly, you are continuing to support the career of the artist that caught your eye. Making a living as an artist is difficult, and when a collector agrees to a loan, it’s a win for everyone.
P.S. Don’t forget to get the details on the show so that you can attend the opening reception and Instagram the heck out of the “Courtesy of your name here” acknowledgment plaque on a museum wall.