Giclees for other family members

[Richard Monro]

An enhanced giclee is probably what should be produced as they can almost be indistinguishable from an original if done right.

1) Get the very best reproduction of the original that you can get. Scanning through a professional scanner is best or alternatively by a very high quality, high mega-pixel digital camera (>10MB).

2) Put image into photoshop and eliminate any artifacts, blooms, etc.. One can also adjust color and value contrast at the same time if necessary .

3) Output giclee on the highest dpi, professional printer you can access using high quality, fine weave artist canvas.

4) Use a regular or heavy bodied acrylic gel medium to carefully put in simulated brush strokes. Try to emulate the brush strokes you used in creating the original painting. Use the regular gel medium to minimize the indication of brush strokes and heavy body gel medium to enhance brush strokes. Note: Some artists paint in a style that produces a very smooth surface. If so this step can be skipped. However, the indication of brush stokes is what makes a fool the eye reproduction.

5) Varnish using a polymer varnish with UVLS (ultraviolet filters and light stabilizers)

If done with care, I defy anyone except a professional to determine if the resulting enhanced giclee is anything but an original.

Enhanced giclees usually sell anywhere from $400 to $2000 depending upon the quality of the original and size of the giclee.

Hopes this helps all interested parties.

[Cindy Procious]

Thanks, Richard, for your response.

I'm really asking more about the concept of prints of your original portrait in general. Where does one draw the line? Yes - you can make 4 prints - to give to the grandparents? You can make 20 prints and hand them out as party favors at your next barbeque? You can make 300 prints and give them to your extended family at your next reunion?

Obviously, if the artist is going to allow print production, they should be in charge of the process for quality control purposes. But, if you're making prints - are you selling them at a profit, or giving them to your client at cost as a service to them?

[Richard Monro]

Cindy,
Sorry I didn't answer the question you asked. Here is my more responsive answer to your question.

1) An artist is in business to make a profit. Therefore reproductions need to have an adequate markup to not only cover the artists valuable time but also a reasonable profit. If we give away giclees, we are making a gift which takes money out of our pocket.

2) As I understand copyright laws in the US, reproduction runs greater than 150 lose copyright protection. That is a no no, especially if the art in question becomes popular.

Hope this is a better response.

[John Crowther]

I and others I know have had incredibly good results from www.finerworks.com in Texas. They will do single prints on high-quality art/watercolor paper at a very reasonable price, and will drop ship if you want. For example, one 16x20 print costs $28.20. Were one to go as large as, say, 24x36, the cost would be about $78.00 per print. There is a turnaround time of about 4-5 days. They will also print on canvas, and will stretch it if one wants, also very reasonably. There's no set-up cost. You need to have a high-res digital photo to upload, which you would correct in Photoshop. Obviously, the better the uploaded image the better the prints. The prints I've got from them are as good as any I've seen.

I think this may be the answer to the question about creating good quality copies of portraits to give to family and friends.

John C.

[Julie Deane]

I have always kept this possibility (of duplicate giclees for family members) in mind.

With a proper markup on pricing, it certainly is an option if a family can't afford to commission two originals. It can even bring in a little extra profit for the artist, if priced correctly for the time involved plus markup.

Plus, once it is scanned, reproductions can be made at relatively low cost for the artist to use as demos for his or her own walls. And possibly prints for the portfolio, although the cost may not justify it.

[Mary Reilly]

Cindy,
I've done some giclee prints on canvas of oils that I've painted. In the past, I've done off-set lithos on paper and also photo reproductions. I like the giclee on canvas so much better, and welcome this newer technology. I think for a portrait, giclees on canvas are an excellent answer for customers wanting copies for grandparents etc.

I stretch the canvas prints and frame them the same as oils and they look great. However, I make the prints slightly smaller then the original. The quality of the prints are so good, that I think it is important to keep something special about the original and for me size is the answer. An inch smaller all around reduces it enough to maintain the specialness of the original. Several inches smaller can make an "intimate reproduction" that is also worth considering.

I agree with the others that there should be a mark up. You can always come up with a couple different size and price possibilites. There doesn't have to be a big markup, but your time in getting them made is worth something plus some profit. The customer has the option not to order the prints if they aren't happy with the prices.

The company that I used has a set price for a sheet size of 35"x47". The price per print depends on how many prints you can fit on the sheet. Naturally, the smaller the print, the more prints per sheet. Their website is http://www.oldtowneditions.com/. In addition to being pleased with their quality, I found them very easy to work with.

Mary

[Cindy Procious]

Thanks for everyone's thoughtful replies.

The reason I ask is because a client asked about giclees even before the photo shoot. When I went over to take pictures (and sign contracts), I brought up the giclees. I told her I think it would be alright if we did that.

She replied - oh good - my brother does giclees.


Obviously, she's going to make a family deal with her brother - and both the quality of the reproduction and any profit to be had is out of my control.


What do I do NOW?

[Richard Monro]

The response should be, " Sorry I already have an EXCLUSIVE contract for the reproduction of all my giclees." That would be the truth as the contract is with yourself to never lose control of your product.

Just think how many unauthorized reproductions might be made by big brother for cousin Sally and any other number of relatives or friends and you see why this deal is a no go.

[Mary Reilly]

This is a bit of a dilemma. I like Richards reply that you have an exclusive contract for reproductions. However, if you are not comfortable with that, then another possibility is to say that before he can reproduce you need to see the quality of what he does and also have control over the finished product. Afterall, he could do giclees that don't look very good and it would reflect on you. Since you own the copyright of your own work you can call the shots. You could require that he provide you with a proof and only after you sign off on the proof can he go forward with the printing. Also you have a right to reimbursment of the use of your image. So the client should pay you a specific amount for a one time use of the image for x -number of prints with no future printing permitted unless they contact you first. That way you are selling a limited use of the copyright and not signing away the whole thing. Also it should definitely be in writing. The customer needs to know that eventhough they own the painting, you retain the copyright.

Do let us know how the whole thing winds up.

Mary

[Cindy Procious]

This is great advice - thanks so much to both of you.

I like the idea of putting it in writing - limited edition, I sign off on the artist's proof.

Thanks.