Print Challenged? Differences Between Art Prints...

I have been asked dozens of questions about prints, which I call "printland". It has become confusing even for those in the production field of print reproductions to keep up with their own technology and offerings. Here are a few brief repies to a few I have received:

1. What's the difference between a giclée print and an inkjet print?
Giclée's use the same inkjet technology that we are used to on our home printers, however, on a much more sophisticated and refined level. In addition to the better quality jet for giclée, pigmented dyes that are resistant to light changes and fading rather than inexpensive i nks are used. There has been and still continues to be much research going on related to these dyes. Until recently, the dyes were unreliable, and did not work well on particular surfaces. Now, there are some that have a longevity estimated at 120 years and more. Of course, the paper or canvas surface it is applied to plays a role in large part to how long the image is estimated to last.

2. Is one archival and one not?
Absolutely. Inks used in consumer inkjet printers are purely ink...will not last but a very short time. Pigmented dyes on the other hand, are just that, pure pigment, combined with a carrier agent to apply to paper and canvas surfaces. Just as with painting pigment, dyes are only as good as the amount and quality of the pigment delivered to the surface.

3. Or are they the same thing and one just has a fancy name?
Excellent question. This is one of the reasons why it is so difficult to get a handle on the process and all of the jargon. So many people (even the "experts") are throwing around terms that are either incorrect or misleading. That's why it is vital for any artist entering the arena of prints (of any kind) to understand the ins-and-outs of whatever technology they will be using to publish their work. And for collectors moreso-as you are the ones paying sometimes incredible prices. You want to be confident you are getting what is being touted. Ultimately, the artist (I believe) is responsible for what is put out in the marketplace no matter who does their printing..

4. Are giclées, lithos, silk screen printing just two different words for the same thing?
No, they are absolutely three different methods, therfore exclusively different products.

5. Is a giclée only be printed on canvas or can it be done on paper?
Either one. Many kinds of paper as well as canvas are used. Here again, knowing which surface works best with the ink AND what type of surface best reflects the original work is recommended. For instance, I would not print a pastel painting on canvas, simply because you would not normally see pastel on canvas. Use the surface that most closely matches the look and feel of what the original was painted on work is on.

There are MANY online sites where you can read more in-depth information regarding this topic. Before you enter into creating a collection of prints, educate yourself as to what is of value what is not, and what is worth your money and what is not. Enjoy the hunt!

Soft Art Market & Advising

IN SPEAKING WITH the owner of a prestigious gallery about today's state of the Art market, she was of the mind that the market is still "soft" and prices are generally flat; the same as they have been for some time. This is what I continue to hear and read about in most areas of the U.S. There are a few pockets where sales are brisk but they remain sparse.

On another note. In reading the WSJ I found a gallery owner/collector who was of the mind not to give advice to collectors. I was taken aback at his comments. Why would he say such a thing? That's like not instructing a child in reading, or golfing without knowing how to get around a golf course! It was clear from the writer’s estimation that this well-known collector was clear in that he did not want to influence peoples' art purchases.

There's a distinct difference between having an influence and giving sound general and objective advice about the subjective arena of visual art. (See previous posts I've made addressing the subject of subjectivity vs. objectivity.) To withhold valuable basic information such as what artists are a good investment, which artists are emerging, how to look at or evaluate a painting, how to research an artist, etc., is a disservice to anyone genuinely interested in art.

But looking on the bright side. Folks are not ignorant! They will seek out and find good guidance and information using several data-points with which to make wise choices.

"How Did You Do That?"

COLLECTORS, FRIENDS AND STUDENTS alike have asked me about how I can possibly start with a bare canvas or paper and produce a painting! "How is it that you can create a painting from a mess of paint initially thrown on the surface?"

The answer is not an easy one. Nevertheless, here are some clues...

Any trade or profession requires technical skill, as well as thinking, emotion, and talent combined. All of these elements (except our natural God-given talent) require an enormous investment in "time" to develop. It takes time to learn, to practice, or to produce something, including a work of art. I am just beginning to realize the role time plays in being a painter. Not the time spent in executing an individual painting, but rather, life experience in total. Creating art is a lifelong process.

So how do I answer the above question? I don't really know. What I do know that nothing comes easily. Each painting I create is challenging yet deeply rewarding. But I no longer worry or think about the finished product. If I concentrate on rendering what I am observing as I paint the final result takes care of itself.

It's not really a question of "how I did" this or that, but rather, what comes as a result of the whole creative process. As many have said, "painting is like handwriting." No matter what skills are gained or attained, each person's signature is unique. So it is with painting.

There is something in painting which cannot be explained, and that something is essential. You come to nature with all your theories, and she knocks them all flat. - Pierre Auguste Renoir

Trust Your "Gut"

AFTER SELECTING a piece of art happens comes the decision to "buy" or to pass. Whether you are a new or experienced art collector shopping in a gallery, using a dealer, or consultant - if you feel uneasy for any reason, do not make the purchase.

However, if this work of art grabs you emotionally, buy it. I have seen firsthand people who see a painting - take a walk to think about it - only to return to an empty gallery wall where moments before it was hanging. "Sold" - to another buyer!

By the way, when you purchase or are given an original work of art for the very first time, it is the beginning of your art collection!

Maximizing Your Collection

ADDRESSING THE USE OF YOUR ART collection is a very simple but much overlooked topic.

You purchase a few pieces of art (maybe many), hang them in your home or office...and there they stay! You continue to add lovely art or sculpture to your home or apartment because you love it.

Many of my clients ask, "I bought this painting (sculpture, vase, or framed this personal heirloom, etc.) but don't know here to put it." Or, "I have consulted my interior designer, talked to friends and family but..."

Most of the time, rotating the existing pieces you have will solve the problem! Your art collection, large or small is YOUR collection. Move it! Even if you simply remove paintings/prints from the walls and place them in different rooms against a wall to "test" the look, you'll be amazed at what you'll discover.

Remember, your art is on hanging on hooks (or is placed on a pedestal or on a table), NOT glued down. ENJOY what you have - feel free to move it around. Many find it wonderful to switch a collection between two locations - they place their vacation home art in their primary residence, and visa-versa.

I am guilty of this myself, and I'm an artist! Moving things from your walls seems like a LAST resort for freshening a room, but can be one of the first - without even moving any furniture!

Super Art Galleries 1

From time to time I will present a three selected galleries from around the U.S. that I believe in and trust. There are thousands of galleries out there and many are outstanding. At this writing I’ll start in the New York area:

Rehs Galleries, Inc.
In the heart of Manhattan, Rehs Galleries is prised for it’s nearly 80 year family gallery tradition specializing in major works of the 19th and 20th centuries. If you are seeking high-end, traditional paintings this is where I would begin my journey.

Objects & Images Fine Art
Located in prestigious Bronxville, NY, this gallery is known for it’s experience in traditional as well work of this new century. If you are looking for plein-air paintings by some of today’s master artists or traditional paintings, call or visit owner, Dean Lombardo.

Gallery Revel
This Soho gallery represents a small number of painters and sculptors ranging from impressionism to realism. One painter, David Heath is a major Hudson River School artist whose work you won’t want to miss.

Again, this is by not meant to be a comprehensive listing - only a few of many galleries to search for the best in fine art available today. One day soon, I’ll feature three more special places from another region of the U.S.