NEWSLETTER

WHAT IS A GICLEE FINE ART PRINT?

Simply stated, a fine art Giclee print is a digitally produced copy of an original artwork, the process an art in itself.

The method of Giclee art reproduction was first developed in the late 1980’s. The French word "Giclee," a noun, pronounced zjee-clay, translates in English to "a squirt." In digital art reproduction, Giclee is considered "the spraying of ink."

The process is this: A high resolution copy of the original work is converted into digital format and stored into a computer. It is then sent to a higher resolution printer where, upon command, toned inks in the form of tiny droplets are force-sprayed onto archival quality papers. These watercolor papers are specially coated to accept the ink. There are also coated canvas papers which allow artists to reproduce their oil paintings to the 'look/feel' of the original oil on canvas. This Giclee technology allows an artist to produce prints of fine detail and velvety rich, brilliant colors that duplicate the look and feel of the original artwork. Inks in combinations of pigments and dyes result in longer life-span and stability of colors than normally expected of lithography and serigraphy.

Each piece is individually produced, allowing artists opportunity to present series of prints that represent the best of their range of work. The original paintings may or may not be sold prior to sales from the printed edition; it is the artist’s decision or the gallery dealer’s by agreement with the artist.

While I have your attention, I want to make mention here that you are likely to encounter Giclee prints that the artist has 'touched up' with brush strokes, intending to create another 'new original.' I personally question this as a challenge to the integrity of both the original and the print. This practice is not to my liking, but I leave this to you, the collectors, to decide for yourselves. Whatever your preference, be aware and ask about this practice when considering a purchase. Such information should be provided.

For all the exceptional qualities described above, you can correctly expect Giclee prints to be of higher cost than other prints. Serious appreciators of art are not deterred by this. Giclee prints are an established medium, highly regarded by collectors. These extraordinary prints are exhibited in museums world over, for example the Louvre, Guggenheim and the New York Metropolitan Museum.

As with all fine art, care should be given to protecting your print from harsh conditions, such as direct sun and excessive moisture.
Work with a good framer experienced with archival materials; use only acid-free.
Use only ultra-violet filtering plexiglas or glass.
Provide proper "breathing" space between artwork and glass.
Seal the back with insulating material and a moisture barrier.

Several years ago two couples traveling together stopped into the studio, tourists visiting the area. When an inexperienced art appreciator looks at a bronze, typically the first comment is, "Goodness, this is expensive! Why does it cost so much?" Such was the case with these visitors. I invited them to step into the work area to see what I was doing; I happened to be cleaning a wax in preparation for casting to bronze. I proceeded to describe the steps that brought me to the wax stage and then discussed what more was needed to arrive at a finished bronze. It is true that many art appreciators do not know what is involved in the production of a bronze. I hope this article helps.

A Brief History

To fully understand the value of this art, one must recognize that "lost wax casting" is the same process today as in times of antiquity. The contemporary bronze sculpture you see in curio cabinets, on table tops, on pedestals in museums and academic hallways, or in outdoor gardens, arrived to their finish by the same process as China enjoyed in its high period of bronze art during the Shang Dynasty, before 1500 BC. It was during this era that the Chinese perfected the already 1800 year old bronze casting process when they began utilizing the ceramic shell, incising delicate patterns and calligraphy. These superbly finished objects were considered both divine and utilitarian. In China this practical reverence continues to this day.

First Stage: Working of the Original Clay (or Sculpture Wax)

What others call the 'First Step,' I personally consider to be the final stage of the creative process of sculpting. I say this because the working of the clay becomes the formed expression of the artist's intended final image. Creativity is a product of a thought that is fueled by varying degrees of intellect and emotion. This churning thought is eventually expressed through the artist's talent.

But bringing the created clay image to a finished bronze does involve a series of stages, and experienced bronze sculptors know that a successful casting into bronze is not necessarily guaranteed. Throughout the working of the clay there must be awareness of the mechanical steps that lie ahead.

Second: A Mold is Made From the Original Clay Image

Once the artist is satisfied with his or her finished clay image, it is necessary to make a mold that will serve to produce a wax replica of the finished image. If an artist creates the original image with sculpting wax, it is possible to bypass the mold and go directly to the preparation for the lost wax stage and the pouring of the bronze. However, with no mold, there is only one sculpted wax to provide opportunity for a bronze. If there were a failure in the pouring of the bronze, there would be total loss of the work of art. A mold can be made from the wax and should be a consideration if the piece is worth protecting.

Typically, the artist turns over the work of mold making to the artisans in the foundry where the bronze is to be poured. A simple, compact work, such as a portrait, can be molded in one piece. If there are reaching limbs, openings or severe undercuts, the clay must be cut into workable pieces. These pieces are reattached later in the wax stage, or if necessary, welded in the metal stage.

The mold is made by first brushing several coats of thick silicone or rubber onto the clay. Two sides of lightweight resins then are applied to provide support. This is called the 'mother mold.' Plaster has been the traditional material used for mother molds and is still used in some foundries, but the new resins have become more popular since they provide greater strength with less weight. When hardened, the two sides of the mother mold will pull apart to reveal the rubber mold within. The rubber mold is the negative image of the original clay.

Third: Preparing Wax for Casting to Bronze

When the original clay has been released from the mold, casting wax that has been warmed to semi-thick liquid is brushed into the mold to provide a first coat. Additional coats of wax are poured and swirled quickly into the mold, building to the thickness that ultimately will be thickness of the bronze. When cooled, the wax is released from the mold. Now the wax undergoes 'cleaning.' Cleaning consists of smoothing the seam lines, removing air bubbles and correcting any imperfections. Most sculptors will participate in this process, making certain the wax is just as they want the finished bronze to appear.

It is possible to reassemble some of the cut pieces at this point, but often a sculpture will be so complicated that it is too much of a risk to attempt a casting from a wax put back together in entirety. (It is critical that the molten bronze moves with an even flow during the pouring. This is explained in the Fourth Stage.)

When cleaning is completed, the wax goes to "sprue and gating." This is a construction of hollow wax sticks and wider wax rods, overall resembling a frame. The finished wax is attached to this frame. The hollow tubes eventually allow for venting of gases and flow of molten bronze.

But first the wax must be "lost."

Fourth: Ceramic Shell and Pouring of Bronze

For the bronze to be poured, it needs a receptacle. In this case, the receptacle is the duplicate of the original wax. To reach this stage, the wax, which is now sprue and gated, is moved along to the "investment" room. Here the wax, attached to its wax frame, is subjected to dips into plaster slurry and then into sand, left to dry, and subjected again, until the entire wax is coated to approximately 1/2 inch. This coating of the wax into a shell is called "investment." Once dried, the investment is placed into an oven (some foundries use centrifugal) to a temperature of 1,600 degrees Fahrenheit to melt the wax entirely from the shell. Hence, "the lost wax process." This hollow shell serves as yet another mold, and it is the receptacle for the molten bronze.

The pour consists of this:
The ceramic shell is heated to approximately 1,100 degrees; it must be hot to accept the bronze and allow for smooth flow. The drama of the pour is a step back into antiquity. There is nothing quite so exciting as the color of a night pour. Artisans are attired in flame-retardant suits, including protection around their feet. The helmets are enough to cause children to believe they are participating in a Star Wars event. The hot, glowing ceramic shells are placed into heated sand while two attendants hold the crucible in its place just above the shells. With great balance, they quickly, evenly pour the red-orange molten bronze into the awaiting shells. The pour is completed in just minutes. And just as quickly, the investment shell is being tapped away from the bronze. Hammers chip away the ceramic shell until it is possible to see what needs to be done in the metal "chasing." Chasing is the term used for cleaning the metal. Are there seams to grind? Any holes or small pits to be filled? How much texture in the original clay requires picking away of ceramic? And then there is welding of any parts that must come together, or be moved apart. When all this chasing is completed, a final sand blasting brings the bronze to a bright and even finish. Now the artist must signal the final approval. Does the finished bronze duplicate the original? If yes, it is ready for patina.

Fifth: Patina and Final Presentation

'Patina'(or 'patine') is the coloration of the metal. It can be said that patina can make or break a fine bronze sculpture. It is obvious that the entire process of producing a bronze requires the finely tuned skills of many artisans. And there is the patiniere. A skilled patiniere competent with use of the chemicals and gifted with an artistic eye for color, can bring a bronze to an exceptional level of beauty that will endure for more than lifetime years. Patine can be applied to cold bronze but most typically the chemicals are applied to a heated bronze. The degree of temperature and the strength of the chemical used produce tones from bright gold to deep red-browns, blue and brown toned blacks and various shades of blue to blue-greens. There are new chemicals that now allow for greater variety in colors without having to resort to paints.

Upon reaching final presentation, choice of base or no base, whatever the artist chooses, the work from start to finish is truly a process that reflects a myriad of skills. Occasionally you read of a sculptor who will produce a work from start to finish entirely on his own, all stages. But this is rare. Bronze as a work of art begins with the sculptor creating his or her "thought," the skills of the foundry artisans bring it to the grand finish. Interpretation of the artist's rendering of a subject is personal for the beholder. But a beautifully finished bronze, regardless what is the subject, is the result of the fine craft of the foundry.

And the two couples who stopped into the studio? I briefly guided them through this process, showed them some finished clays, some in progress, molds, various tools, in general provided them enough information to grasp the breadth of the process. They were in awe. One of the men actually said to me, "Well, that must take you at least five days!"

nkw/2003