I have been having my original paintings published as limited edition prints since 1993. Initially it was through a publisher that was based in Edinburgh called Di Rollo Ltd. The publisher would organise the printing and ensure that the colours were as close to the original watercolour as possible. I would make the final approval then sign and number each print.
I also began to publish some of my work too and would over see the whole process. In the 1990’s all my prints were printed through a 4 colour lithographic process. In the last 15 years or so, the giclee method of printing has become much more popular with artists. The popularity with publishers and artists has grown for several reasons:
- The set up costs are not as high as the lithographic prints.
- Although the unit cost per print through giclee is significantly more than a lithographic print, publishers don’t have to print the whole edition in one go, so they don’t have to carry huge amounts of stock.
- Publishers can test the market with just one or two prints rather than being left with hundreds of prints if the image is not as popular as expected.
- The quality of the inks is far superior through the giclee process than with the lithographic prints so you are less likely to get faded prints.
Today I still sell both lithographic prints and giclee prints, however all my new prints are giclee because of the reasons outlined above.
Since my first paintings were published, I’ve been able to monitor the light fastness of the prints as I’ve seen them hanging on the walls of family, friends and clients. I can conclude that if the prints are hung away from sunlight, the colours remain strong. My sister in law has at least six of my prints which I see on a regular basis. She has been careful to hang them away from strong light. Only one has faded which was close to a large window.
Over the last few years, several clients have brought to me faded prints which they have hung in direct sunlight. The most recent is this lithographic print of the Grand Canal, Venice. I’ve recently replaced it with a giclee print for the client. Indeed, the lithographic version is no longer available, only the giclee.
Even though it is the full responsibility of the client to ensure that ALL their artwork is hung away from strong light, I like to show goodwill with any customer who has a faded print of one of my paintings, even if it is not one that I actually published.
I can replace faded prints at a trade price with a giclee print and I will sign and number it the same as the faded one. I can also put the new print in the frame for a small charge of £20- £30 depending on the size of the frame.