"What is a giclée print?"
“Can you explain the whole giclée process?”
“How big can a giclée be?”
“How much will it cost?”
“What’s the truth about gicleé’s colour fastness?”
“What are the advantages of making digital masters and giclée prints?”
“Are there any limitations or colours you can’t print?”
“Do I have to send you my originals?”
“Can you scan transparencies?”
“Can you photograph framed work through glass?”
“Can I take a photo of my work with a digital camera and send you the file?”
“I’m a digital artist. What files can you accept for printing?”
“Tell me about your papers and canvas stock.”
“Do you stretch canvas onto ‘blocks’? What about varnishing?
“I know I’ll get my master on a disk to take away. Anything else?”
“What if I lose my disk with the master images on it?”
“Do you also print giclée cards?”

“What is a ‘giclée’ print?”

The word ‘giclée’ is pronounced ‘zhee-clay” and comes from the French ‘gicleur’, meaning nozzle. In essence, giclée is a computer-controlled fine art print method that applies a microscopic jet-stream spray of specially formulated, long-life inks to ‘substrates’ – i.e. fine art or photo papers and canvas, which are all custom made, acid-free and micro-porous coated to enhance the longevity of your final print.

Giclée represents the very best quality fine art technique available today; it can capture even tiny lines, brushstrokes and an amazing range of colours.

Beware: Accept no substitutes. Fine art giclées must meet stringent standards. “Digital print” is NOT the same thing and can’t provide the same quality unless the supplier uses fully calibrated and correctly profiled giclée technology and materials. And please – avoid “laser prints”, which are made with dry plastic powder mixed with colour agents (three colours only); this is a “cheap and cheerful”, quick-to-fade print method that’s fine for flyers or throwaway items – but definitely NOT for fine art reproduction!

“Can you explain the whole giclée process from start to finish?”

Yes, indeed. Just return to the intro page of this section and click on "The Giclée Process" for a simple, step-by-step guide to scanning mastering and printing. If you still have unanswered questions, give us a call on 01873-851669.

“How big can a giclée be?”

Gigantic. But before you get carried away, ask this question: “How large should my gicleé be?” Are you making prints to sell? If so, consider the market’s tastes. Hotels and offices might like a huge print for the foyer. But most domestic settings have modest rooms and smaller prints (A2 or under) are preferred.

Take a look at our rate card for standard sizes or check our charts - in centimeters or inches. And talk to us about “grand” sizes and your plans so we can advise.

NOTE: If your original artwork is large, there will be special scanning requirements. Salt of the Earth works with a specialist in large formats, using the Betterlight scan-back system with cold HID lighting that protects fine art from the damage often incurred when exposed to bright, hot lights. This system is used by top museums, and can capture images up to eight feet wide. Phone for details +44 (0)1873 851669.

“How much will it cost?” Three ways to find out:

Request our current rate card. This contains all the giclée prices depending on size and type of paper or canvas you choose. If you tell us what media you work in, we will enclose a sample of relevant papers or canvas, too!

Phone us for a chat on +44 (0)1873 851669. That way, you can ask us questions, and we can get an idea of your special challenges – like a tight deadline, large works to be scanned, etc.

Email us: enquiries@salt-of-the-earth.biz and tell us about the work you’d like us to scan and/or print. Let us have your phone number, too. That way, if we can’t give you an immediate estimate, we can reach you to ask questions that will allow us to do so.

Payment: We accept payment worldwide by PayPal or by cheque drawn on a U.K. bank account. To learn about secure Paypal payments go to: www.paypal.co.uk

“I’ve heard wildly varying claims about gicleé’s colour fastness. What’s the truth?”

The truth is that gicleé is a relatively new process, so colour life expectancies of anything up to 150 years can only be based on lab tests. These estimate colour fastness by verifying the content and quality of both substrate and inks, and by simulating levels of light, moisture and air-borne contaminants found in homes and offices.

Giclées are printed either with dye inks or pigment inks. Dye ink is a solution where colour is dissolved in the carrier fluid; the main advantage is a long shelf life. For fine art, pigment inks are a better choice. In these, black and colour pigment powders are dispersed throughout the carrier and held in suspension.

The general rule: good pigment inks surpass dye inks in lightfastness. Our Epson Ultrachrome pigment inks are close to the top of the life expectancy range. Basically, if you/your gallery take care of your prints, they’ll look bright and fresh long after you and I have faded away!

Caveat: Over time, ANY print will suffer if exposed to constant bright light and giclées will spot if they get wet, because all inks are water-based. So get your print into an acid-free polyester sleeve (we stock these) or mounted and under glass as soon as possible. If the print must remain exposed – e.g. as a stretched canvas block, you may wish to apply a product such as Print Guard (we also stock this), a UV and water-resistant clear lacquer specifically for this medium.

“What are the advantages of making digital masters and giclée prints?”

Future-proofing. Scan and master your work, and you have a permanent record, faithful to the original, that won’t degrade as transparencies do. A master on disk also allows galleries to see your past work or use images in retrospective shows. We give you useful digital files formatted for use in print ads and websites. If your work is ever stolen, the master offers evidence for your insurance claim. Your original would be lost, but you could still make excellent prints/cards to sell.

Galleries often prefer to have both originals and giclées (preferably limited editions) so that visitors unable to afford an original can buy a good print.

Giclées save you money. No need for huge print runs, so there’s no unsold ‘stock’ on your shelves (or in the bin). Salt of the Earth has no minimum print order. Once images are mastered, prints can be ordered by phone or email as needed.

“Are there any scanning limitations or colours you can’t print?”

Yes – and it’s important that you know about this. Digital scanners are getting better all the time, but one current limitation is that they can’t “read” metallic paints (gold, silver, bronze). Silver will be ‘flattened’ into grey, gold will look golden or pale yellow and so on; but you won’t get the shimmer and sheen of metal. We can digitally restore the impression of metallic glints, but it takes time. Also, some new paint media have “brighteners” or fluorescent elements that cannot be seen by the scanning process. Finally, while giclée can and does produce excellent, dense blacks (several shades), it is currently unable to print white; any white in your print will be the colour of the background substrate itself, which may be a slightly warmer tone than the pure white in an original.

“Do I have to send my originals to you?”

Ideally, yes. We understand that it takes effort and expense for you to wrap your work well protected and despatch it to us. But the only way to be sure our master for printing matches your original is to have that original present for colour balancing, enhancing and detail sharpening. We’re careful and experienced in handling works of art and regularly receive, pack, insure and return originals from clients throughout the UK and Europe.

“I’ve sold some of my original work. Can you scan transparencies?”

Yes, we can. Any size tranny is fine. We can also work from negatives – both black & white and colour – plus old photographic prints, hand-tinted work, etc. We will provide a quotation for this service once we see your images; we need to get an idea of whether they are scratched, faded or need any remedial digital restoration. Once we’ve agreed a price with you, we’ll go ahead, create a master and then print as you wish.

Caveat: We have no way of knowing how well your transparency or photograph captured the original work. If it was badly lit, out of focus, etc, there is only so much digital enhancement and “magic” we can work. If it is not worth printing, we’ll say so. But we can still provide you with a digital master on disk as a permanent archival record.

“Can you photograph framed work through glass?”

Sorry, no. We know some giclée services do this, but it isn’t good professional practice, and here at Salt of the Earth, we would definitely advise you against it. Every scanner ‘reads’ not only the painting, but also anything between itself and the image. That includes glass, plastic, lacquer, hairspray, varnish or anything else. Glass can – and frequently does – distort the clarity of your image. Therefore, please remove your work from the frame, and don’t send us anything with glass. (By the way, it’s impossible to assess your work to see if there are flaws or damage that need digital repair unless it’s unframed.)

“Can’t we skip the mastering? Surely I can just take a photo with my digital camera and you can print from that file?”

We understand artists’ tight budgets, and always try to offer you the best value. But mastering isn’t an “optional extra”. It involves more than making a scan. Once we’ve digitally captured your image, the painstaking, skilled work of colour balancing and sharpening of details begins. It requires time and probably several test prints (all included within our basic charges) to match your original as closely as possible – or do the tweaks you request, such as lightening/darkening areas, removing that accidental coffee spill, etc.

As for taking digital snaps of your work, we always advise against this. Why? The words “silk purse” and “sow’s ear” spring to mind! Unless you are a pro photographer with a high-end camera and lots of experience, you are unlikely to get an acceptable image for printing. It’s very difficult to set up balanced lighting that doesn’t produce glare but does bring out details of your work. Also, many digital camera lenses are pin-sharp only at the centre; there can be distortion at the edges. And if you don’t shoot absolutely square-on, your images will be foreshortened.

“I’m a digital artist. What files can you accept for printing?”

To get the best results:

Send us TIFF, PSD or RAW file, uncompressed. We work in RGB. If you have Photoshop, configure with an Adobe 1998 RGB profile. Send print resolution files - 300 to 360 dpi - at the size you want us to print. As a guide, our average file size for an A3 giclée print is 40 – 50 Mb.. It helps to have some visual reference to your colours (they might look different on your home computer screen than on our calibrated monitors).

Remember: the image quality produce as a giclée can only be as crisp and accurate as the file you send us. If in doubt, please phone us for advice on +44 (0)1873 851669.

NOTE: We do not recommend printing from JPEGs, because they are a compromise between image quality and compressing digital information into a small file size. Some detail is always lost as a result. A file at 72dpi is intended for viewing on a computer screen, not for printing!

“Tell me more about your papers and canvas stock.”

Salt of the Earth’s team has searched for, tried and compared many types of paper and canvas. We’ve also listened to your requests and have made a few additions we think will please everyone – artists and photographers alike.

Canvas – We’ve plumped for Epson’s satisfyingly sturdy ”PremierArt” Canvas. At a hefty 350 gsm, with a tight weave and flexible coating, this cotton/polyester giclée canvas stretches without sagging and offers a beautiful texture for both photos and paintings. Its pleasing gloss finish has added water resistance that aids rapid drying.

Watercolour textured paper – Definitely our most popular paper, and one you clearly love, Lyson’s “Standard Fine Art” is a substantial 310 gsm, warm white, mould-made paper with subtle grain. It’s 100% cotton rag and acid-free. An ideal all-rounder for acrylics, watercolours, oils and gouache. Gives photos fine art cachet.

Smooth fine art paper – A perfect choice for photographers and anyone working in fine line or detailed media such as egg tempera. Slightly whiter than the “Standard Fine Art”, and very smooth, this Lyson 310 gsm all-cotton rag mould-made paper produces deep blacks and very saturated colours. Planning a giclée portfolio? This double sided/double coated stock is just the ticket.

Photo papers – We’ve stayed with stock you say you really like: Epson’s Gloss and Semi-Gloss 210 acid-free papers. Both offer a lustrous emulsion that gives crisp detail and subtle hues in sepia, black and white, quadtone and full colour giclées. Yummy.

“Do you stretch canvas onto ‘blocks’? And what about varnishing?

We know some giclée printers do this – and it accounts for quite a big slice of their profits! But we try to look after our clients. And sending a finished, stretched canvas across the UK/Europe adds so much to your cost of packing and postage that we decided early on not to offer this service. Salt of the Earth prints your image to the highest standard with borders wide enough to allow for the depth of stretcher you have in mind, we let it ‘cure’ for several days and then we send it to you rolled up and boxed to stretch as you wish with a framer near where you live. That way, you can keep an eye on the process, too.

Ideally, if you want a protective varnish spray, you should wait until AFTER the canvas is stretched, because as the varnish dries, it helps to tighten up the canvas a little. We suggest a water-based acrylic varnish, available in three finishes: matt, satin or gloss. Water-based products won’t yellow as the years go by as spirit-based products do, and they contain plasticizers for flexibility so that the surface won’t craze or crack.

“I know I’ll get my master on a disk to take away. Anything else?”

Yes – lots! For a start, your free CD will not only contain your master at print resolution, but also a compressed jpeg version (at 300 dpi) that you can submit to magazines or use in print flyers. We even give you a low-resolution version to pop onto your website or attach to emails.

Salt of the Earth also gives you these items absolutely FREE:

A sturdy little ring binder showing every image you’ve had mastered/printed with us. It gives you an instant reference to the correct title of the print and other information so you can ring or email us to reorder easily.

A Certificate of Authenticity to add perceived value to every giclée print you make. Collectors and galleries expect such certificates giving a work’s name, provenance and quality details of the print substrate and inks used, as well as a number (if part of a limited edition). To see an example click here.

“What if I lose my disk with the master images on it?”

Don’t fret. We keep backups of your images for six months. And if you continue to work with us beyond that time and want us to continue to keep them, we’ll gladly do so. There’s no charge.

“Do you also print giclée cards?”

We certainly do – wonderful boxed sets of creamy, watercolour-textured Crown Museo cards with envelopes. They’re so good, some people buy them to frame! Click here to read more about these cards and our other products.