Giclee Printing and Pricing for Artist Limited Editions

The giclee– also known as an inkjet or digital print– offers artists boatloads of new ways to make and sell art at reasonable prices, but seeing as digital printing hasn’t been around all that long, the evolution of the medium is still in progress, and the market for giclee limited edition prints and other forms of digital art is still relatively disorganized. In addition, digital prints are not all that well understood by your average everyday art buyer, so in the interest of clarity, perhaps a few guidelines and ground rules are in order.

Even though the terms giclee, digital print, and inkjet print all mean the same thing and can be used interchangeably (and will be in this article), artists, publishers and galleries currently represent digital art in so many different ways that unless you know your terminology, printing processes and what questions to ask, figuring out what you’re looking at can often be confusing. (Note: the same basic tenets hold true for digital images produced by photographic methods like C-prints or chromogenic prints). When potential buyers get confused, especially if whatever they’re looking at is priced more expensively than less, they tend not to buy. Or when they do buy and what they get turns out to be something other than what they thought it was or worse yet, what it was represented as– that can be problematic as well. So being clear and direct about what you’re selling and how it’s priced is an important part of making the digital print selling process work.

Types of Digital PrintsDigital, inkjet or giclee prints can be divided into five basic categories:

(1) Images conceived and created entirely on a computer that exist only as digital files until they’re printed out. These are generally referred to as original digital works of art.

(2) Photographs taken with a camera and printed out directly from the original digital files or original negatives. These are generally referred to as original digital photographs.

(3) Images of existing works of art like paintings, photographs, watercolors, screen prints, etc. that are either photographed or scanned or uploaded into a computer, and then printed out to look exactly the same as the originals. These are generally referred to as digital reproductions or copies of original works of art.

(4) Digital photographs or images that are uploaded or scanned into a computer and then edited, manipulated, enhanced, reworked or otherwise altered by digital processes (using programs like Photoshop, for example) BEFORE they’re printed out. These can sometimes be more like reproductions and sometimes more like original digital works of art, depending on the extent, degree, and type of manipulation.

(5) Giclee or digital images of any kind that are manually enhanced, reworked, or altered AFTER they’re printed out– like hand-embellished with paint, watercolor, collage or some other medium. These can sometimes be more like reproductions and sometimes more like original mixed-media works of art, depending on the degree to which they’re manually altered.

Advantages of Publishing and Selling Digital PrintsDigital art of all types is rapidly increasing in popularity, regardless of whether the finished products are reproductions, originals, or some combination of the two. Whatever you want to make is fine because as with all art, there are no rules governing what artists can or cannot make. However, artists, galleries and others who offer digital works of art do have a responsibility to accurately describe and represent what they’re offering… and that’s when things can sometimes get a little sticky.

Most giclee prints are reproductions or copies of pre-existing works of art in other mediums (like paintings, watercolors or drawings) that are either photographed or scanned into computers and then printed out to look exactly the same as the originals. If you decide to produce digital copies of your art, remember that no matter what you call them, they are NOT original works of art. They are digital COPIES or REPRODUCTIONS of original works of art and should always be represented as such. Even signing, numbering or limiting them does not change this fact. Signing an inkjet reproduction is no different than signing an invitation to one of your openings– it’s your signature on a copy of something that was printed by mechanical means; you had nothing to do with creating that copy other than printing it out from a digital file (or having a company print it out for you).

Having said that, producing giclee limited edition reproduction prints is a great way for artists to make images of their art more widely available at lower prices, and increase their collector bases by offering affordable alternatives to more expensive originals. If someone loves a particular image, and the only way they can own it is by buying it in the form of a signed limited inkject print, that’s absolutely OK. You can also sell your images as unsigned unlimited editions at even lower prices if you want to make them more affordable yet.

Options and Guidelines for Publishing Limited EditionsDigital editions can be published and limited in various ways to sell at different price points. Prints can be signed, numbered, dated, printed on different papers or substrates, and even have small original drawings (remarques) in the margins. Hand-embellishing them with paint or watercolor, collaged elements, or metallic leaf, makes them more attractive to buyers as well as allows you to price them higher than unembellished versions. The options you offer and how much you decide to charge for each is entirely up to you.

Now for some guidelines. If you’re publishing limited editions, set edition sizes in advance, make them public and NEVER change them because people who buy limited edition prints often buy, at least in part, based on the size and exclusivity of the edition. In other words, if you state up front that a print is being published in an edition of ten, keep it that way no matter how much people love it, how fast it sells out or how many people beg you to make one for them. If you sell out a limited edition print and then decide to print more because it sold so well, you can be pretty sure the people who bought the first printing will never buy from you again (nor will their friends). Why? Because they believed they were buying an image with a set edition size and that they were among the few who were lucky enough to own one. If you change the rules and publish another edition, you violate their trust. It’s that simple and no more complicated.

Always be true to your collector base; don’t ever say one thing and then do another, no matter how profitable it may be for you in the short term, because you’ll only be hurting yourself and your reputation in the long term. Never fudge around when somebody asks you about an edition size just so you can leave all your options open. As the great infomercial star Ron Popiel once said, “Set it and forget it.” You don’t have to print the entire run at once; one of the great advantages of giclee printing is that you only have to print as many prints as people order, thereby saving ink, paper and storage costs. But once you come to the end of an edition, that’s it. No more.

FYI, selling out an edition is always good for your career and reputation as an artist. To begin with, it shows people your work is in demand. It’s also an incentive for people to buy faster the next time you release a print rather than wait too long and have it sell out. The best part about sold-out editions is that they can sometimes increase in value and sell for more than the original issue prices on resale markets, especially if the artist becomes increasingly well-known and sought after by collectors. Sold out editions and increasing prices on resale markets are two great reasons for raising prices on new editions.

How to Document Limited Edition Digital PrintsWith signed limited editions, provide documentation with every print you sell. This is an excellent way to make buyers feel confident about what they’re buying. Include a detailed original invoice, a certificate of authenticity (COA) or both with every print you sell. Among other details, include the print’s title, paper type, printer type, ink type, date printed, edition size, and other particulars. Then personally hand-sign and date it. Provide only original documents, no photocopies. Not only do buyers appreciate extras like this, but good documentation also tends to increase a work of art’s value over time (even a digital reproduction or giclee print of a work of art). Given the choice between two identical works of art, one with documentation and one without, knowledgeable buyers will choose the one with documentation over the one without approximately 100% of the time.

If you publish an edition that is some combination of digital and original work (like hand-embellished with paint, for example), briefly describe the medium and/or production process. The ratio of digital to original content in your art is up to you; everything is OK as long as you’re up front about it. The important thing is that you can either state or document that ratio with some degree of accuracy so that anyone interested in buying, showing or representing your work has an accurate idea of what they’re getting. For example, if you add ten brush strokes to a digital reproduction of one of your paintings, you’re basically offering a reproduction; the more brush strokes you add, the more the giclee begins to approximate an original work of art. Whatever you do, make sure prospective buyers understand exactly what they’re getting.

Dating digital images, either on the images themselves or on the documentation you provide is something you should think about doing. Since a digital file prints out exactly the same way every time you print it, no matter when you print it, the quickest and simplest way to differentiate one image from the next is by the date it was printed. Even though a print may be one of a larger edition, a date individualizes it, and makes it just a little bit more unique. Buyers like that. In fact, buyers generally like dated art, especially when their dates precede other buyers’ dates.

Many artists don’t pay enough attention to dating their work, digital or otherwise, but the more art you make and the longer you make it for, the more important dates become– especially on your early work, especially if you have a long and productive career. Dates come in mighty handy when retrospective time rolls around too. Once again, given the choice between two identical works of art, one that’s dated and one that’s not, knowledgeable buyers will choose the dated one over the undated one approximately 100% of the time. Keep in mind that you don’t necessarily have to date the art on the front if you don’t want to, but date it somewhere, either on the art itself or on the documentation you provide with it.

Those of you who create 100% original digital compositions entirely on a computer and then print them out in editions should follow the same basic procedures as artists printing reproductions of works in other mediums. Set edition sizes in advance and never change them once they’re set. Include that information along with any other relevant details or specifics in your documentation.

Your Obligation to Fairly Represent Your PrintsNo matter what kind of art you make, if it has digital components, never try to obscure or misrepresent that fact (as some galleries and artists are occasionally tempted to do). For example, if you add paint to a digital print, call it “giclee and acrylic,” “hand-enhanced giclee print,” “hand-embellished inkjet print,” “digital print with hand highlighting,” “hand painted digital image,” “inkjet and acrylic,” etc. Don’t simply call it “mixed-media.” Not only does that term confuse buyers, but it’s also disingenuous because mixed-media traditionally refers to a work of art that is 100% original and created entirely by hand. Digital art is either in whole or in part created with computers, printers, scanners and/or cameras; no handwork is involved in certain stages of the process. You don’t want someone to buy your “mixed media” art believing that you made it entirely by hand, only to find out later that it wasn’t.

Artists sometimes think about keeping all of their originals and selling only signed limited digital reproductions. Maybe this is OK if you’re as popular as Thomas Kinkade, and you sell thousands of prints of every work of art you create, but when you’re just starting out or you make significantly more originals than you sell, be generous. Don’t hoard all the originals and sell only copies. Short-sheeting collectors is not a good habit to get into. Make sure your buyers get their money’s worth; happy buyers buy more art. Artists who sell more original works of art and become increasingly popular with collectors eventually have more opportunities to publish and sell more limited edition giclees or digital prints of their originals.

For Artists Who Want to Produce Large Numbers of PrintsFor those of you who plan on producing lots of inkjet prints, think seriously about buying your own equipment rather than hiring fine art printers to do the job for you, or perhaps buy equipment together with several other artists. Printer prices have plummeted in recent years to the point where they can pay for themselves in relatively short periods of time if your editions sell well. As equipment becomes more affordable, hiring publishers or fine art printers to print your prints is becoming les and less cost-effective and is gradually becoming a thing of the past (except for specialized high-end fine art printers or companies known for producing images of exceptional quality). Keep in mind though that if you do decide to you buy your own equipment, you have to learn to use it.

As for using third-party websites to print, sell and ship prints for you, that’s fine too, but keep in mind that since you can’t sign or embellish them, they have to be sold at lower price points. You also make less money per print. And if you don’t have a large fan base or market for your art, offering lower priced unsigned prints could actually reduce your sales of originals or signed limited editions. However those of you with large followings and highly recognizable images may be able to sell large numbers of unsigned prints without hurting the market for your originals and signed limited editions. Either way, evaluate the demand and sales potential before signing on with third-party print sellers.

Basic Pointers on PricingFor artists who are just starting out, are relatively early in their careers, or who do not regularly sell their originals, pricing basic signed and numbered prints with no handwork at two to four times cost is a reasonable starting point. Smaller edition sizes can be priced somewhat higher than larger edition sizes because the fewer prints in the edition, the more exclusive ownership becomes. For hand-embellished prints, prices would increase based on the extent and detail of the handwork. In other words, a print with significant overpainting would be priced higher than one that is only accented with brush strokes. Likewise, original digital prints (see categories above) would typically be priced higher than digital reproductions of pre-existing works of art. As for unsigned unlimited digital prints, they should be priced more like posters or other mass-edition images.

Additional Tips for Publishing Limited Edition Digital Prints* Shop around and compare prices between printing companies before contracting work out. Get references from other artists who use the same publishers to be sure you get good value, good service and quality images for your money.

* Make sure your image files are large enough to produce superior quality prints, and use printers capable of printing in high resolution (high dpi). You don’t want pixelating or dot matrix patterns to be visible on your images (unless you purposely intend it). Color fields should be crisp and clean with no overlap or fuzzy edges, even when you get up close.

* Use pigmented inks only and get information about how long they last. Check what’s referred to as their “fade characteristics.” Certain inks fade more over time than others.

* Know the specifications of your inks. Under what conditions will they fade? Are they water-resistant? Should they be protected with finishes? Should they be displayed only in low light? If you want your art to last, it’s important to use the best inks and protective coatings available.

* Experiment with different papers, surface textures, and finishes. While you’re at it, you might also explore other substrates like brushed aluminum or mylar to see which make your images look best. Discussing options with an experienced fine art printer comes in pretty handy here.

* Make sure you know what printers are being used to print your images, as well as what inks, papers, and dpi (resolution) are being used. See samples of exactly what you’re contracting for before you sign any dotted lines, and be sure the quality of those samples meets with your approval.

* Think about offering a little extra to your regulars or early buyers of newly released editions– maybe first pick of images with lower edition numbers, a personal note on their receipts or certificates of authenticity, or other bonuses. Showing consideration like this encourages them to buy earlier rather than wait, and might encourage other buyers to get in line quicker next time as well.

* In closing, never be afraid to experiment. The nature of digital art is such that you can print the same file over and over again. You can also make each image unique with relatively minor alterations or changes. You might experiment with different options like this when printing your editions. Who knows? You may one day end up pioneering variations and techniques that digital artists will follow for years to come.

Reprinted from https://www.artbusiness.com/aprtprm.html

 

Signing and Numbering the Print

When the printmaker signs and numbers a series of prints, that is a number of reproductions of some form from a single design, they are guaranteeing that each print made is exactly like the rest in quality and that only that number that appears on the print are the only in existence. Before even signing and numbering, the printmaker has to go through the edition and destroy the prints that have irregularities. The standard is to sign the print at the bottom right hand corner below the impression, the edition number on the bottom left hand corner and the title, if any, in the center. If your print extends to the edge of the paper and doesn’t allow for a signature, you use the same standard but in the back of the print, or the verso. This is always done with a sharp pencil to avoid fraud. It’s much easier to print an ink signature than a pencil. I recommend using a sharp 2H pencil always rather than a regular #2 pencil. Make a mark on a piece of paper using a #2 pencil and rub your finger over it and try the same with a 2H pencil and you will see why.

The Edition Number and Other Printer’s Marks

On the left hand lower corner of the impression is where you should place your edition number. These are two numbers that are divided by a slash and look like a fraction. The number below the slash is the size of the edition or how many prints are in the series and the upper number is the number assigned. So for example, if you have 25 identical prints and ready for numbering, you would number them 1/25 and the next 2/25 and so on.

Outside of numbering an edition, there are different marks that printmakers use to distinguish certain prints as being unique from the numbered edition:

A/P., P.A.,or E.A. (Artist Proof, Prueba de Artista or Epreuve d’artist) – If the artist is creating an edition for a dealer, the artist is able to keep a few prints for personal use from the edition. These are part of the edition and are kept to the same standard but are labeled A/P for Artist Proof, or more traditionally E.A. which is the French equivalent. The standard is to only have 10% of your edition be made up of these kinds of prints.

P/P, P.I. or E.I. (Printer’s Proof, Prueba de Impresor or Epreuve d’imprimeur) – These are proofs that the printmaker keeps, usually only one.

B.A.T. (Bon à Tirer) or R.T.P (Ready To Print) – A print signed with this mark (French for “good to pull”) means that this is the first print in the edition that meets the standards of the artist or printmaker and is used to measure the quality of the rest. These prints usually are the property of the studio that produced them.

T/P (Trial Proof) – These prints are made during the process of adjusting and developing the image. Even though technically they are unfinished prints, in the art market they are worth much more than the regularly editioned work because they reveal the process of the artist in creating the finished work.

S/P (State Proof) – This mark designates the print as a working proof and as being further worked on after the edition was created. Sometimes etchings will be assigned this mark as the printmaker experiments with acid exposure to the plate creating darker lines or variations in the design.

H.C. (Hors Commerce) – French for “For Commercial Use”, these prints are sometimes unsigned by the artist and used to promote the edition and are supposedly not to be sold.

C/P (Cancellation Print) – After the edition has been printed, some artists and printmakers alter the original plate, block or stone so that it cannot be reprinted again. Usually a line is drawn on the matrix across and then a print made as proof that the original has been changed and no more prints from it can be made.

M.P or M.T. (Monoprint or Monotype) – This is reserved for unique prints most commonly using serigraphic process or flat plates of non-porous material where the artist and/or printmaker draw a design and only one print can be pulled from it.

U/P (Unique Print), U/S (Unique State), V/E (Variable Edition) – Prints labeled with these marks have some kind of unique feature that can’t be reproduced again. These kind of prints as well as, monoprints and monotypes may be labeled as 1/1 (edition of 1).

Imp. – Abbreviation for the Latin word “impressit”, this mark may be found after the signature if the artist printed their own work.

H.M.P, H.P.M or H.M.M. (Hand Modified Print, Hand Painted Print or Hand Modified Multiple) – Sometimes artists add features to a print by hand after the edition is created. These are most commonly found in serigraph prints.

E.V. (Edition Varied) – Editions made on different paper or with printed with a different color ink are sometimes labeled with this mark. Some artists and printmakers choose to number these prints with Roman numerals instead of Arabic numerals Eg. I/X – X/X.

This by all means is not the definitive guide. There are other marks and labels that are used in countries with different standards.