Fine Art Print Factsheet

This is otherwise known as a Giclée (/ʒiːˈkleɪ/ zhee-klay or /dʒiːˈkleɪ/) Print. Giclée is a neologism coined in 1991 by printmaker Jack Duganne for fine art digital prints made on inkjet printers.

The word giclée was adopted by Jack Duganne, a printmaker working at Nash Editions. He wanted a name for the new type of prints they were producing on the IRIS printer, a large-format, high-resolution industrial prepress proofing inkjet printer they had adapted for fine-art printing. He was specifically looking for a word that would not have the negative connotations of "inkjet" or "computer generated". It is based on the French word gicleur, which means "nozzle" (the verb form gicler means "to squirt, spurt, or spray"). An unintended consequence of Duganne's choice of name was its problematic use in the French language since it is also modern French slang for male ejaculation.

Limited Edition Fine Art Prints 

Julia’s Fine Art Prints are personally signed and editioned or if this is not practical, they are accompanied by a Certificate of Authenticity. They are delivered in a hard cardboard tube unframed and we can refer you to our Edinburgh framers if you are local. We generally do not provide a framing service. 

I produce limited edition Fine Art Prints in three different formats, made from a specially selected list of my most popular paintings. Should you wish to choose a painting which is not on this list, please do ask as we shall try our best to accommodate you. Julia’s prints are perfect for any sized space or location and especially if one has a lower budget. 

A. FINE ART PRINTS ON PAPER

Traditionally Fine Art or Giclée Prints have always been printed onto to archival quality paper e.g. Hannemuhle paper and this still offers a great solution for the reproduction of the fine art print. Larger prints require non-reflective glass (which is expensive) to cancel out annoying reflections which interfere with viewing the image.

B. FINE ART PRINTS ON CANVAS

Canvas prints can be any shape or size to fit a particular space. A particular crop of an enlarged painting could work, especially if, for example a square canvas would work better than a landscape canvas. 

Julia’s large prints canvas prints work in all spaces. Large wall art for Hotel foyers and offices or smaller pieces for homes.

C. DIASEC® FINE ART PRINTS

Diasec refers to a particular method of mounting a print.

All available Fine Art prints may be mounted in this way upon request.

Diasec Prints of any size may be produced and special delivery costs discussed. We are able to manufacture in London, Paris or Cape Town. Diasec® is the registered trademark for the method of face-mounting prints, onto acrylic sheet. Diasec® withstands changes in temperature and humidity, which commonly affect works on paper or canvas. They work particularly well in bathrooms and kitchens for this reason. The baked Plexiglass front sheet creates a sheen as it fuses with the Fine Art Print. 

They take a little longer to produce due to their being manufactured in England. They may also be cut into a circular shape to suit prints of circular paintings. They come with a customised framing system which is robust and forms part of the Diasec® offering. This creates a very neat effect, with the Perspex disk seeming to float on the wall.

The Diasec® Fine Art Print has an immediacy in that it is not behind glass. 

Diasec® Prints are very popular for larger scale works, and are often bought by corporate clients or interior designers looking for maximum impact.


Caring for your Fine Art Print

  • To maximise the longevity of your prints, do not expose the paper/canvas to extreme temperatures or humidity as this could deteriorate the image quality.
  • Avoid storing your prints in a room where paints, varnishes or liquids containing solvents are used as these may affect the paper and canvas’s durability.
  • Only use acid free, archive grade board, tape and glues when mounting or framing prints. Other tapes will quickly leave yellow marks and the acidity will deteriorate the media.
  • Avoid handling prints except at the very edges to avoid leaving deposits from your fingers on the paper - consider using cotton gloves.
  • Don't rub the printed surface - it is prone to scuffing. It's tempting to do this when a fleck of dust or paper fibre grabs your attention; sometimes tapping the edge of the paper against a hard object such as a table top will get rid of them, for more stubborn flecks a clean, very soft brush will be effective. Don't blow on the print, and beware of 'canned air' products - the propellant can permanently damage the print.
  • Where prints are stored together they should be interleaved with acid-free tissue (this is normally how we supply them).