Inkjet printing onto archival fine art papers is referred to as 'giclée' printing. It is this combination of large-format professional quality printers and pigment inks, together with beautiful papers, that ensures the optimum aesthetic of the art piece, as well as retaining the colours of the image over a lifetime.
The word 'giclée' was derived from the French term gicleur, loosely meaning to spray, given to the style of printing being developed in the 1980s. The term describes, specifically, the process of inkjet printers propelling minute droplets of pigment-based ink onto paper.
The greatest of care is taken to ensure each image is printed on the best fine-art archival-quality paper, and checked for absolute perfection before being sent to a client.
In the giclée print industry, there are a multitude of papers to consider, from wood fibre to cotton rag, as well as thickness, texture and glossy/matte look of the paper. Each paper suits a particular type of image, therefore the paper is specifically chosen for each individual print to ensure the best quality overall image. These papers are, of course, acid free, ensuring the longevity of the artwork.
Signed and Numbered
The tratidional way is to sign and number prints at the bottom of the image on the original paper, in pencil. A pencil mark cannot be reproduced by computers, making it less vulerable to fraud.
The signature will be on the lower right and the numbering on the left. All Kagetsu Buic Images are signed and numbered in this way, and are all of limited editions of 100 or less.
Numbering work in this way is a practice that started during the latter part of the nineteenth century at the request of publishers. It allows the audience to understand properly the scale of the edition, and the rarity of the print.