I don’t make many giclee prints of my work, but will do so for friends and family who want to own my work and don’t want to spend the cost of an original.
The process has become affordable for the artist with the evolution of the giclee, one print at a time capability, and the high resolution cameras and scanners we now have.
For very large prints, I have my original scanned and then “stitched” together by my local printer on Photoshop (www.grandcentralstainedglass.com/). For smaller and less expensive prints on canvas, I print from my own 10 mp phone camera shots (on a tripod and delayed photo setting) and get good results.
Once the print is back in my studio, already stretched, I can paint over areas with acrylic paint to bring back the intensity of the original, and collage pieces onto it with gel medium as was done with the original.
“To Men Who Dance on Pianos” is a good example of the process. I enlarged the print to be twice the size of the original then glazed in some areas with liquid Golden acrylics to regain the intensity of the colors. Some areas are collaged much like the original and thicker paint is used to duplicate rich, textured brush strokes.
The second photo shows the texture and cardboard collage on the giclee print that duplicates the original. The last photo shows a cardboard collage addition running up one leg. Once all enhancing is complete, I coat the painting with an acrylic varnish or a gel medium to get the finish of the original and eliminate the patchy sheen in areas where I have altered the print.
It’s fun to go over your own work and bring it back to life. You could even alter paintings more extensively and create an entirely different work.
Would that then be an original rather than a giclee print? I’m not sure. There is much discussion about how to classify this type of work. One thing for sure, though. The work would no longer be that much less expensive than the original.