Making a Gliclee Print | Charles Lewis Art

For all painting reproductions I start with a superior (and expensive) digitizing process. Working with imaging professionals, I typically have the original oil painting scanned under controlled, polarized lighting conditions with a high-resolution image scanning setup. The resolution is astonishing: a medium-sized painting yields a computer image file of over 300MB.

I personally print all of my giclee reproductions on archival fine art rag paper or specialized canvas using a professional large-format printer - the same equipment used by commercial giclee printers. However, unlike commercial printing services, which simply can't afford the time to make detailed color corrections, I take infinite care to match my print colors side-by-side with the original. This usually requires many test prints and hours of painstaking color adjustments, but is worth it to make a reproduction that is as true to the original as it can be.

After printing, I then coat the print with several layers of a protective, UV-resistant coating to assure maximum longevity: for canvas prints, I follow this with additional layers of damar picture varnish, exactly as I do with the original paintings. These coatings make the picture brighter, with more depth, and protect the printed surface. As you might imagine, this complete start-to-finish printing process is quite elaborate and time-consuming, not to mention costly, but I do it myself to ensure that every print meets my own high quality standards.