I’m excited about the new fine art prints that I am now offering. This new product will be added to by art store as well as my portrait services.
In the past two weeks I have tested the process and just delivered the first finished fine art print to Argus House for their upcoming fund raiser.
The process is rather long and somewhat delicate but oh so worth it. You must begin with an image that is technically and creatively superior as you “can’t make a silk purse out of a sow’s ear” as the saying goes.
The image chosen. I created October 2nd, 2016 in Algonquin Park and adequately named “Algonquin Fall.” There were bright colours all around me, yellows, reds, and oranges. They would shine brilliantly when the sun struck them. But this morning the sun hadn’t yet made its presence known. There was a mist in the air making everything damp. The dampness brought out the richness and texture in rocks and tree bark. The subtle colours were deeper and richer.
The colour in a few trees in the distance is evident of the changing season. My wife told me years ago she found the fall depressing because everything is dying. She likes spring when it all comes back to life. Fall is my favorite time of year. I feel everything is at rest, going to sleep. It’s a time for warm sweaters and hot drinks and lots of reflection. At the same time it is a reminder of the change that has occurred. The new growth of spring is behind as is the warm busy activity of summer. And you can’t ignore the fact that everything has a life cycle and some life will end and not be with us at the next rebirth of spring.
This image says all that to me; the warm yellow of dying grass, the bare dead tree trunks and the overall subtle restrained colour of a misty morning.
What makes this a “fine art print?” Using pigmented ink to print the image on the highest quality textured fibre paper gives it an archival quality. The inks sets right into the fibre of the paper. This alone gives the image a life expectancy of over 200 years.
The print is allowed to sit and settle before stage two. In the second stage the print receives multiple layers of varnish. Varnishing the print is like varnishing a piece of oak, it brings out all the detail of the wood, enhancing the grain and colour. Both the colour of the image and texture of the paper are brought to life by the varnishing.
Once fully dried the print is bound to hardboard with an archival mount film.
Now the mounted piece is painted by hand using two or three different types of translucent glaze. The type of glaze along with the type of brush or artist knife determines the level of texture and brush stroke in the finished print. Hand painted with the glaze, no two prints will ever be the same, making each one an “original.”
The varnish and glaze also protect the surface of the print and therefore glass is not necessary. You just have to treat it like you would a fine painting and only clean it with a feather duster or soft cloth, never using moisture or cleaner. You hang it where it will not receive harmful ultraviolet light.
I am looking forward to creating more “fine art” prints of my scenics and adding this print finish option to my portrait services.
I love what I do and the learning never ends.