Just what is a Giclée print? In basic terms, it simply is a fancy word for an inkjet print. The word is of French language origin, but was coined by an American digital printmaker, Jack Dugannne, in 1991.

The story I read (found in the book referenced below) said that he wanted a word to represent the newly emerging digital printmaking technique. Something that would work in the fine art world. Starting with the French word jet d'encre (inkjet), he evolved his thinking down this path: nozzle – gicleur, spray ink – gicler, verb to noun– giclée. The literal meaning apparently is "that which is sprayed."

This word is variously credited by others with meaning, in French, "to spray," "squirting liquid," even "spraying dots." Another source said none of these were true and the word had something to do with being a "feminine past participle" or some such. Regardless, it has become the accepted term for fine art, archival inkjet printing.

So just what makes a print a giclée print? These seem to be the accepted qualifications. First, it is a signed work of "art." Second, that the edition of prints is limited, not open. The size of the edition doesn't seem to matter, only that there is a finite number. Third, that the print be of archival standards, meaning that it remain color stable for at least some number of years. Just what this number is may be open for question, but high-end tested, archival inkjet printing ink/substrate combinations typically range from around 80 to 200 years. Fourth, that a signed certificate "authenticating" the printing method be provided to the buyer.

The process: an original work of art done in a traditional medium is "imaged" using digital photography, by scanning the original or by traditional film photography/scanned film, and then printed in limited editions. Between the "capture" step and the printing there is a significant, oft times frustrating middle step of file processing, color correcting and proofing in order to arrive at an acceptable print file from which the edition will be made. For those of us involved in this technology, that middle step is where the Rubber Meets The Road! It's not for the faint-of-heart. Photographic images must meet the same criteria and are processed and printed in the same manner. The capture uses the same technology, but it is capturing an original image, not reproducing an existing image.

Giclée prints are accepted as a legitimate fine art medium. Highly placed artists and galleries as well as the world's museums have widely embraced this printing technique. The technology is so good that the viewing public would be hard pressed to know the difference between an original work and it's Giclée reproduction. For photography, it is just another way to make prints of an original image, just as has been done in darkrooms for well over 100 years.

Printmaking in its various forms has a long and honorable history. Today's digital approach is an addition to this fine tradition. One that becomes more accepted as time passes; one that is likely to live on for a very long time.

An excellent resource for learning more about this printmaking approach is Mastering Digital Printing by Harald Johnson. It is a very complete overview that is useful for those who want to have Giclée editions made of their original artwork or photography, who want to learn to do this type of printing, as well as the print buyer. It is well done.