Fine Art Print vs Fine Art Printing

Can a print of fine art not be a fine art print?

I've never really liked the fine print part of our businesses name because it's meaning can be lost in a different context, ie the agreement sounds promising but have you checked the fine print?  But the fact that prints is also a homonym (prints/prince) also bugs me a bit so I think it is my inner language pedant that is at fault here rather than a branding issue that we need to change.

So we stuck with the Fine Prints part of our company's moniker when we broadened the business name from Avon Fine Prints (which was actually a sub brand of ours that specialised in limited edition reproductions of antique NZ prints in the 1960s and 70s) as we felt that this was now limiting the scope of what we did as we began stocking many more prints by contemporary artists.

This week I was surprised to find that another meaning for fine art print was in use that seems obvious now but had not resonated with me previously.

Northland Panels by Colin McCahon (Fine Art Print?)

We are calling a reproduction of Colin McCahon's painting "Northland Panels" a fine art print, why asked Glenn of Artrite - when it was not fine art printing at all but a photolithograph?  Ah, we said, that is because Colin McCahon is a "fine art" New Zealand artist.  Meaning that he has studied fine art, produced fine art (rather than design or decorative art) and the artist's work appears in collections at prestigious NZ art galleries such as Te Papa or Auckland Art Gallery.

But Glenn had had a call from a gallery concerned that we were selling a "fine art print" of a well-known artist's work for $60, which a customer had pointed out to them looked like the same image they were selling that was printed by Artrite for $600 - in this case a limited edition screenprint (which we also stocked).  From a screenprinters' point of view fine art print meant a fine art production process, rather than a reproduction photo-lithograph like the $60 print.  This had not occurred to me, and it had not occurred to Glenn that a photo-lithograph could be a fine art print as it was a print of fine art!

We do not want to sow seeds of confusion, we are not trying to convey that the $60 print in question is of the same quality as a limited edition screenprint - but we also need to use the words that are in common usage for what we sell in order for customers to find what they wish to buy.  The case I remember from the early days of online marketing was the luxury car brand that insisted that second hand cars were "pre-owned" rather than "used", but had to change this when they realised that nobody ever looked for "pre-owned cars".

Occasionally we are taken to task over whether a print is actually a "reproduction", or if a reproduction print should actually be called a "poster".  I refer back to the car example above, to some extent we have to use the words that customers use even if there is a narrower meaning to an expert in their field, in this case a fine art printer like Glenn from Artrite.

We are making some big changes to prints.co.nz in the next few weeks, one job I will do during this process is to check every one of our thousands of product listings to make sure we are describing prints as accurately as we can - some listings are now just on 20 years old and in the light of this interesting discussion I will make sure that descriptions are as clear to as many of our visitors as possible as they are to us when we are writing them.

Artist Submissions

Please note this article is regarding artists submitting reproduction prints of their paintings to NZ Fine Prints, not multiple originals (editions) which are not copies of another artwork. We generally accept submissions of original prints by New Zealand artists as a matter of course. Stocking every NZ print available had been our raison d'être since 1966. 

One of the best and worst parts of my job is dealing with artist submissions.  The thrill of new work that is exactly the kind of prints that our customers are looking for, or prints that we believe should be available to buy even if they may not have the greatest level of sales tempered by the need to gently turn down artists whose work may not work for us.  This is really hard to do but unless we started charging to list prints for sale we have to be sure that a print is economically viable for us to catalogue and promote a new title for sale.

I have written before about how "you should make prints of your paintings" from a studio visitor turning down the opportunity to buy one of your paintings does not validate the notion that there is a market for your work, your visitor may just be being polite!

Type of print (printing method) is an important consideration

Before I touch on the content or theme of your artworks there is the issue of what sort of prints you are planning to publish.

The advent of digital (or giclee) printing means that a small print run is commercially viable, however the high unit cost means the retail price has to be relatively high for what is still a reproduction of another artwork rather than an original print.  This means artists envision selling their prints as "limited edition", signing and numbering each print partly to justify the high purchase price.  However this limits the appeal of the print unless it is very high quality, in a small edition size and in general a big print. We've discussed the different kinds of limited editions and our views on this in an earlier post here

Frederick St Cafe by Wellington
artist Sarah Molloy

Giclee does not have to mean a price over $NZ100.  Many commercial art print publishers print nearly all of their open edition reproductions this way, reserving offset printing only for the top selling images from the most popular artists.  These are the prints we sell for $NZ49.95 - $NZ79.95, up to 600 x 800mm image sizes, they use lightfast inks and acid free paper.   They can do this because they are paying the artists (or galleries, artist estates, museums etc) a royalty on each print rather than the artist taking the full wholesale price.  A royalty payment is a bit less than an artist will receive if they are taking the risk on themselves by self-publishing (printing and distributing their own prints to retailers like New Zealand Fine Prints directly).  However with the cost of digital printers continuing to fall we have recently listed for sale the prints of artist Sarah Molloy, her Wellington scenes are printed digitally and she receives the full wholesale price for her work rather than a royalty but her prints can still retail at a very saleable $59.95 price point.

Subjects & Themes

Tiki Tour Takeaways by Greg Straight

Subject wise we are looking for recognisably New Zealand content.  Prints of places people care about, observations of kiwi life that resonate with us, that reinforce the multifaceted but interlocking identities of modern NZ society.  Kiwiana is morphing into something beyond just a celebration of the icons of Pakeha consumerism to a broader categorisation of unpretentious, accessible decoration with a kiwi flavour.  For instance this new print from Greg Straight, it's a slice of contemporary kiwi life more than a nostalgic view of a less culturally inclusive past.

Obviously well-known artists are good bets as well, we still believe in our role in making good quality prints available at reasonable prices of New Zealander's favourite paintings, prints for people who like the art or artist but are not considering purchasing the original artwork for it may be locked away in a gallery or requiring an investment level of money to acquire it.

Reuben Price's NZ Flora photographic prints

Pohutukawa Portrait Flora Print

New prints just released by Auckland photographer Reuben Price are truly breathtaking.  His game changing new series of "NZ Flora" art prints have an incredibly life-like three dimensional effect that is completely unlike any other photography prints currently available in New Zealand.

We asked Reuben how he managed to achieve these remarkable images of New Zealand plants such as the Silver Fern, Pohutukawa and Kowhai.

He told us that a custom built flower press was the first step in a long and painstaking process to create this series of artworks.  Reuben then placed the plants in a completely light controlled environment of his own design so that all visible shadows were removed.

The next step was to capture the detail of the subject using ultra high resolution photography.

Printing the finished photograph was done by Reuben in house, the series are printed using lightfast inks and offer incredibly good value at $69.95 each.

Every print from the NZ flora series is finished with a hand embossed emblem on the bottom left hand corner.  This series deserves to be very popular with print buyers and we hope that the five initial prints are followed up soon with an extended range of subjects, we would love to see Kakabeak (both white and red), Kowhai flowers and the Chatham Islands Lily given the same high tech meets fine art photography treatment.

How to look after fine art prints - with paper conservator Lynn Campbell

When NZ Fine Prints wanted to know what was best practice in taking care of fine art prints we asked leading NZ fine art conservator Lynn Campbell of Campbell Conservation to imagine giving advice to a brand new collector of original or antique prints who knows nothing about how to care for their collection. If you would like to get in touch with her regarding your paper conservation or art restoration needs please call Lynn at Campbell Conservation here in Christchurch on 03 980 4972.

(This article is the second part of our discussion with Lynn, last month we learned about the job of a paper conservator and the course of study and qualifications required to work in the fascinating field of fine art conservation.)

Conservation of art - General Principles

Lynn says "Try to provide conditions that are as stable as possible. High temperatures and humidity levels speed up the degradation of the paper and encourage mould growth. Fluctuations cause distortions and subsequent damage to paper items."

The optimum storage conditions are 18-22°c and 45-55% relative humidity.

These precise conditions are difficult to achieve without specialist air-conditioning systems but it is possible to apply some basic but important principles that will make a difference.  

1. Avoid using an attic or basement as a storage area. These areas tend to be prone to dampness or water leaks and conditions can fluctuate greatly. 
2. Keep away from heaters, fire-places and other sources of heat. Avoid contact with bathroom, kitchen, laundry and external walls, as humidity in these areas fluctuates greatly. 
3. If possible use a storage location in the centre of a building away from external walls. These areas undergo the least fluctuations in temperature and humidity.
4. Keep storage areas clean and well ventilated to avoid pest infestations and mould growth. 
5. Avoid strong light sources and direct sunlight as these will accelerate the degradation and fading processes.

Optimal long term storage for works on paper like prints

Never use sticky tape! 

1. Lay prints flat in archival (acid-free) boxes. Alternatively, use ordinary boxes lined with acid free paper. Valuable or fragile prints should be individually wrapped.  Store artworks in folders or keep them mounted and framed. Artworks on paper similar to prints with fragile or delicate surfaces such as unfixed charcoal or chalk drawings are best mounted to avoid abrasion and smudging.  For long-term protection, mounts should be made from 100% rag, acid-free, alkaline buffered mount board. This is sometimes called “museum board”. The mount should have a window at the front and the item should be hinged to the backboard. Do not use sticky tape to attach the work to the backboard (see picture of damage caused by sticky tape at right). Conservators prefer to use Japanese paper hinges and wheat starch paste because they are stable, long lasting and will not stain paper.  Frames can be fitted with glass or acrylic sheet. Items with loose powdery media should be framed with glass as acrylic has a static charge. In all cases there should be no contact between the item and the glazing.
2. Place boxes off the ground (e.g. on shelves) to allow good air circulation and prevent damage in the event of a flood. 
3. The storage area must be an insect-free environment so inspect well before use and keep it clean. If using pest strips, insect traps and pesticides ensure that these do not come in direct contact with the items as they can cause damage to paper.
4. Ensure that there are no overhead pipes in the area, as these can drip. Placing plastic over the boxes may provide some protection but will restrict air circulation and may encourage mould growth.    
5. Keep frames off the floor. Stand upright on blocks or pieces of foam if shelves are not available. 
6. Avoid rolling oversize prints or maps. If this is unavoidable, roll onto a wide diameter (at least 10cm) cardboard tube, which has been covered with Tyvek™ or acid-free tissue. Wrap the rolled item with Tyvek™ or acid-free tissue.

Best protection for prints on display

The use of stable framing and mounting materials is especially important as even if the prints are being shown only for a short term exhibition they may remain in the frames after the exhibition is over.  

Correct framing is vital if you want to have your prints on display.  

1. Glazing is a must with a works on paper like prints. The glazing should not come in contact with the object. Ultraviolet-filtering glazing is recommended especially if the room has sources of UV radiation. Note, however, that acrylics are not always appropriate for use in frames since these plastics carry a static charge that can dislodge pastel and other friable media. In such cases, ultraviolet-filtering glass can be used. 
2. The mounting materials inside the frame must adhere to conservation standards. Conservators recommend use of pH-neutral or slightly alkaline (buffered) mats or mounts. Hinges or the non-adhesive systems should be used to attach the objects to the mount. If hinges are used, a high-quality, strong paper such as Japanese Kozo should be used with an appropriate permanent, non-staining adhesive such as starch-based paste. The back of the frame should contain backing layers of archival cardboard that are thick or dense enough to protect the object. Frames should be well sealed and hung securely. 
3. Avoid hanging artworks in damp areas such as on un-insulated outside walls, which can be problematic in winter or during periods of high humidity. If it is necessary to exhibit on an outside wall, a moisture barrier of polyester film or Marvelseal™ can be inserted between the backing layers or over the back of the frame. 
4. The frame should be deep enough so that its back is recessed, allowing a space for air circulation between the frame and the wall. Frames can also be held away from the wall slightly by small rubber bumpers or by push pins attached to the reverse of the frame.

Lighting Considerations

Exposure to light can cause discolouration and brittleness in paper and fading of media.

1. Keep lighting to a minimum
2. Tungsten light bulbs provide a less damaging type of light than fluorescent or natural light sources.
3. Do not use frames with clip-on light fixtures. These create 'hot spots' which can dry out the paper.
4. Do not display pictures near sources of heat or moisture.

Cleaning & Handling

1. Check the backs of framed pictures periodically for dirt, dust, signs of mould or insect activity,

   

   Print damaged due to poor handling

   and to ensure that hangers and hardware are secure.
2. Dust frames regularly. 
3. It is important to have clean hands when handling paper based materials because paper easily absorbs skin oils and perspiration – these can cause staining and degradation. 
4. When handling and transporting unframed works of art and documents, use a thick support paper or cardboard underneath or place your item inside a folder. When carrying a framed work, grip both sides of the frame.  
5. If a valuable or fragile print is going to be handled frequently, it might be a good idea to create a duplicate. This way the duplicate can be referred to and the original print stored away for preservation.

And lastly a final reminder that resonates particularly with this writer's experience of the recent devastating earthquakes here in Christchurch - use closed hangers or crimp the hanging hook closed to help prevent the artwork from falling in an earthquake (we wrote in depth about this particular hazard and the lessons we learned in picture hanging advice after the Christchurch earthquakes back in May 2011).

NZ Fine Prints hope to have Lynn Campbell back on NZ Art Print News to talk about specific problems/attacks on paper, their remedies and the process of restoration later in the year.   We are very grateful to Lynn for her help in writing this article and also for her permission to use her photographs as illustrations.