Print Magic

Original of Brighton Pier next to its Fine Art Print
Brighton Pier next to its Fine Art Print
As I prepared my prints for the Brighton Artists Open Houses this month, promoted them on social media and continued to talk about them with visitors to the Magic Lamp house, I received lots of lovely feedback and no little curiousity about how I get my prints "looking so good."
I'd like to say it's magic, but the truth is that it takes time, patience and money - and the magic is only in the final result.
First comes THE ARTWORK.
It is time consuming, meticulous and demanding work - but I love my medium so I don't worry about all of that and focus instead on the peace of mind such absorbing concentration brings.
This can not be underestimated. I have a very good professional photographer that I use, who regularly complains about the difficulty of photographing works on glass and yet he invariably rises to the challenge with spectacular success.
Next comes THE TECH.
All of my images are digitally photographed and instantly brought up on a screen in Photoshop. Getting a pure image unaided is impossible as there will always be a speck of dust or a line of refraction that needs tweaking. I am not embarrassed to retouch the images, because the result is a Fine Art Print worthy of the name and one that truly does justice to the original artwork.
For this you need A GOOD EYE.
Each digital image is checked on screen and then checked again for quality and colour once printed. This can take half a dozen trail prints to get right and I have been called 'overly particular' more than once. But it pays off. I am proud of my prints and happy to put my name to them.
And for all these things you need TIME and MONEY.
The photographer's skill and time, the digital tech and equipment, the checking and double checking all come with a price tag. Plus paying that little bit extra for the best archival paper, using only archival quality inks and, for the larger prints, going for full gloss as it brings out the richness, depth and vibrancy of the original colours to best effect. 
Then, when the prints are ready, it takes THE FINISHING TOUCH.
I use only acid free, archival quality mattes and backing boards custom cut to protect and display my prints at their best. Before packaging them up though, I sign and number each print by hand, adding in an Artist/Print information sheet which doubles as a Certificate of Authenticity and, for larger prints including a customised label which can be put onto the back of the work once it's framed.
And then there is LOVE.
It is only once all of these pieces have fallen into place that I put each print into its individual cellophane sleeve, carefully fold over the plastic, line the edges carefully and seal it with love.
Fine Art Prints may seem like a manufactured and mass-produced thing in many shops, but I promise you that I have touched each and every print, at each and every step of the process, often many times over. I love what I do and the work that I make, and if you like it too and are wiling to invest in me - then you definitely deserve the very best Fine Art Prints that I can offer.
For an easy browse of all my Fine Art Prints please click on 'Shop' in the menu above.

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