Introduction to Fine Art Giclee Printing Talk to The Visual Art Network, Shropshire

Artists Print Room_Giclee printing talk by Artists Print Room_MT-28_sRGBI was invited by Shropshire Visual Art Network (VAN) and Disability Arts in Shropshire (DASH) to give a presentation and talk on ‘An Introduction to Giclee Printing’, How The Artists Print Room got started, some of the technical aspects to Giclee printing, substrates available and information about the laws concerning artwork. I also talked about being the only Fine Art Trade Guild printer within Shropshire and the high quality of giclee printing and substrates I provide, with examples for the audience to assess.

Very interesting technical background to colour and substrates. Interesting to me as a photographer.

Nigel Young.

My wife Helen, an artist, was tweeting with Hahnemühle and mentioned I was doing a talk in Market Drayton on their substrates, I soon got a direct message asking if they could come along. I thought it was a great opportunity to finally meet them, as I’m currently applying for ‘Hahnemühle’s Certified Studio’ status. So Hahnemühle’s Simon Waller and Heidi Wilson attended my talk and they challenged me with a few questions. I think it was interesting to hear other viewpoints and to study Hahnemühle substrates in more detail.

Artists Print Room_Giclee printing talk by Artists Print Room_MT-19_sRGBIt was a good two hour talk, with artists, photographers and sculptures attending and all requiring different solutions to digitising their artworks. I gave a very comprehensive giclee printing talk, which produced a steady flow of questions from the artists in the audience throughout my talk on giclee printing.

What I found surprising, was the current poor examples of giclee printing the artists had brought along to show me and also their frustrations in dealing with printers. It felt really good to be able to allay their frustrations and show examples of the high standard of giclee printing I am able to offer. I also showed examples of Hahnemuhle ‘s quality papers and canvases, which was a complete eye opener to all who attended.

There were many topics I discussed including copyright, limited editions, social media and the laws that directly effect artists.

The feed back I received from the artists in the audience was immediate and overwhelming. I had such lovely comments as

Really useful session – full of all the things you wouldn’t think of or have time to ask! 

many thanks Jodie


Fabulously interesting and very useful- been looking for someone that can print my work as I want it & such interesting info. So very useful to my art practice so thank you. Anne Marie.


A very interesting evening. Mark was a very competent printer and good presenter. Would be interested in coming to another session.

Simon Walker General Manager Festival Drayton

Artists Print Room_Giclee printing talk by Artists Print Room_MT-15_sRGBOverall I believe they all enjoyed my talk on The Introduction to Giclee Printing and I’m sure we’ll get together again, so I can discuss the topics in more detail.

I thoroughly enjoyed meeting such a lovely group of creatives and would love the opportunity to meet more artists. I would like to thank Carola & Hilary at Visual Art Network Shropshire and and Paula at DASH (Disability Arts in Shropshire) for their overwhelming enthusiasm and in hosting the evening and providing refreshments.

So get in touch if your art group or photography group is interested in a talk about Giclee printing, I’d love to hear from you.

If you have any questions, please feel free to get in touch, by using the contact form.

Crop Ratio for Artists considering multiple sized print editions

Before you start working on your new painting or sketch or illustration, give a little thought as to how you would like it to look, in print. The reason I say this is simple, you don’t want to get small sections of your work cropped off to fit into standard sized mounts or frames.

All that hard work simply cropped off. Well, now you have your blank piece of paper or canvas or whatever substrate you use in front of you, think about the aspect (cropping).

If you take the chart below, you can see that by retaining the same aspect, you can print to your hearts content with many different sizes, without losing sections of your hard work.

Aspect Ratio for artists

Try to think about the size of prints you require? & how many different sizes?
Stick to the same crop ratio to avoid the sides or the top or bottom being cropped off. Such as:

7 x 5” = 9 x12, 15 x 21 etc..
A-Series = A5, A4, A3, A2, A1 etc…

As long as the ratio remains consistent, you won’t be forced to crop your artwork, when you ask for new size of print.

I hope this has been helpful.

What is colour correction? & How it effects your prints!

One of the most complicated areas of high quality Giclèe printing.

Color correction is the manual manipulation of shades, curves, hues, saturation, luminosity, channels, contrast and amounts of separate colors prior to printing, thus rendering the print accurately to the original artwork or in order to make the final print pleasing to the eye of the artist.

In simple terms your camera speaks Japanese, your computer software speaks English, your monitor speaks Welsh and your printer speaks Japanese, yet your paper speaks German or French or Italian depending on which paper you have chosen, each requiring an Independant interpreter, or in our case a profile, in order to communicate.

Your camera requires a calibration profile, known as a camera profile, which your computer software can read. You now need a calibrate your monitor to create a monitor profile, each paper or canvas requires an ICC paper profile, which is unique to a single printer and that specific paper. Therefore, If you have two printers then you will require two ICC profiles for the same paper, even if you have two printers both the same make and model, each printer will have subtle differences in there ink deliveries..

Each one of these profile interprets the colours slightly differently, a little like a Chinese whisper, by the time it gets to the last person, it’s not quite the same.

Using a fully colour managed environment and workflow is the first and biggest contribution to the final print quality. Now it comes down to the human eye, viewing your original alongside a proof in a viewing booth next to your monitor, with a understanding of how colour is made up. Each subtle adjustment of hue, saturation, luminosity, white and black point balance, clarity, can make a huge difference to the print colour accuracy.

Call me on 01746 352 911 for more information on our digital capture, Colour Correction, soft proofing & Print Services

Our journey together starts here!

Where did it all start, I sometimes ask myself that very question. I started with a very impetuous wife, a perfectionist of the impossible order.

My wife is a watercolour artist, but she’s no ordinary watercolour artist, but pure watercolour, no soggy paper and brushes loaded with water, but miniature brushes, with nearly dry pigments. She also only uses 3 primary colours, so all colours are mixed in the pallets or directly on the paper in layers, sometimes tens of layers..

Then there’s the paper, it’s quite a creamy white cotton with a rough texture.. And she doesn’t use any white paint, so all the whites are actually creamy white, the paper white… It’s this combination that has been causing all our printers major issues with colour correction.

After being let down in a very embarrassing way by her last printer, I came home one day to find a large crate on my door step… ‘Thats our new printer’ she told me! well we’d always said we would eventually bring the printing in house, but not right now.

I am a food photographer, so setting up a printer and photoshop, camera, lighting was not an issue, well that’s what I thought… Six months later, I’d finally cracked all the aspects of fine art colour correction, far more complicated that general photography colour correction…

My wife has now passed off all her artwork, (well the ones she hadn’t sold) and she’s happy, that’s no small mean feat, I can tell you…

I really hope that you will find the same faith in my ability, as my wife, to produce fantastic reproductions of your amazing artwork, and that you’ll truly enjoy the whole experience of working along side me in my studio..

I look forward to meeting you all, the kettle’s on.