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Printing becomes an art
UltraChrome K3 large format printers were used to print copies of Rembrandts original works
Fine art printing or Giclée as it is widely known has gone from strength-to-strength in recent years, allowing everyone the opportunity to have their own masterpiece without needing millions for the real thing. Here we explore the role of digital printing by Tracey Rushton-Thorpe
We are living in one of the most exciting times in the history of art and photography. The relationship between artist, photographer and printer is as unique and important as that between the artist and paintbrush or photo-grapher and camera. Underlying everything is the individual creativity and innovation to produce works of art that will be enjoyed for generations to come.
However, to produce these works of art we need the right kit, enter Epson. We’ve seen the adoption of digital printing as an alternative to more traditional methods of lithography and significant leaps from earlier techniques such as etching and screen-printing. Epson UltraChrome K3 technology has established itself as the quality benchmark for professional photographers across the world and the launch of Digigraphie in Europe is set to become an established symbol of quality.
Epson customers are also being more creative in the ways they use their printers. We are in the midst of a creative evolution, driven by the users of digital imaging technology and the creative ways they are using Epson’s Stylus Pro range of large format printers to make new world firsts. The Rembrandt exhibition at Beurs de Berlage, Amsterdam is just one unique example.
A unique exhibition
In 2006 we celebrated Rembrandt’s 400th birthday. For the first time in history the complete collection of private and public works of Rembrandt were all displayed in one public place. The idea came from the Dutch agency Local World and was inspired and made possible by digital imaging technology.
The UltraChrome K3 range of large format printers, including the Stylus Pro 9800 and 7800, were used to print copies of Rembrandts original works.
Local World’s Christiane Bosman said: “The Epson printers were chosen because of their ability to produce precisely the contrast between the dark and light tones of black, one of the most important characteristics of the paintings of Rembrandt.”
Museums all over the world were contacted for digital scans and permission to print the images. Epson’s Premium Luster Photo Paper was used to recreate the glossy shine comparable with the varnish layer that Rembrandt used for his paintings. Amongst the collection a married couple was reunited for the first time since 1640. The original portraits reside miles apart with one in a private collection in Russia and the other in a museum in New York. The digital prints allowed the couple to be hung side-by-side the way Rembrandt intended it.
The Rembrandt project marks a new era for museums and art galleries. There are many masterpieces in museums across the world that can be enjoyed by more people by creating digital reproductions. It has never been easier to share the talents of earlier generations of artists. The viewing experience is as fascinating and inspiring whether it is an original or a digital production. With the advances in micro piezo technology and UltraChrome K3 ink, the brush strokes, skin tones and textures of a painting are all replicated to the finest detail in a digital print. In fact out of the 63,000 visitors to the Rembrandt exhibition 63 per cent said they were happy to view reproductions and 92 per cent said they had learned a great deal about the painter.
But would Rembrandt have approved? Christiane believes he would: “Rembrandt was a painter of the people. It was his desire that many people could enjoy his work.”
She is supported by Professor Ernst van de Wetering, Head of the Rembrandt Research project: “The exhibition was a most enriching experience and we should continue to make such exhibitions possible by producing high-quality reproductions, worthy of the critical eye of the old masters themselves.”
It does seem highly likely that Rembrandt would be pleased. It is widely known that he encouraged his students to copy his own work, sometimes with enough retouching so he could sell them as originals, and sometimes simply to sell as authorised copies. Imagine what he would have achieved if he had access to today’s technologies such as the Stylus Pro range of printers and UltraChrome K3 ink?
Benefits of fine art
It is easy to imagine that we could all become the next Rembrandt simply with the aid of a digital printer. The fact is, it is relatively easy to access a suitable printer and by partnering with the right artist you could, in fact, be producing originals faster than you think.
If we take Epson’s machines as an example, the Stylus Pro 7800 and 9800 are designed to offer an easy to use, productive solution with increased black density and improved colour reproduction on various substrates.
One of the main benefits is media flexibility as this lets artists choose the most suitable substrate, an important factor in this industry. It also gives the artist the same flexibility they have when producing their work traditionally. For example their original work may involve painting on silk and it is important that digital reproduction can replicate this.
Another equally important benefit is that digital reproduction gives the artist the ability to print as many copies as they wish. In the past, offset was used for this type of work which meant artists had to choose a few designs and print large numbers. By harnessing digital technology, it is just as easy to print a one-off as it is to print hundreds. This lets artists control where they wish their designs to be seen and sold.
Image quality
Sceptics will argue we do not have the ability to reproduce photo realistic image quality which is an understandable requirement of this market. However, with the right technology we take this for granted. Regarding Epson machines, the proven lightfastness of UltraChrome ink (depending on media type) has ensured artists and galleries trust the output and have no fear the reproduction will fade over time. Additional protection, such as keeping the image behind glass or spray laminating, can further enhance a print’s lifetime.
We have also seen an amazing improvement in the detail of highlight and shadow areas of images, plus grey balance which ensures even gradation from light to dark area. Both these technical details add to the general acceptance from the fine art market and will continue to change the minds of sceptics.
And finally
Thanks to today’s printer technology and the ability to print on fine art stock, both photography and digital art have the chance to be fully recognised as art forms. Because the discussion is taken away from visual differences (such as photographic papers) to the real discussion of ‘the picture’ we can produce genuine works of art which carry real value and help more people to appreciate the value of art. Whatever your view, I don’t think you can argue that making art more affordable is anything but a good thing. The fact it can be achieved so easily only makes it better.
