Giclée
Giclée graphics are the result of a revolutionary computerized process. The French word, Giclée (pronounced "Zhee-clay"), describes this continuous tone reproduction method. This new medium is a blend of art and technology that achieves the intention of the artist more closely than any other means currently available.

Using data from the original painting gathered by a highly sensitive scanner, a state of the art graphics printer, called an iris printer, magnetizes, then sprays four million drops of a water-based inks per second onto a spinning drum that holds the paper or canvas. These environmentally safe inks are applied in droplets the size of a human blood cell with a computer controlled accuracy that is unsurpassed in the art world. After numerous proofs are personally worked on by the artist and printmaker, protective waterproofing and ultra-violet coatings are applied to the final version. The finished piece is a perfect representation of the artist's thoughts, translated digitally.

One of the keys to the success of this kind of print is the system's versatility. With computer control of the inkjets, over 16 million gradations of color are possible. The image can be infinitely adjusted by the artist until it matches the original. This adjustability provides the power to reproduce original work more closely than any other non-offset method of graphic printing, with the advantage of perfectly identical copies.

Serigraph (Silkscreen)
This process uses a stretched fabric such as silk to support a stenciled image. The artist blocks out the un-stenciled areas with a glue or similar substance, which closes the pores of the silk where the image is not to penetrate. The framed material is lowered to the paper and through the open pores of the silk, the artist uses a "squeegee" to press whatever color paint he or she desires. The artist then lifts the frame off the paper and the silkscreen image remains. A different stencil is used for each color.

Lithograph
In a lithograph, the line to be printed is neither raised (as in a woodcut) nor lowered (as in an engraving), but it is quite flat; the medium owes its existence to the chemical principle that grease and water do not mix. Generally speaking, the artist draws his image on a large flat surface of limestone using a greasy crayon, or "tusche." The surface is fixed chemically and wetted with water, which does not adhere to the greasy image areas. When the stone is inked with a roller, the ink does not adhere to the wet areas. A sheet of paper is then placed in position and the press is operated to print one impression. When more colors are desired, a separate stone is made for each color, and the same sheet is pressed onto each stone in registered sequence.

Etching
To make an etching, the artist first coats a flat metal plate with an acid-impervious "ground." Then, the lines of the image to be printed are scratched through this ground with steel needles. The metal plate is then dipped in an acid bath, which eats away at the exposed areas of the plate. When the line has been "bitten away" sufficiently, the artist prepares the plate for printing. The plate is inked carefully, then the surface is wiped clean, leaving ink only in the incised areas. Damp paper is placed in position, felt mats are added, and the sandwich is squeezed with extreme pressure in an etching press. If more than one color is desired, a plate for each color is made and run through the press onto the same sheet of paper. Drypoints and aquatints are variations on this technique.